In Padua, we have seen a painter who leaves nothing to chance – someone who perspectivally adjusts each single tiny consoled dentil on the faux architectural cornice over the Virtues and Vices; someone who leaves traces of blonde polychromy on a fictive statue’s undercut areas and not on her head; someone who gives the head fragment of a fictive Bacchus a 180-degree rotation to show the force of a heavy triumphal cross falling like a hammer across his shoulders; someone who lets ancient garlands blossom around the Kiss at the Golden Gate even when those are barely visible from the ground. The details are as well-considered as the system in which they appear.