ABSTRACT
Samuel Pepys, compulsive diarist and naval secretary to Charles II during the Restoration period in England, remarks in one of his daily entries about spending the evening experimenting with a new perspective tube and pictures that “deluded the eyes,” causing Pepys to exclaim that such devices “would make a man doubtful that he ever saw anything.”1 Several entries later we find him disturbed by a dream that depicts him standing over his dying mother, looking down from another angle only to discover that her visage has morphed into that of a young, unfamiliar woman. Pepys is referring in these examples to the imaginary and physical forms of anamorphic affect.
