More Perspective on Perspective

Duccio's The Last Supper lacks a clear vanishing point.  There are many lines that seem to function like orthogonals, but they do not come to a single point.  Also, the space represented in this image is like a box that is entirely limited by the edges of the picture.

In contrast, there are images where it seems that there is space outside the bounds of the frame.  The picture appears as a slice of reality.  It seems as if the image is continuous with the space that would exist outside of that picture.  It appears as if there is more space beyond that which is represented in the image.  Indeed, finite represented space can indicate infinite space beyond itself.  Panofky notes that the vanishing point in particular is a concrete symbol for infinity.  The discovery of the vanishing point thus represents the discovery of the infinite itself (182/57).

Later, Panofksy argues that this is a secularization of the infinite, since the infinite is represented as being part of our own reality and not merely as divine reality (187/66).  Dr. Herbert notes that this idea is not contrary to religious thought.  There is nothing inherently secular about the notion of the infinite existing in finite space.  Indeed, Jesus Christ, as both human and divine, is such an example from religious texts.  A particularly relevant image is Leonardo da Vinci's The Last Supper.  Christ, as the vanishing point, is both made present in the image and is also presented as absent in this image.

In contrast, Christ is not the vanishing point in Perugino's Christ Handing the Keys to Saint Peter.  The vanishing point here is the church in the background.  What is signified here is that although the body of Christ will die, the church will live.  The church is thus something infinite and finite.  It is both a particular building (or buildings) and the "house" of the eternity of the religion.