In the early Quattrocento, few in Italy were more engaged than Tuscan sculptors with changing paradigms of representation. In the century’s first decades, before emerging standards were codified by treatises and by increasingly unified practice, these sculptors developed and explored innovations such as perspectival constructions, the illusionistic integration of figure and space, and engagement with the beholder. Attuned to this context of rapidly changing artistic practices, this essay addresses how Donatello, Jacopo della Quercia, and Lorenzo Ghiberti composed human forms in narratives contained in implied or represented space and questions how these sculptors approached the construction of spatial settings in ways that affected their subjects and related to their viewers. A primary issue is how Donatello employed spatial representation as a narrative tool, as well as a compositional one. How, for instance, did he capitalize on space and perspective’s narrative potential such that they are often inseparable from the story? In contrast, Jacopo’s examples suggest that, for him, spatial representation was at odds with figure and narrative, a tension that the artist resolved by favoring the body. Between these poles, Ghiberti navigated a changing course where spatial representation alternated from backdrop to narrative device.