Identifies four kinds of "surface geometry" applied by modern scholarship to Italian Renaissance painting (and relief sculpture): grids, modules, proportion in perspective and the generalized interest in halves, thirds and quarters. Argues that the first two are largely modern interpolations, while the second two are present in the works of art, if not in the highly quantified way they are sometimes said to be. Includes appendices on the perspective reconstructions of Piero's Baptism of Christ (London, National Gallery); Leonardo's Last Supper (Milan, S. Maria della Grazie), and Piero's Flagellation (Urbino, Galleria Nazionale delle Marche).
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