Alberti was possibly in Rome by 1431; Mancini speculates by 1428. The Curia employed composers and authors and editors of papal bulls, and Alberti was employed as such. Recreated in visual topography by Poggio and Flavio, Rome’s surviving monuments would advance Alberti’s dynamic visual encounters. Giotto’s and Cavallini’s formative works in Rome further endowed the spatial avant-garde in the city of Gentile, Pisano, Masaccio, Masolino, Ghiberti, and Donatello. The textual and visual gifts gleaned from Padua, Bologna, and northern Europe would evolve into Rome’s validation of all prescriptions in De pictura.

An overview of representations in church decoration, legal texts, romances, chronicles, and political allegories – notwithstanding the differences of these contexts – can help us to recognize additional patterns. On one end of the spectrum, we find the question of religious imagery. In Last Judgement scenes naked female (and male) figures are represented in large numbers. Physical aggression against the human body is explicit and, in this respect, women suffer violence comparable to sodomites. The use of force is endorsed. Although the imagery is intended to denounce lustful acts, the paintings themselves effectively promote sex crimes. This subversive scenario can lead to the sanitization of the violent encounter between women and their tormentors (missing in the case of sodomites). The two political allegories in Padua and Siena mark the other end of the spectrum. I would like to believe that Giotto di Bondone’s Injustice comes closest to a universal denunciation of rape. Here the display of the naked female victim reinforces the explicit rendering of sexual aggression. The scene is carefully contextualized, which discards sanitizing readings. The radicalism of this fresco is striking even compared to Ambrogio Lorenzetti’s War, where, instead of nudity, an equally general denunciation relies on the indicators of bridal status and abduction. Because of its reference to marriage, Lorenzetti’s work is closer to patriarchal structures than Giotto’s. Nevertheless, these two allegories constitute the pinnacle of visualizing civic political thought in the epoch and sketch the utopia of a rape-free society.