Abstract
Paolo Uccello's simulated tomb and monument of the condottiere John Hawkwood has always been regarded as one of the incunabula of systematic perspective construction. The master executed the fresco in 1436, only about twelve years after Brunelleschi had discovered the principles of focus perspective and just about the same time as Leon Battista Alberti completed the first written account of the theory and practice of projection. One important aspect of Uccello's painting has, however, not been discussed, at least until the past few months, when two historians quite independently made similar observations.
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