Abstract

“Although up to now the [visual] image has been [understood as] a construct of reason,” Kepler observes in the fifth chapter of his Ad Vitellionem Paralipomena, “henceforth the [visible] representations of objects should be considered as paintings [ picturae ] that are actual[ly projected] on paper or some other screen.” While not intended as a historical generalization, this claim nonetheless reflects historical reality. Virtually all visual theorists before Kepler did, in fact, conceive of optical images as subjective, not objective constructs – or, to put it in modern terms, as virtual rather than real entities. By current lights, of course, the distinction between virtual and real images is both obvious and common-place: whereas the latter can be physically projected upon a screen, the former cannot