Dear Diary,

Today in the year of our lord 1530, I have made incredible progress in my research for perspective drawing by developing a new instrument. By using precise mathematical equations, I have devised a mechanical device which will change the overall outcome of my compositions. This helpful devise is a frame with strings attached; you then place the canvas behind the frame, pull out the strings, and then mark your point on the canvas. Although some people have called me arrogant in my discoveries, I feel being meticulous at details should never be judged. 

To my disbelief, and after long night’s research and taking extensive notes, I have developed a way to improve the overall composition of my paintings. Although perspective drawing has been used in much of the Renaissance, I have created something to pinpoint exactly where the vanishing point shall be. The vanishing point and has been used to add realism to art since the 1400's in Florence.

 As a premier painter in Germany during the late renaissance mannerism period in art, I have been known for using geometric object in my woodblock carvings. In my woodblock, Melancholia I, I put many mathematical objects throughout the composition. I have always showed interest in the scientific method to improve art and I’ve also been recognized for my use of chirchrio or contrasts between light and dark, as seen in my Self Portrait with Fur composed in 1500 with oil on panel. 

When it comes to composting the human body, I believe portraits should reflect the four humors; sanguine, phlegmatic, choleric, and melancholic. These four should be the medical basis in drawing human figures. (Kemp, 14) In 1528 in my publication, Four Books on Human Proportions, I said “ I hold that the perfection of form and beauty is contained in the sum of all men."

In some of my earlier work, I created a woodcut of a Rhinoceros. In the year 1515, I was able to compose this unusal animal without ever seeing it for myself. King Manuel I of Portugal brought from India an elephant and a rhinoceros and those two new animals made a huge impact in Europe. Although it is not the very likeness of the creature, the woodcut still remains as one of my most well- know artwork. Even in the future, it will be used German school science textbooks.

I have always been interested in and admired art in Italy and I've traveled there many times to admire it. The Italian interpretation of classical Greek and Roman artwork has truly inspired my work. I reflect this in my luminous painting of Adam and Eve 1507 oil on panel.  I just recently wrote to a friend of my friend and described how I have so much appreciation for travel abroad and visiting artwork. In my publication on The Apocalypse 1497-98 woodcut, I was able to created vivid scenes with the intense emotions could engage either the literate of illiterate. 

In all honesty, I would like to  think of myself as sophisticated in scientific theory and art. I even produced my own treatise on proportion two years ago in 1528. In this new century, I have found an interest in science, humanism and literature. I believe my perspective drawing has creating a new standard for drawing and painting for these modern times during the Renaissance. I hope my work in geometry and mathematics will greatly influence and develop new principles in art.