Humans invented picture making in order to manipulate light, line, and area for purposes of intellectual and emotional satisfaction, economic gain, and political, social, and religious intent. As these incentives changed, so did the perception of light, extension, space, and proper representation of three-dimensional scenes on two-dimensional surfaces. In fourteenth century France portraits that actually looked like specific people, rather than generalized types, became fashionable as book illustrations, and we have a number of such of Charles V, the king who ordered Paris to accept the dictates of one clock (his) and who patronized ars nova. The manuscripts of Machaut included depictions of the composer himself as well as such innovations as differentiated foregrounds and backgrounds, landscapes, and naturalistic details (Figure 5). These illustrations were sparks of a revolutionary development in picture making, possibly blown over the Alps from Italy, where an aristocracy of wealth was rising that craved aesthetic glorification for their God, their cities, and themselves.