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Giulio Romano violates the accepted rules of perspective in his ceiling fresco for the Sala di Troia in the Palazzo Ducale in Mantua: it lies well above the viewers' eye level, but nonetheless presents them with a view of the terrain on which the action takes place. It is a concept that would surely have been unthinkable even a few years earlier, and it was only taken up again to any significant extent during the Baroque period.
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