In Parts I and II we learn of Dürer’s desperation to learn more about perspective and how Willibald Pirkheimer seems to be the arch villain keeping him from this information.
But the mysterious person who Dürer was going to Bologna to learn perspective from has been identified because of watermarks on Italian papers from 1506 -1507. A few of Dürer ’s sketches were made on Italian paper with the watermark of “Crossed Arrows’, which Dürer ONLY used in Italy. The sketches on this paper all pertain to perspective, primarily to the construction of columns and to the correct foreshortening of a square, a triangle, and a pentagon.
THE SECRET MASTER FOUND
The last, the one about the pentagon is based on a method taught exclusively by Piero della Francesa (d. 1492), whose “De Prospectiva pingendi” existed in 1506 only in manuscript copies.
Supposedly, when Dürer returned to Nuremberg he had Pirkheimer translate portions of Euclid pertaining to perspective because some of the theorems are in Pirkheimer’s handwriting. But since we know that Pirkheimer had access to SO much of everything, this is meaningless, as Pirkheimer could have added this information in his handwriting AT ANY TIME.
What is even MORE suspect is that Dürer ’s use of perspective becomes razor sharp and perspectively precise to a degree never seen before in his artwork in 1509, the year he buys Walther’s house and supposedly the library.
Subsequent purposeful variations from correct perspective in later artworks have been incorrectly explained away by “experts” who didn’t realize Dürer was encoding, especially in the 1514 St. Jerome and the Study and Melencolia I, which have to be paired to get the whole meaning of the encoding. The clues were hidden in plain sight and yet the “experts’ couldn’t see the forest for the trees or even formulate the correct questions; they just chalked it up to sloppiness. Then of course, these experts HAVE to find some ITALIAN master to credit Dürer ’s mastery to, and THAT became Leonardo, because these experts could get away with that. After all, all they were teaching was Italian Renaissance iconography and everything had to fit into that model.
The mystery has been solved as to the missing master of perspective Dürer learned his new mathematical formulas from, Piero della Francesco.