University of Virginia Library

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182

Figure acknowledgments and
sources

Figure I-1.

• Andrea Mantegna, Archers Shooting at Saint Christopher.
  Courtesy Alinari/Art Resource, Inc.

Figure I-2.

• Taddeo Gaddi, The Presentation of the Virgin. Courtesy Art
  Resource, Inc.

Figure I-3.

• Piero della Francesca, Flagellation. Courtesy Soprintendenza
  per i beni artistici e storici delle Marche, Urbino.

Figure I-4.

• Masaccio, Tribute Money. Courtesy Alinari/Art Resource,
  Inc.

Figure I-5.

• Piero della Francesca, Madonna and Child, Six Saints, Four
  Angels, and Duke Federico II da Montefeltro. Courtesy Soprintendenza
  per i beni artistici e storici, Milan.

Figure I-6.

• Domenico Veneziano, Martyrdom of Saint Lucy. Courtesy
  Gemäldegalerie, West Berlin.

Figure I-7.

• Raphael, Dispute Concerning the Blessed Sacrament. Courtesy
  Alinari/Art Resource, Inc.

Figure I-8.

• Domenico Veneziano, Madonna and Child with Four Saints.
  Courtesy Alinari/Art Resource, Inc.

Figure I-9.

• Pietro Perugino, Virgin Appearing to Saint Bernard. Courtesy
  Direktion der Bayerischen Staatsgemäldesammlungen.

Figure I-10.

• Copy after Mantegna, Archers Shooting at Saint Christopher;
  Saint James Being Led to Execution; Saint Christopher's Body Being
  Dragged Away after His Beheading. Courtesy Musée JacquemartAndré,
  Paris; photo: Etablissements J. E. Bulloz.

Figure I-11.

• Andrea Mantegna, Saint Christopher's Body Being Dragged
  Away after His Beheading. Fiocco, 1978, plate XVII; courtesy Phaidon
  Press Ltd.

Figure I-12.

• Leon Battista Alberti, Church of San Francesco, Rimini.
  Photo: Sergio Anelli; courtesy Electa Editrice, Milan.

Figure I-13.

• Leon Battista Alberti, Church of San Francesco, Rimini.
  Photo: Sergio Anelli; courtesy Electa Editrice, Milan.

Figure I-14.

• Andrea Mantegna, detail of Figure I-11. Fiocco, 1978, Plate
  XXII; courtesy Phaidon Press Ltd.

Figure I-15.

• Leon Battista Alberti, Self-portrait. National Gallery of Art,
  Washington.

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183





Figure 1-1.

• Masaccio, Trinity. Courtesy Art Resource, Inc.

Figure 1-2.

• Alberti's window. G. B. Vignola, La due regole della prospettiva
  practica. Courtesy Beineke Rare Book and Manuscript Library,
  Yale University.

Figure 1-3.

• Camera obscura. R. Gemma Frisius, De radio astronomico et
  geometrico liber. By permission of the British Library.

Figure 1-6.

• The Flying Fish of Tyre. Courtesy the Pierpont Morgan
  Library, New York.

Figure 1-7.

• Jan van Eyck, Annunciation. Courtesy Thyssen-Bornemisza
  Collection, Lugano, Switzerland.

Figure 1-8.

• Mantegna, Martyrdom of Saint James. Fiocco, 1978, plate XII;
  courtesy Phaidon Press, Ltd.

Figure 1-11.

• Plan and elevation of Masaccio's Trinity. Sanpaolesi, 1962,
  Figure C, opp. p. 52; courtesy Istituto Geographico de Agostini,
  Milan.

Figure 1-13.

• Leonardo da Vinci, Alberti's construzione legittima. Courtesy
  Bibliotèque de l'Institut, Paris; photo: Etablissements J. E. Bulloz.

Figure 2-1.

• Brunelleschi's first experiment. Diagram IX-1 from The
  Renaissance Rediscovery of Linear Perspective, by Samuel Y. Edgerton,
  Jr., copyright 1975 by Samuel Y. Edgerton, Jr.; reprinted by permission
  of Basic Books, Inc., Publishers.

Figure 3-2.

• Fra Andrea Pozzo, Saint Ignatius Being Received into Heaven.
  Courtesy Alinari/Art Resource, Inc.

Figure 3-3.

• Andrea Mantegna, ceiling fresco. Courtesy Soprintendenza
  per i beni artistici e storici per le provincie di Brescia, Cremona,
  Mantua; photo: Querci fotografia.

Figure 3-4.

• Baldassare Peruzzi, fresco. Salla delle Prospettive, Villa
  Farnesina, Rome. Coffin, 1979, Figure 65, p. 101; by permission
  Fototeca de Arte Post Antica, Bibliotheca Herziana, Rome.

