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If the purpose were to demonstrate concepts of pictorial organisation in the early Italian Renaissance […], the choice would fall on this architectural veduta […]. Scholarship has always primarily drawn attention to the theoretical aims of these works. They were regarded as demonstrations of the rules of construction according to central perspective and ideals, as variations on urban spatial planning propounded in a humanist spirit […]. The composition is probably calculated according to three changing positions of the beholder, who is separated by a painted loggia from the image space, which, it appears, the viewer can enter. An illusion of coffering below and at the sides connects the panel, in turn, as a decorative entire room, directly to the beholder’s living space.¹
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If the purpose were to demonstrate concepts of pictorial organisation in the early Italian Renaissance […], the choice would fall on this architectural veduta […]. Scholarship has always primarily drawn attention to the theoretical aims of these works. They were regarded as demonstrations of the rules of construction according to central perspective and ideals, as variations on urban spatial planning propounded in a humanist spirit […]. The composition is probably calculated according to three changing positions of the beholder, who is separated by a painted loggia from the image space, which, it appears, the viewer can enter. An illusion of coffering below and at the sides connects the panel, in turn, as a decorative entire room, directly to the beholder’s living space.¹
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