In the 15th century, sight was thought to reach the eye in the form of a pyramid or cone that originates from the edges of objects and converges to meet in a point at the eye. On this basis, a system replicating the effects of vision was discovered that allowed artists to portray objects in three-dimensions within a credible spatial environment. This system, which we now call linear perspective, was discovered by the architect Brunelleschi and was based on geometry. As such, it was an artist’s best claim to intellectual fame.

In this study for the Adoration of the Magi, Leonardo has applied his knowledge of linear perspective to create a rational, geometrically constructed space within which to situate the narrative.

The perspective construction is incredibly laboured and Leonardo seems to go beyond the requirements of the drawing. However, it has allowed him to create the elaborate architectural structure on the left and to position figures and animals in space to create complex relationships. Although primarily an intellectual exercise, the detailed perspective scheme has provided Leonardo with the stimulus for fantasy and compositional invention.

In Leonardo's words
Painting is based upon perspective, which is nothing else than a thorough knowledge of the function of the eye. And this function simply consists in receiving in a pyramid the forms and colours of all the objects placed before it.