Alberti's book was fundamental in spreading an awareness of perspective and the new possibilities it enabled.
An early example of the correct use of perspective is 'The holy trinity with the virgin, St. John and Donors' by Masaccio (c. 1425). It is difficult to appreciate the amazement with which this picture was received, as it seemed to create a doorway into the wall and a new burial chamber beyond. The accurate use of perspective here creates an ambiguous division between reality and illusion .One feels they could reach out and touch one of the figures. This more direct interaction makes us relate with the characters much more. The use of perspective makes this new level of representation possible, allowing a step closer to capturing reality.
It is the ability of perspective to create illusion which makes the synthesis of architecture , sculpture and painting possible. Breathtaking examples of this are the ceilings of St Ignazio, and Palazzo Barberini, Rome. Here, the boundary between architecture and fresco melt into an ambiguous zone of indeterminacy, as the rooves are seemingly opened up to the heavens. The theatricality of these spaces becomes obvious as one passes through them, and the clarity of the illusion fluctuates as it reveals itself.
Another factor which the invention of perspective made possible was the concept of infinity. Never before could this very powerful image of the never-ending be depicted. This became a metaphor for many things; time, faith, and the divine. A common use for the symbolism of perspective is the assention into heaven. Perspective adopts a transitional nature between mortal and divine, solving artist's dilemma of depicting heaven and the Almighty. Examples of this are the frescoes, 'the worship of the Holy Name of Jesus' by Giovanni Battista Gaulli and, Corregio's 'The assumption of the Virgin', Parma cathedral. Here, heaven and God are located at the vanishing point of the perspective which is conveniently too luminant in colour to fathom.
