Philip Steadman presents his case for Johannes Vermeer’s use of the camera obscura with prosecutorial flair, bringing in diagrams, reconstructions, and a variety of circumstantial evidence. Vermeer never wrote about his methods, and no physical evidence exists in the form of preparatory drawings or sketches. The inventory of his studio contents lists standard equipment, such as easels and canvases, without a hint about lenses, boxes, or any other unusual objects that might place a camera...