El ver y lo visto según el lugar "donde poner las cosas" en Piero della Francesca

The act of seeing and what is seen according to the place where 40 puf things. (ponere le cose) in Piero della Francesca On the one hand, we can say that the artist conceives of his painting as if it were a world; on the other hand, we can say that he also thinks of the world as painting. Betweenthe things of the world in its physical presence, the mind that thinks of them and their representation, the Renaissance period tried to discover a logical relationship. So, the author tries here to find out this relationship between the theory of painting in Renaissance period (from De prospectiva pigendi of Piero della Francesca) and what would be, in general terms, a theory of knowledge. The reason, which is also required in the act of viewing and being conscious of the world that is so seen. So, watching something must already be for the painter some kind of intellectual act which points towards the phenomenic presentness of the same thing, just to fit it in a reasonable process of viewing. Here is, of course, the neoplatonist idea. But then, the work of painting such a thing according to the painting itself is nothing but a methodical construction of the world of the painter's consciousness. As it is prepared by the N. de Cusa philosophy, here appears the concept of a subject which places itself somewhere between the athings of the world), and his own, immediate perception: just at the conceptual point where the world is represented and Piero wanted to put things, ponere le cose. So it is: a locationwhich is not coincident with the physical things nor with the real eye, and where the human world grows figured out as a mental one.