Renaissance architecture in paintings

Carlo Crivelli: 

The Annunciation with St Emidius 1486

London, National Gallery

The painting at the National Gallery, London, “The Annunciation, with Saint Emidius” by Italian artist Carlo Crivelli shows an artistic adaptation of the Annunciation. This is among one of my favorite work of masterpiece at the National Gallery. It can be said that this painting is very ambitious and much of the details seems symbolic to me, though it has to be said Crivelli did like to demonstrate his skill in painting such things as peacocks and exotic oriental carpets. This Annunciation is clearly visible is set in a busy, if idealised, townscape, with people going about their business oblivious of the momentous events taking place. The townscape itself is represented in pristine condition, the streets are beautifully paved and the architecture of the buildings are constructed in Renaissance style. Every detail is rendered in hard-edged clarity from the dovecote high above the street to the little child watching the proceedings from the top of the stairs and the peacock and eastern carpet adorning the loggia on the first floor.

Carlo Crivelli: 

The Annunciation with St Emidius 1486, London, National Gallery

I assume that many of the  Painting of the Annunciation  are often full of seemingly irrelevant items; but it appears few of these are there purely for decoration.  As it is known that art historians do like to 'interpret' every item in a painting. Hence what I had noticed is the  light ray from the heaven representing  Mary's impregnation by the Holy Spirit according to Historian representation whereas when I discussed the same element of light ray coming across in a very straight line from the sky with Mark Farmington,  I was interpreted as more of a line as a form and drawing element that is crossing all the architectural  obstruction in a straight line  from the sky inside the interior by breaking the principles of perspective and light. Moreover, Crivelli does not let the architecture get in the way of his narrative — the shaft of light bearing of the Holy Spirit enters the room via a very convenient hole cut in the solid wall. But, he also adds another characteristically quirky detail — the golden light or energy has left some sort of reflection while passing through the masonry, imparting a golden efflorescence to the  surrounding of the cavity. this painting is so appealing to me  because of this quirkiness, this ability to surprise and amuse us with some unexpected detail.