The Mirror and Painting in Early Renaissance Texts

in Early Science and Medicine
No Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?



Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.



Help

Have Institutional Access?



Access content through your institution. Any other coaching guidance?



Connect

Abstract

In Italy, notably Florence, the late fourteenth and the fifteenth centuries witnessed the proliferation of texts that discuss the relationship between the mirror and painting. In them, the mirror is closely associated with major innovations of the time such as naturalistic representation and linear perspective. On a technical level, the authors describe the mirror's function in the painting of self-portraits and recommend it be used to draw foreshortened objects more easily and to judge the quality of finished paintings. The technical aspects often lead over to theoretical considerations such as the limitations of perspective, the origins of painting, the analogy between the mirror image and the painted image, and the concept that the mind of the painter resembles a mirror. The fact that these texts do not mention the concave mirror projection method described by Hockney and Falco speaks strongly against its use in the early Renaissance.

The Mirror and Painting in Early Renaissance Texts

in Early Science and Medicine

Sections

Information

Content Metrics

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 50 50 5
Full Text Views 177 177 55
PDF Downloads 17 17 2
EPUB Downloads 0 0 0