| Summary: | It can be said that with the perspectival archi-apparatus, perfectly described by Alberti when he wants to create rules for the three arts (painting, sculpture, architecture), the milieu in an initial sense (knowing what supports and is located “before” and “between” apperception and artistic production, preceding the division between the intelligible and the sensible, form and matter, being-together and singularity), has entered in an era so new that we could not have been conscious of it sooner, precisely when the synthesis is madeaccording to other norms and criteria. The synthesis from which the Renaissance proceeded has a name: disegno. At first sight, according to Alberti, drawing provides the foundation for the three arts, however it was separated from painting (colour), emancipated and totally “apparatused” by perspective. In other words, if the apparatuses are the condition for the arts, then the perspective would have “apparatused” painting, sculpture and architecture, like it would have done for theatre (Italian-style staging, the Theatre of Vicenza, Palladio), urban planning (in particular Florence under Lorenzo di Medici), privileging drawing through which it was also presented (the treatises of perspective).
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