ABSTRACT
Some years ago the queer perspective in Dürer’s prints led me to a superficial but painful acquaintance with a number of books about geometry, old and new. Among them was Federigo Enriques’s The Problems of Science…. I was much interested by his remark1…to the effect that the differences between metrical and perspective geometry could be traced back to the differences between the tactilemuscular and the visual intuitions of space. It occurred to me that, as metrical geometry was Greek and perspective geometry is modern, the same thing was, perhaps, true of the differences between Greek and modern art, and that it would be worth while to look into the matter.
