Abstract

Leonardo’s research on the eye and vision has given rise to contrasting assessments, ranging from the apology of his explanation of how the eye works as a camera obscura to the most critical attitude. The negative judgments derive some of their strength from the fact that the practice of anatomy and linear perspective are well documented in Leonardo. Thus one expects him to have had empirically based knowledge of the organs dissected, as well as comprehensive skills in optics. As we will see, none of these ideas is entirely right.