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During the Renaissance, low-relief sculpture addressed the concept of organizing pictures and scenes in narrative sequences, creating real visual objects that aim to transmit a message by constructing an illusory physical space that embraces and accompanies the emblematic episode being narrated. The article presents a procedure and the results of research centred on the work of the Annunciation by Andrea Sansovino placed on the west face of the Holy House in Loreto. The ultimate goal is to identify a means of visual communication capable of rendering geometrical/proportional systems, the underlying perspective structure, and the relationship between the time when the work is viewed and the time represented in the work by reconstructing the depicted space in three dimensions.