During the Renaissance, artists and mathematicians valued pure forms with high symmetry. Some Archimedean solids appeared in Piero della Francesca's De quinque corporibus regularibus, in attempting to study and copy the works of Archimedes, as well as include citations to Archimedes. Yet, he did not credit those shapes to Archimedes and know of Archimedes' work but rather appeared to be an independent rediscovery. Other appearance of the solids appeared in the works of Wenzel Jamnitzer's Perspectiva Corporum Regularium, and both Summa de arithmetica and Divina proportione by Luca Pacioli, drawn by Leonardo da Vinci. The net of Archimedean solids appeared in Albrecht Dürer's Underweysung der Messung, copied from the Pacioli's work. By around 1620, Johannes Kepler in his Harmonices Mundi had completed the rediscovery of the thirteen polyhedra, as well as defining the prisms, antiprisms, and the non-convex solids known as Kepler–Poinsot polyhedra.
During the Renaissance, artists and mathematicians valued pure forms with high symmetry. Some Archimedean solids appeared in Piero della Francesca's De quinque corporibus regularibus, in attempting to study and copy the works of Archimedes, as well as include citations to Archimedes. Yet, he did not credit those shapes to Archimedes and know of Archimedes' work but rather appeared to be an independent rediscovery. Other appearance of the solids appeared in the works of Wenzel Jamnitzer's Perspectiva Corporum Regularium, and both Summa de arithmetica and Divina proportione by Luca Pacioli, drawn by Leonardo da Vinci. The net of Archimedean solids appeared in Albrecht Dürer's Underweysung der Messung, copied from the Pacioli's work. By around 1620, Johannes. Kepler in his Harmonices Mundi had completed the rediscovery of the thirteen polyhedra, as well as defining the prisms, antiprisms, and the non-convex solids known as Kepler–Poinsot polyhedra