Figure 3-5.

• Peruzzi, fresco. Salla delle Prospettive, Villa Farnesina, Rome.
  Frommel, 1961, Plate Vc; by permission Walter de Gruyter & Co.,
  Berlin.

Figure 3-6.

• Focus and depth of field. Monaco, 1977, Figure 2-15, pp. 68-9;
  by permission Oxford University Press, New York.

Figure 4-1.

• Panels 95, 96, and 97. La Gournerie, Traité de perspective
  linéaire, 1884, Plate 14.

Figure 4-2.

• Jan Vredeman de Vries, architectural perspective. Vredeman
  de Vries, 1968, Part II, Figure 22.

Figure 4-5.

• Experimental data. After Rosinski et al., 1980, Figure 2,
  p. 523.

Figure 4-6.

• Experimental data. After Rosinski et al., 1980, Figure 3,
  p. 523.

Figure 4-7.

• Experimental data. After Rosinski et al., 1980, Figure 5,
  p. 525.

Figure 4-8.

• Pierre-Etienne-Théodore Rousseau, The Village of Becquigny.
  Copyright the Frick Collection, New York.

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184





Figure 4-9.

• Experimental data. After Goldstein, 1979, Figure 11, p. 85.

Figure 5-3.

• Carlo Crivelli (attrib.), Saints Catherine of Alexandria and
  Mary Magdalene. Courtesy of the Trustees, The National Gallery,
  London.

Figure 5-4.

• Antonello da Messina, Salvatore Mundi. Courtesy of the
  Trustees, The National Gallery, London.

Figure 5-5.

• Jan van Eyck, Portrait of a Young Man. Courtesy of the
  Trustees, The National Gallery, London.

Figure 5-6.

• Francisco de Zurbarán, Saint Francis in Meditation. Courtesy
  of the Trustees, The National Gallery, London.

Figure 5-7.

• Laurent Dabos, Peace Treaty between France and Spain. Courtesy
  Musée Marmottan, Paris; photo: Studio Lourmel 77.

Figure 5-8.

• French School, Rome. Courtesy the Cooper-Hewitt Museum,
  the Smithsonian Institution's National Museum of Design.
  Gift of Sara and Eleanor Hewitt.

Figure 5-9.

• Cornelis Gijsbrechts, Easel. Courtesy Statens Museum for
  Kunst, Copenhagen; photo: Hans Petersen.

Figure 5-10.

• Jean-Baptiste Chardin, The White Tablecloth. Courtesy the
  Art Institute of Chicago.

Figure 5-11.

• J. van der Vaart (attrib.), Painted Violin. By permission of
  the Chatsworth Settlement Trustees.

Figure 5-12.

• Jacopo de'Barbari, Dead Partridge. Courtesy Direktion der
  Bayerischen Staatsgemäldesammlungen.

Figure 5-13.

• Edward Collier, Quod Libet. Courtesy the Victoria and
  Albert Museum, London.

Figure 5-14.

• Samuel van Hoogstraten, Still Life. Courtesy Gemäldegalerie
  der Akademie der bildended Künste, Vienna.

Figure 5-15.

• Wallerant Vaillant, Four Sides. Courtesy Galleria Lorenzelli,
  Bergamo, Italy.

Figure 5-16.

• Drawing. From Kennedy, 1974, Figure 7, p. 52; by permission
  of the author and Jossey-Bass Inc.

Figure 5-18.

• A Necker cube formed by cognitive contours. Reprinted
  by permission from Nature, Vol. 261, No. 5555, pp. 77--8; copyright
  1976, Macmillan Journals Ltd.

Figure 6-1.

• Donatello, The Feast of Herod. Courtesy Alinari/Art Resource,
  Inc.

Figure 6-4.

• Photograph of a photograph. Time, March 29, 1968; courtesy
  Wide World Photos.

Figure 6-8.

• Distorted room. Courtesy Institute for Associated Research,
  Hanover, N.H.

Figure 6-9.

• Two views of John Hancock Tower, Boston. Courtesy
  John Hancock Mutual Life Insurance Co.

Figure 6-17.

• Stimuli for experiment. Shepard, 1981, Figure 10.6, p. 304;
  by permission of the author and Lawrence Erlbaum Associates,
  Inc.

Figure 6-18.

• Experimental data. Shepard, 1981, Figure 10.7, p. 306; by
  permission of the author and Lawrence Erlbaum Associates, Inc.

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185





Figure 7-1.

• Two central projections of a church and cloister. Olmer,
  1943, Plate 64.

Figure 7-2.

