But I find "an early example of the effective use of perspective" a bit weaselly; it is more like "my first attempt at perspective" and is quite crude (although the Ashmolean tells us that "Paolo di Dono was celebrated in his lifetime as a master of perspective"). The device of having regularly spaced trees is crude; the trees themselves don't look real, more like a child's idea of a tree (they are also far too regular to be a forest, and have been pruned, so this is a plantation); and having all the interest as a band of colour at the bottom leaves the top three fifths of the painting rather dull. I'm also inclined to find him uncomfortable drawing 3d figures; most of the men and horses and dogs are distinctly 2d (the "stopping horse" is particularly obvious), the few that aren't (e.g. the white horse on the right; note also the perspective goes squiffy there; the horses feet are level with the tree but its head is on our side) rather stand out.
More generally, and I say this because I was reading Aunt Agatha's "Five Little Pigs" which features a passionate modern artist, I find so much of the early stuff distinctly lacking in passion, or life.
Here you can have the wallpaper too, since it was lovely. The attention is all on the skin and muscle tone of Christ (days dead, but weirdly still bleeding). The single tear carefully placed on the cheek of the woman in blue doesn't make for emotion; nor the elf in red.
