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Illustrations

                                                                                                                                                                                                                                                       

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I-1	Andrea Mantegna, Archers Shooting at Saint Christopher	facing 1
I-2	Taddeo Gaddi, The Presentation of the Virgin	facing 1
I-3	Piero della Francesca, Flagellation	2
I-4	Masaccio, Tribute Money	3
I-5	Piero della Francesca, Madonna and Child, Six Saints, Four Angels, and Duke Federico II da Montefeltro	4
I-6	Domenico Veneziano, Martyrdom of Saint Lucy	5
I-7	Raphael, Dispute Concerning the Blessed Sacrament	5
I-8	Domenico Veneziano, Madonna and Child with Four Saints	6
I-9	Pietro Perugino, Virgin Appearing to Saint Bernard	7
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	9
I-11	Andrea Mantegna, Saint Christopher's Body Being Dragged Away after His Beheading	12
I-12	Leon Battista Alberti, Church of San Francesco, Rimini (Tempio Malatestiano), west flank	13
I-13	Leon Battista Alberti, Church of San Francesco, Rimini (Tempio Malatestiano) view of west flank, showing frieze and inscription on an urn in one of the niches	13
I-14	Andrea Mantegna, detail of Figure I-11	14
I-15	Leon Battista Alberti, Self-portrait	14
1-1	Masaccio, Trinity	18
1-2	Alberti's window. Engraving from G. B. Vignola, La due regole della prospettiva practica	19
1-3	Camera obscura. Engraving from R. Gemma Frisius, De radio astronomico et geometrico liber	20
1-4	Geometry of the camera obscura	21
1-5	Main features of central projection	21
1-6	The Flying Fish of Tyre	24
1-7	Jan van Eyck, Annunciation	25
1-8	Mantegna, Martyrdom of Saint James	25
1-9	Vanishing points	26
1-10	Definition of the horizon line	27
1-11	Plan and elevation of Masaccio's Trinity	29
1-12	Construction of perspective representation of a pavement consisting of square tiles	29
1-13	Leonardo da Vinci, Alberti's construzione legittima	30
2-1	Edgerton's depiction of Brunelleschi's first experiment	33
3-1	Wheatstone's stereoscopic drawing	40
3-2	Fra Andrea Pozzo, Saint Ignatius Being Received into Heaven	42
3-3	Andrea Mantegna, ceiling fresco, Camera degli Sposi	45
3-4	Baldassare Peruzzi, fresco, Salla delle Prospettive. Photograph taken from center of room	46
3-5	Peruzzi, fresco, Salla delle Prospettive. Photograph taken from center of projection of painting	46
3-6	Focus and depth of field	48
3-7	Experimental apparatus for Smith and Smith's experiment	51
4-1	Panels 95, 96 and 97 from La Gournerie's Traité de perspective linéaire	53
4-2	Jan Vredeman de Vries, architectural perspective	56
4-3	Preparation of stimuli in the Rosinski et al. experiments	58
4-4	Presentation of stimuli in the Rosinski et al. experiments	59
4-5	Data for Experiment 1 of Rosinski et al.	60
4-6	Modified data for Experiment 1 of Rosinski et al.	61
4-7	Data for Experiment 2 of Rosinski et al.	62
4-8	Pierre-Etienne-Théodore Rousseau, The Village of Becquigny	63
4-9	Schematic maps completed by two observers	64
5-1	Square for producing afterimage	66
5-2	A classification of trompe l'oeil pictures	68
5-3	Carlo Crivelli (attrib.), Saints Catherine of Alexandria and Mary Magdalene	70
5-4	Antonello da Messina, Salvatore Mundi	71
5-5	Jan van Eyck, Portrait of a Young Man	72
5-6	Francisco de Zurbarán, Saint Francis in Meditation	73
5-7	Laurent Dabos, Peace Treaty between France and Spain	74
5-8	French School, Rome	74
5-9	Cornelis Gijsbrechts, Easel	75
5-10	Jean-Baptiste Chardin, The White Tablecloth	76
5-11	J. van der Vaart (attrib.), Painted Violin	76
5-12	Jacopo de'Barbari, Dead Partridge	77
5-13	Edward Collier, Quod Libet	78
5-14	Samuel van Hoogstraten, Still Life	79
5-15	Wallerant Vaillant, Four Sides	80
5-16	Drawing used by Kennedy	81
5-17	The vase–face reversible figure	81