• Cubes seen under normal perspective. Olmer, 1943, Plate
  93.

Figure 7-3.

• Cubes seen under exaggerated perspective. Olmer, 1943,
  Plate 95.

Figure 7-4.

• Marginal distortions in cubes. Olmer, 1943, Plate 98.

Figure 7-6.

• Experimental data. Sanders, 1963, Figure 6, p. 51; by permission
  of the author and the Institute for Perception, TNO.

Figure 7-8.

• Projections on and off the principal ray. Olmer, 1943, Plate
  96.

Figure 7-9.

• Raphael, The School of Athens. Courtesy Musei Vaticani.

Figure 7-10.

• Detail of Figure 7-9. Courtesy Musei Vaticani.

Figure 7-11.

• Plan of cylindrical columns. La Gournerie, 1884, Figure
  202.

Figure 7-12.

• Paolo Uccello, Sir John Hawkwood. Courtesy Alinari/Art
  Resource, Inc.

Figure 7-13.

• Diagram. Goodman, 1976, Fig. 1, p. 18; reproduced by
  permission of Nelson Goodman from Languages of Art, Hackett
  Publishing Co., Inc., Indianapolis.

Figure 8-1.

• Brunelleschi's second experiment. From The Renaissance
  Rediscovery of Linear Perspective, by Samuel Y Edgerton, Jr., copyright
  1975 by Samuel Y. Edgerton, Jr.; reprinted by permission
  of Basic Books, Inc., Publishers.

Figure 8-3.

• Kenneth Martin, Chance and Order Drawing 1981. Courtesy
  Ruth and Andrew Forge, New Haven, Conn.

Figure 8-4.

• Jean Tinguely, Homage to New York. Photo: David Gahr.

Figure 8-5.

• Marcel Duchamp, Bottlerack. Courtesy The Museum of
  Modern Art, New York.

Figure 8-6.

• Advertisement. Courtesy Warner Co.

Figure 8-7.

• Andrea Mantegna, Saint James Led to Execution. Fiocco, 1978,
  Plate X; courtesy Phaidon Press Ltd.

Figure 8-9.

• Leonardo da Vinci, The Last Supper. Courtesy Soprintendenza
  per i beni artistici e storici, Milan.

Figure 8-10.

• Analysis of perspective construction of Leonardo's Last
  Supper. Pedretti, 1978, Figure 428, p. 287, bottom panel; drawing:
  Giovanni Degl'Innocenti; courtesy Electa Editrice, Milan.

Figure 8-11.

• Reconstructed plan and longitudinal elevation of room
  represented in Leonardo's Last Supper. Pedretti, 1978, Figure 426,
  p. 286, bottom panel; drawing: Giovanni Degl'Innocenti; courtesy
  Electa Editrice, Milan.

Figure 8-12.

• Leonardo's Last Supper. Photograph taken from a height
  of 4.5 m. Courtesy Soprintendenza per i beni artistici e storici,
  Milan.

Figure 8-13.

• Steinberg's cardboard model. Courtesy Professor Leo
  Steinberg.

Figure 8-14.

• Cropped version of Figure 8-9.

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186





Figure 8-15.

• Cropped version of Figure 8-9.

Figure 9-1.

• Definitions of two elementary camera movements: pan and
  tilt. Monaco, 1977, two left-side panels of Figure 2-22, p. 78; by
  permission Oxford University Press.

Figure 9-2.

• The moving room of Lee and Aronson (1974)

Figure 9-4.

• The Parthenon, from northwest. Courtesy Alinari/Art Resource,
  Inc.

Figure 9-5.

• Diagram of Parthenon. Pollitt, 1972, Figure 32, p. 77; courtesy
  Cambridge University Press.

Figure 10-1.

• Paolo Uccello, Perspective Study of a Chalice. Courtesy
  Alinari/Art Resource, Inc.

Figure 10-2.

• Sol LeWitt, untitled (1969). Courtesy John Weber Gallery,
  New York.

Figure 10-3.

• Leonardo da Vinci, A War Machine (Codex Atlanticus,
  Folio 387r). Courtesy Art Resource, Inc.

Figure 10-4.

• Kasimir Malevich: Suprematist Elements: Two Squares (1913);
  Suprematist Element: Circle (1913). Courtesy Museum of Modern
  Art, New York.

Figure 10-5.

• Piero della Francesca (attrib. doubtful), Perspective of an
  Ideal City. Courtesy Soprintendenza per i beni artistici e storici
  delle Marche, Urbino.

Figure 10-6.

• Gentile Bellini, Procession of the Relic of the True Cross.
  Courtesy Alinari/Art Resource, Inc.