Planarity and rotundity; surface and depth; it is particularly in painting that one may be conscious of an oscillation of interest between the gridding of surface and the gridding of depth, between surface signifying depth, and depth signifying surface. Thus, while with regard to the prominent gridding of depth one might, of course, think of Piero della Francesca (Figure 9); while with regard to the gridding of surface and its  attendant stratifications of layerings, one might think of Bronzino; then, returning to architecture, one might place alongside Bronzino’s Allegory of Love (Figure 10) the garden facades of Caprarola (Figure 11a) and notice how in each case a primary skeleton subsumes, infuses, coordinates a spectacular figurative material.

With regard to Vignola’s facades, these have received a protracted analysis from John Coolidge in his Studies on Vignola.4 Coolidge has commented upon their intricate and interlocking behavior, upon the relation of all their parts to both a local and a general system, and upon their resultant appearance as a series of shallow relief layers—a little like layers of plywood which are being progressively stripped away.