5-18	A Necker cube formed by cognitive contours as a perceptual analog of willing suspension of disbelief	82
5-19	The vertical–horizontal illusion	84
5-20	The double dilemma of picture perception that leads to the experience that the turning of the picture, as we walk past it, is illusory	85
6-1	Donatello, The Feast of Herod	88
6-2	Perspective drawing of a figure and determination of center of projection	90
6-3	If magic lantern will not come to body's eye, mind's eye must go to magic lantern	92
6-4	Photograph of a photograph	93
6-5	Drawing of a cube to be viewed folded	95
6-6	What you see when Figure 6-5 is folded to form a 90-degree angle	96
6-7	Plan of Ames distorted room	97
6-8	Distorted room as seen by subject	97
6-9	Views of John Hancock Tower, Boston, that satisfy and that do not satisfy Perkins's laws	98
6-10	Drawing of unfamiliar object that we perceive to have right angles	99
6-11	Drawing of impossible object that we perceive to have right angles	99
6-12	Drawing of cube indicating angles comprising fork juncture and arrow juncture	99
6-13	Drawing of three-dimensional object that does not look rectangular and does not obey Perkins's laws	100
6-14	Shape that is seen as rectangular prism with mirror-symmetric, irregular, pentagonal cross section because it obeys an extension of Perkins's second law	100
6-15	Figure that is not seen to have regularity of Figure 6-14 because it does not obey extension of Perkins's laws	100
6-16	Three objects that subjects were asked by Shepard and Smith to compare to drawings	101
6-17	Stimuli for Shepard and Smith experiment	102
6-18	Data from the Shepard and Smith experiment	103
7-1	Two central projections of a church and cloister	105
7-2	Variations of pictures of oblique cubes seen under
	normal perspective	106
7-3	Variations of pictures of oblique cubes seen under exaggerated perspective	107
7-4	Marginal distortions in pictures of cubes	108
7-5	Displays and response keys used by Sanders	109
7-6	Experimental data from Sanders	109
7-7	Display used by Finke and Kurtzman	110
7-8	Marginal distortions of the sphere and the human body	113
7-9	Raphael, The School of Athens	114
7-10	Detail of Figure 7-9	115
7-11	Marginal distortion of colonnade	116
7-12	Paolo Uccello, Sir John Hawkwood	117
7-13	Diagram illustrating argument made by Goodman	123
8-1	Edgerton's depiction of Brunelleschi's second experiment	128
8-2	Droodle	129
8-3	Kenneth Martin, Chance and Order Drawing 1981	130
8-4	Jean Tinguely, Homage to New York	132
8-5	Marcel Duchamp, Bottlerack	133
8-6	Advertisement for a 3–D (stereoscopic) film	136
8-7	Andrea Mantegna, Saint James Led to Execution	138
8-8	Explanation of central projection used in Figure 8-7	140
8-9	Leonardo da Vinci, The Last Supper	141
8-10	Analysis of perspective construction of Leonardo's Last Supper superimposed on a cross section of refectory	142
8-11	Reconstructed plan and longitudinal elevation of room represented in Leonardo's Last Supper in relation to plan and elevation of refectory	143
8-12	Leonardo's Last Supper. Photograph taken from height of 4.5 m.	144
8-13	Steinberg's cardboard model of the refectory	145
8-14	Cropped version of Leonardo's Last Supper	147
8-15	Cropped version of Leonardo's Last Supper, showing top part only	148
9-1	Definitions of two elementary camera movements: pan and tilt	153
9-2	The moving room of Lee and Aronson	155
9-3	Predictions for speed of “reading” letters traced on the head	157
9-4	The Parthenon, from northwest	160
9-5	Diagram of horizontal curvature of Parthenon	160
10-1	Paolo Uccello, Perspective Study of a Chalice	168
10-2	Sol LeWitt, untitled (1969)	169
10-3	Leonardo da Vinci, A War Machine	170
10-4	Kasimir Malevich, Suprematist Elements: Two Squares (1913); Suprematist Element: Circle (1913)	170
10-5	Piero della Francesca (attrib. doubtful), Perspective of an Ideal City	171
10-6	Gentile Bellini, Procession of the Relic of the True Cross	172