As discussed by Soltes, “isolated in the foreground leaning on a kind of cube and looking at a work by himself, is someone who we can identify as Michelangelo” (L20, 28:46). Soltes also suggests that perhaps Raphael used images of “Bramante and Leonardo to fill out the figures that give us philosophy personified” (L20, 29:27). The Renaissance development of perspective in which a point on the horizon draws the eye inward giving the two-dimensional image a sense of three-dimensionality can be observed in the architectural illustration of the building which contained all of this imagery of philosophical thought. Raphael’s linear perspective and use of light and shadow lends itself to the realism of the figures and their
As discussed by Soltes, “isolated in the foreground leaning on a kind of cube and looking at a work by himself, is someone who we can identify as Michelangelo” (L20, 28:46). Soltes also suggests that perhaps Raphael used images of “Bramante and Leonardo to fill out the figures that give us philosophy personified” (L20, 29:27). The Renaissance development of perspective in which a point on the horizon draws the eye inward giving the two-dimensional image a sense of three-dimensionality can be observed in the architectural illustration of the building which contained all of this imagery of philosophical thought. Raphael’s linear perspective and use of light and shadow lends itself to the realism of the figures and their