The central focus of this thesis revolves around the study of perspective space in Italian primitive painting. All the arguments and conclusions drawn, originate from the same reflection, to decipher the process used by painters such as Giotto or Duccio on trying to resolve the sense of depth in their works. Based on these terms, we start from the hypothesis that the processes of spatial construction, whether geometric or mental, maintain similar rules and can be simplified and identified as a series of pseudo-perspective sketches.
        
        The main objective of our study will be to translate and simplify said space-perspective models, with the aim of accomplishing a set of perspective sketches valid for artistic creation. For this, we have analysed a number of works that are representative of this period. The result of the analyses and their classification has helped us to understand the perspective space of the Italian Trecento and Quattrocento. Furthermore, the process followed to extract said sketches, impregnated with the undoubted plastic value of the studied works, has served us as a  tool in the attempt to explore new paths in perspective representation. Based on this idea, we have tried to achieve spatial models that are useful for artistic creation sustained on the achieved results. With this purpose, we have exemplified each perspective model by means of simple geometries, capable of showing the perspective result obtained and its possible extrapolation to the artistic field.