Artists have been using optical devices to assist in the making of paintings and drawings since the Renaissance, or at least according to the Hockney–Falco thesis.1 The theory advanced by artist David Hockney and physicist Charles M. Falco argues that certain Old Masters including Caravaggio, Leonardo da Vinci, Jan van Eyck, Rembrandt, and Vermeer, and the French Neoclassical painter Jean-Auguste-Dominique Ingres employed optical instruments such as the camera obscura and lucida, and curved mirrors, to achieve more acute aspects of realism.