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Perspective Is Much More Than Converging Lines

As space does not permit me to tantalize, then startle, and finally convince, my title is my conclusion, to be followed by the brief argument that establishes its validity. There is an old and good Euclidean precedent for this approach; when we begin with something like “A straight line falling across parallel straight linesmakes the alternate angles equal to one another,” the conclusion is unlikely to be a surprise, but the proof may be elegant, its solidity fair compensation for the absence of dramatic revelation. It is my contention that the geometry associated with perspective is the least interesting aspect of the revolutionary redefinition of painting that took place in early fifteenth-century Florence, although it is often taken to be its quintessential element. By “perspective,” many people,