Abstract
This computer-aided analysis of the geometry in Vermeer's main work 'The Art of Painting' has two objectives: On the one hand we want to disclose some of Vermeer's hidden laws of composition. On the other hand we look for arguments contra Ph. Steadman's theory that a camera obscura was used for producing a geometrically correct perspective. Therefore an analytic reconstruction of the perspective was carried out and explained, under which assumptions a reconstruction of the displayed objects is possible. To avoid any misunderstanding, the reason for exposing geometrical flaws in the perspective is not pedantically doctrinaire but shall demonstrate that for Vermeer the laws of composition and artistic intuition stand much higher than just copying a camera- obscura depiction.
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