Title: Perspective (graphical)
Content:  (1434). Gradually, and partly through the movement of academies of the arts, the Italian techniques became part of the training of artists across Europe, and later other parts of the world.  Piero della Francesca elaborated on De pictura in his De Prospectiva pingendi in the 1470s, making many references to Euclid. Alberti had limited himself to figures on the ground plane and giving an overall basis for perspective. Della Francesca fleshed it out, explicitly covering solids in any area of the picture plane. Della Francesca also started the now common practice of using illustrated figures to explain the mathematical concepts, making his treatise easier to understand than Alberti's. Della Francesca was 
Title: History of geometry
Content:  of accurate perspective paintings in Florence, Brunelleschi likely understood (with help from his friend the mathematician Toscanelli), but did not publish, the mathematics behind perspective. Decades later, his friend Leon Battista Alberti wrote De pictura (1435/1436), a treatise on proper methods of showing distance in painting based on Euclidean geometry. Alberti was also trained in the science of optics through the school of Padua and under the influence of Biagio Pelacani da Parma who studied Alhazen's ''Optics'. Piero della Francesca elaborated on Della Pittura in his De Prospectiva Pingendi in the 1470s. Alberti had limited himself to figures on the ground plane and giving an overall basis for perspective. Della Francesca fleshed it 
Title: De pictura
Content:  history of art with his theories of perspective in On Painting (1435). Inspired by the order and beauty inherent in nature, his groundbreaking work sets out the principles of distance, dimension and proportion; instructs the painter on how to use the rules of composition, representation, light and colour to create work that is graceful and pleasing to the eye; and stipulates the moral and artistic pre-requisites of the successful painter. On Painting had an immediate and profound influence on Italian Renaissance artists including Ghiberti, Fra Angelico and Veneziano and on later figures such as Leonardo da Vinci, and remains a compelling theory of art.
Title: Leon Battista Alberti
Content:  Alberti regarded mathematics as a starting point for the discussion of art and the sciences. "To make clear my exposition in writing this brief commentary on painting," Alberti began his treatise, Della Pittura (On Painting) that he dedicated to Brunelleschi, "I will take first from the mathematicians those things with which my subject is concerned." Della pittura (also known in Latin as De Pictura) relied on its scientific content on classical optics in determining perspective as a geometric instrument of artistic and architectural representation. Alberti was well-versed in the sciences of his age. His knowledge of optics was connected to the handed-down long-standing tradition of the Kitab al-manazir 
Title: Filippo Brunelleschi
Content:  rules of perspective studied by Brunelleschi and the others, artists could paint imaginary landscapes and scenes with a perfectly accurate three-dimensional perspective and realism. The most important treatise on a painting of the Renaissance, Della Pittura libri tre by Alberti, with a description of Brunelleschi's experiment, was published in 1436 and was dedicated to Brunelleschi. Thanks to Brunelleschi, a painting could be an accurate three-dimensional window onto the world. The painting The Holy Trinity by Masaccio (1425–1427) in the Santa Maria Novella, Florence, was a good example of the new style, which accurately created the illusion of three dimensions and also recreated, in painting, Brunelleschi's architectural style. This was the beginning of the standard method of painting studied by artists until the 19th century.
Title: Mathematics and art
Content:  perspective paintings are lost, but Masaccio's painting of the Holy Trinity shows his principles at work. The Italian painter Paolo Uccello (1397–1475) was fascinated by perspective, as shown in his paintings of The Battle of San Romano (c. 1435–1460): broken lances lie conveniently along perspective lines. The painter Piero della Francesca (c. 1415–1492) exemplified this new shift in Italian Renaissance thinking. He was an expert mathematician and geometer, writing books on solid geometry and perspective, including De prospectiva pingendi (On Perspective for Painting), Trattato d'Abaco (Abacus Treatise), and De quinque corporibus regularibus (On the Five Regular Solids). The historian Vasari in his Lives of 
Title: De prospectiva pingendi
Content:   De prospectiva pingendi (On the Perspective of Painting) is the earliest and only pre-1500 Renaissance treatise solely devoted to the subject of perspective. It was written by the Italian master Piero della Francesca in the mid-1470s to 1480s, and possibly by about 1474. Despite its Latin title, the opus is written in Italian.
Title: Leon Battista Alberti
Content:  a writer while still a child at school, and by the age of twenty had written a play that was successfully passed off as a genuine piece of Classical literature. In 1435 he began his first major written work, Della pittura, which was inspired by the burgeoning pictorial art in Florence in the early fifteenth century. In this work he analysed the nature of painting and explored the elements of perspective, composition, and colour. In 1438 he began to focus more on architecture and was encouraged by the Marchese Leonello d'Este of Ferrara, for whom he built a small triumphal arch to support an equestrian statue of Leonello's father. In 1447 Alberti became architectural advisor to Pope Nicholas V and was involved in several projects at the Vatican.
Title: Perspective (graphical)
Content:  the first to accurately draw the Platonic solids as they would appear in perspective. Luca Pacioli's 1509 Divina proportione (Divine Proportion), illustrated by Leonardo da Vinci, summarizes the use of perspective in painting, including much of Della Francesca's treatise. Leonardo applied one-point perspective as well as shallow focus to some of his works. Two-point perspective was demonstrated as early as 1525 by Albrecht Dürer, who studied perspective by reading Piero and Pacioli's works, in his Unterweisung der messung ("Instruction of the measurement"). Perspective features heavily in the research of the 17th-century architect, geometer, and optician Girard Desargues on perspective, optics and projective geometry, as well as the theorem named after him.
Title: Science and inventions of Leonardo da Vinci
Content:  "The art of perspective is of such a nature as to make what is flat appear in relief and what is in relief flat." During the early 15th century, both Brunelleschi and Alberti made studies of linear perspective. In 1436 Alberti published De pictura ("On Painting"), which includes his findings on linear perspective. Piero della Francesca carried his work forward and by the 1470s a number of artists were able to produce works of art that demonstrated a full understanding of the principles of linear perspective. Leonardo studied linear perspective and employed it in his earlier paintings. His use of perspective in the two Annunciations is daring, as he uses various features such as the corner of a building, a walled garden and a path to contrast enclosure and spaciousness. The unfinished Adoration of the Magi was intended to be a masterpiece 

Question: published a treatise on perspective della pitture (or on painting) in 1435?
Answer: Leon Battista Alberti.