Hi Edna and Misia,
I'm not knowledgeable enough neither in painting nor in music to give an answer but I wanted to raise some questions. It's a great topic.
Misia,you mention Pierro della Francesca. I must admit I am not familiar enough with him, though I'm aware of his importance with regards perspective. Perhaps the figure I would think of suggesting would be Albrecht Durer, both because of his paintings but also because of the place he demanded for the artist as the creator. Titian also comes to mind.
But this brings the following questions:
1. In art history one investigates the first painters to use perspective and their influence, but I'm pretty sure that for whatever Bach did there were precursors. Still, as Bach was the person to bring it to its height, he was the one who really influenced the ensuing composers. Was Pierro della Francesca really that influential for centuries to come?
2. You say Edna that Bach had a great influence on his ensuing composers. In which way? What can we say is Bach's influence. I'm aware it is a difficult question, and obviously you meant it in a general way which is very hard to pinpoint, but I still think that some examples would be helpful.
3. Nietzsche describes how modern music split with Monteverdi and Palestrina, following the way of Monteverdi. Wouldn't Pierro take the place of Monteverdi (or perhaps Palestrina), rather than Bach? Again, I'm aware this is a tricky question as we are talking very generally here, and I don't want to stop the discussion, or move it to be pedantic. I think it could help by raising some questions of what do we consider influence, what do we consider turning points and points of origin, and which are the ways we see influence. (I assume many here don't know neither Monteverdi, nor Palestrina, nor Pierro, but it doesn't matter for the discussion).
Would Titian and Raphael propose such a split in painting (between painting with color and with lines)? Obviously not as both were followed.
I also think that it wasn't merely the comparison of painting and music in painting and music inside the frame
which brought about your question Edna. (Nor the interview question). The question of perspective, Bach, and the frame, seem to me inherently connected.