Before the invention of a theory of mathematical perspective, artists of the middle ages were more interested in depicting religious, spiritual truths rather than the real, physical world. They did not dwell on technicalities such as making a scene scientifically coherent, but determined the scale of objects and figures by their importance. Even as artists began to show a sense of perspective in their art, the lack of a defined theory made drawings appear awkward. Domenico Veneziano's 'St.Zenobius performs a miracle' (1445) is an early example of successful use of perspective.

Historians agree that the Florentine Fillipo Brunelleschi was the founder of perspective. He rediscovered the principals of linear perspective construction, a technique which had been known to the ancient Greeks and Romans but forgotten during the middle ages. Brunelleschi demonstrated his findings with two painted panels, now lost, which depicted Florentine streets and buildings. From Antonio Manetti's description of the p

It is the ability of perspective to create illusion which makes the synthesis of architecture , sculpture and painting possible. Breathtaking examples of this are the ceilings of St Ignazio, and Palazzo Barberini, Rome. Here, the boundary between architecture and fresco melt into an ambiguous zone of indeterminacy, as the rooves are seemingly opened up to the heavens. The theatricality of these spaces becomes obvious as one passes through them, and the clarity of the illusion fluctuates as it reveals itself.

Perhaps we now need to consider a new question; the fact that these innovations were based on an understanding of perspective which is not completely accurate. It seems renaissance thinkers did not account for the movement of the human gaze , nor the distortions due to the convex surface of the eye. If the true art of perspective were followed, all straight lines would appear slightly curved if they were to be one hundred percent accurate. The ancient Greeks knew of this affect, accounting for it in the geometry of their architecture. The reason they never applied perspective to two dimensional painting was apparently because they chose not to disregard the axiom. It is increasingly more difficult for modern artists to accept that antique optics are more genuine than those of the renaissance, as it is now so well established. Not only are we taught this form of perspective in school's, but photographs also reinforce this notion as they themselves are projected onto a flat surface rather than the correct convex.

This orientation of space, created by the use of perspective, allows parallels to be drawn with a church; the central axis being like a nave rising up to the alter. This symbolism is continued by the Belevedere's curved, apse-like end.

This discussion has shown the positive effect that the development of 'renaissance' perspective had on the history of design. It made possible the concept of infinity in art, made portholes into imaginary space possible, and by creating an adequate reproduction of our optical image, allowed artists to gain a step closer to realism. In terms of t

Some topics in this essay:
Andrea Palladio's, Peter's Rome, Donors' Masaccio, Barberini Rome, Renaissance Perspective, Battista Alberti, Virgin' Parma, Palazzo Popolo, Antonio Manetti's, Villa Lante, central axis, invention perspective, understanding perspective, create illusion, step closer, accelerated perspective, importance route, allowed artists, belevedere court, concept infinity,