There are many church painting themes in medieval paintings about religion. The evolution of ideas and forms during time plays a greater geometry of the middle ages. It has its own peculiar features, and it disappears with the civilization that was expressed in it.
The more and more complicated figures traced with the compasses are in due course abandoned, and at the beginning of the renaissance an aspiration towards simplicity and an intense dislike of overloading create the conditions favorable to a new enthusiasm—the enthusiasm for applying to the plastic arts relationships of musical origins, whose philosophical beauty had already been praised by Plato in the Timaeus.
I think that people’s pursuit and study of geometry in paintings aim to simplify the complicated things in painting. It is to make realistic paintings more concise and more symbolic.
A painting is not simply a plane surface; it undertakes the conquest of space, and the different stages of its conquest are bound, in their turn, to be expressed in the composition; there is the conquest by means of geometry in three dimensions, and also the conquest by means of light and shade. The progress of this leads to a plastic art of illusion obeying the same laws of stability and weight as the real.