Leonardo and other 
Renaissance painters also made 
use of two other aspects of 
perspective: detail perspective
—–the loss of visible detail of 
very distant objects because of 
limitations of visual acuity—–
and aerial perspective—–the 
tendency of distant objects to 
become tinged with blue 
because of impurities in the 
atmosphere. Although paintings 
may gain in realism by taking 
these factors into account, no 
one to my knowledge has ever 
shown experimentally that 
detail perspective and aerial 
perspective, in isolation, affect 
distance perception.