Abstract

AbstractInspection of surviving mirrors and related objects shows that they were too crude to offer the early Renaissance painter an optical short-cut to a naturalistic image of his subject. The craftsmanship of mirror makers was independent of and inferior to the quality of theories of image formation of the day.

Full Text
Paper version not known

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call