According to Giorgio Vasari the fresco of the “Ascension of Christ” was commissioned by one of Sixtus IV nepotes Pietro Riario to Melozzo da Forli in 1472–1474. Vasari’s proposition was contested by A. Schmarzov and several art historians aft er him. Th is fresco became one of the most monumental works of its time in Rome, as well as the decorative cycle of the Sistine Chapel. Th e fresco decorated the apse of the Basilica dei Santi Apostoli of the Conventual monastery and its dimensions were more than 16 meters in diameter. In 18th c. the fresco was taken down and demolished, except 15 fragments that are preserved in the Vatican and the Quirinal Palace up to nowadays.

Th e fresco was executed by an Umbrian painter Melozzo da Forli whose name is well known as pi.pa., which means pictor papalis, the papal painter. As an artist of the pope he realized several commissions for Sixtus IV. But the structure of commission was as complicated as the specifi city of the papal power.

Th e problem of an intercessor between the artist and his patron has not been resolved decisively. The examination of political tasks of Sixtus IV helps to resolve this problem and to renew the treatment of Melozzo’s masterpiece in terms of the methodology of political representation. In the same time, the problem of dating concerns another more important issue — that of Melozzo’s place in the process of development of Quattrocento perspective as one of the forerunners of High Renaissance along with Piero della Francesca and Mantegna.