It is essential to go back studying the principles of perspective, since Alberti,
Piero, Vignola, Leonardo, Pozzo, and many others, since most of them still are valid. A step forward would be to put all these
principles together within a model through which the universal validity of each one of them has to be demonstrated. In other
words, it seems that the next step is to propose a unify theory of perspective.
We have to use the term ‘representation’
carefully because it relates both artistic works or works without aesthetical purposes. For instance, a perspective sketch
of a building, or a drawing to reconstruct a masterpiece, do not have any aesthetical meaning but representation. Techniques
of representation are of many types including computer graphics and those yet to come. However, as in the past, practice cannot
innovate without theory. The best example of the aforesaid is the actual practice of street painting that compels artists
to learn anamorphic perspective, otherwise their works would fail to get il buon effeto, as Leonordo advised
the painter to look for always.