Already in Rome the amusement predominated, and the circular form of palco moved, passing to be mounted in semicircle. Read more here: Wells Fargo Bank. Still on the basis of the studies of Mantovani (1989, p.8-9) are understood that, in the Renaissance, the theater finds the pertinent roots until the present, passing, thus, to project the form spaces architectural. One of the pioneers in the subject was Andra architect di Pietro, with the projection of the Olmpico Theater, in 1585, the Palladio. In this first scene architectural a fixed project is verified, with streets and palaces, constructed in perspectives. Such element is taken possetion of one strong relevance in this period and that it provided to the spectacle one third dimension, one mirage, therefore the plan of the workmanship was only bidimensional. This moment of the cenografia seems to incorporate other categories of professionals, therefore, in the Renaissance, reputation artists, as Raffaelo Sanzie and Baldassare Penuzzi had started to develop specific workmanships for the teatral cenografia of the time. These professionals had added diversified values to the construction of the cenografia, having extended its concepts and limits.
With the advent of the Baroque style, the teatral spectacle started to have a determined place, having commanded distribution of the places in agreement the social classroom of the public. In the theater to the Italian the sheds were more luxurious and palco gained more movement and technology for scene change. Regarding this evolution, Mantovani affirms ' ' palco that it is seen by the spectator has the same measures in low, on and in the laterals, as if five palcos existed, where one is visible and four no.' ' (1989, p.10) the author continues describing that, in this phase, was transferred to use it scenic machines for the development of the technique of modification of the scene, what it allowed to greater celeridade and variation in one same place of spectacle.