Medieval Armatures
"Rabatment has been proposed as an explanation and origin for several Renaissance [perspective] techniques. In each case I believe that the invocation of rabatment is anachronistic and that the nature of the explanation is demonstrably at odds with the methods themselves." Elkins, The Poetics of Perspective, 1994, p. 276.
Rabatment vs. grids.
Representation of Space in Proto Renaissance Art
"The conquest over the medieval representational principle begins with this achievement of Duccio and Giotto. For the representation of a closed interior space, clearly felt as a hollow body, signifies more than a consolidation of objects. It signifies a revolution in the formal assessment of the representational surface. This surface is now no longer the wall or the panel bearing the forms of individual things and figures, but rather is once again the transparent plane through which we are meant to believe that we are looking into a space, even if that space is still bounded on all sides." Erwin Panofsky, Perspective as Symbolic Form (New York, Zone Books, 1991), 55.
"Panofsky subsequently put this issue to rest temporarily by showing correctly that Alberti intended his diagonal line only as a check, post facto to his costruzione legittima. However, it was certainly well known long before Alberti's time that such a diagonal line or a formation of crossed diagonal lines would render a quadrangular structure into seeming perspective. This is evident in the foreshortened geometric patterns within the individual squares of the decorative floors artists so loved to paint during the Trecento even though these such floors as a whole were improperly projected. One must therefore assume that Brunelleschi may have known how to use this device himself, that he could have realized its logic in relation to his own vanishing point discovery and employed it as a short-cut in painting some details of his first perspective pictures." Edgerton, "Brunelleschi’s First Perspective Picture", p. 188.
Duccio di Buoninsegna (died 1319)
Figure 3.x. Duccio, Virgin and Child Enthroned, Surrounded by Angels, a.k.a. The Rucellai Madonna (tempera and gold on wood, 450 x 290 cm), c. 1285, Uffizi.
Figure 3.x. Duccio, Crucifixion and Other Scenes (gold and tempera on panel, 44.9 x 31.4 cm center panel), c. 1302-08, Royal Collection Trust, London.
Figure 3.x. Duccio, Maestà (tempera and gold on wood), 1308-11, Museo dell'Opera del Duomo, Siena.
Figure 3.x. Duccio, Crucifixion, The Redeemer with Angels (tempera on panel, 61 x 39.4 cm), 1311-18, Museum of Fine Art, Boston.
Figure 3.x. Duccio, Crucifixion Triptych (gold and tempera on panel, 53 x 28 cm center panel), c. 1318-19, Museo della Societa di Esecutori di Pie Dispozisioni, Siena.

1 The construction of a square is shown in the Constructions appendix.
2 Note 2.

Medieval Armatures
Medieval Armatures