When it comes to history, every student seems to understand that at the end of the day, the person with the Gatling gun determines who tells the subsequent story and how. There is, nevertheless, a richer way of looking at historical perspective; it derives from perspective in painting, and more precisely from the intersection between modern historical thinking and the discovery of linear projection.

In his dedication of The Prince to Lorenzo de Medici, Niccolò Machiavelli hinted at this intersection. “Just as men who are sketching the landscape put themselves down in the plain to study the nature of the mountains and the highlands, and to study the low-lying land they put themselves high on the mountains, so,” Machiavelli wrote in 1513, “to comprehend fully the nature of the people one must be a prince, and to comprehend fully the nature of princes one must be an ordinary citizen.” The perspective of an observer outside the thing being observed, Machiavelli implies, is the precondition for comprehension. For Machiavelli, perspective had a particular, painterly resonance. Roughly a century earlier, Filippo Brunelleschi had conducted his famous experiments leading to the discovery of linear perspective, which Leon Battista Alberti then systematized for the use of his fellow artists in his famous treatise, On Painting, published in 1436.