C.D. Brownson’s account of linear perspective unites it and Euclid’s Optics as geometrical systems describing the presentation of appearances at a fixed observation point (1981). The one significant difference is that while the Optics is primarily concerned with the investigation of how we perceive things, linear perspective instead is targeted primarily to painters. In this respect, by enabling artists to delimit the spatial field of representation, and therefore to control precisely the configuration and interaction of its content, linear perspective brought new opportunities to impose personal agendas or ideologies upon painting.