Soon after Brunelleschi's demonstrations, nearly every artist in Florence and in Italy used geometrical perspective in their paintings and sculpture, notably Donatello, Masaccio, Lorenzo Ghiberti, Masolino da Panicale, Paolo Uccello, and Filippo Lippi. Not only was perspective a way of showing depth, it was also a new method of creating a composition. Visual art could now depict a single, unified scene, rather than a combination of several. Early examples include Masolino's "St. Peter Healing a Cripple and the Raising of Tabitha" (), Donatello's "The Feast of Herod" (), as well as Ghiberti's "Jacob and Esau" and other panels from the east doors of the Florence Baptistery. Masaccio (d. 1428) achieved an illusionistic effect by placing the vanishing point at the viewer's eye level in his "Holy Trinity" (), and in "The Tribute Money", it is placed behind the face of Jesus. In the late 15th century, Melozzo da Forlì first applied the technique of foreshortening (in Rome, Loreto, Forlì and others).