The same analysis can be 
extended to the late 
development of perspective 
representation in the history of 
art. Not only did pre-
Renaissance artists have the 
same problem of escaping from 
their own perceptual 
constancy, as it were, but they 
had few earlier examples of 
perspective art and no 
photographs to educate them. 
The dominance of some artistic 
conventions may have also 
been a contributing factor. Pre-
Renaissance artists may have 
thought about the possibility of 
perspective representation but 
did little about it. One does find 
many early paintings, perhaps 
most, in which objects are 
rendered with correct 
foreshortening and many 
paintings in which distant 
objects are appropriately 
rendered as smaller than near 
ones of the same objective size. 
Although it is beyond my 
knowledge and competence and 
beyond the scope of this 
chapter to deal with this 
historical problem adequately, 
I do think that the constancy 
explanation must play a role in 
it.