This book was one of the most respected texts on perspective in the sixteenth century, comparable to Durer's Painter's Manual. Designed for an audience of artists, architects, stage designers, etc., Barbaro's presentation is more mathematical than artistic. The illustrations, e.g., the dodecahedron and truncated tetrahedron above, are not inspiring; they are disappointingly unclear compared to Leonardo's "solid edge" method of presenting structure. Published in the same year as Jamnitzer's creative masterpiece, Barbaro's illustrations are almost boring in comparison.