If the object in front of the eye sends its image to the eye, the

eye, on the other hand, sends its image to the object, and no

portion whatever of the object is lost in the images it throws off,

for any reason either in the eye or the object. Therefore we may

rather believe it to be the nature and potency of our luminous

atmosphere which absorbs the images of the objects existing in it,

than the nature of the objects, to send their images through the

air.

If the object opposite to the eye were to send its image to the

eye, the eye would have to do the same to the object, whence it

might seem that these images were an emanation. But, if so, it would

be necessary [to admit] that every object became rapidly smaller;

because each object appears by its images in the surrounding

atmosphere. That is: the whole object in the whole atmosphere, and

in each part; and all the objects in the whole atmosphere and all of

them in each part; speaking of that atmosphere which is able to

contain in itself the straight and radiating lines of the images

projected by the objects. From this it seems necessary to admit that

it is in the nature of the atmosphere, which subsists between the

objects, and which attracts the images of things to itself like a

loadstone, being placed between them.

PROVE HOW ALL OBJECTS, PLACED IN ONE POSITION, ARE

ALL EVERYWHERE AND ALL IN EACH PART.

I say that if the front of a building--or any open piazza or

field--which is illuminated by the sun has a dwelling opposite to

it, and if, in the front which does not face the sun, you make a

small round hole, all the illuminated objects will project their

images through that hole and be visible inside the dwelling on the

opposite wall which may be made white; and there, in fact, they will

be upside down, and if you make similar openings in several places

in the same wall you will have the same result from each.

Hence the images of the illuminated objects are all everywhere on

this wall and all in each minutest part of it. The reason, as we clearly

know, is that this hole must admit some light to the said dwelling, and

the light admitted by it is derived from one or many luminous

bodies. If these bodies are of various colours and shapes the rays

forming the images are of various colours and shapes, and so will

the representations be on the wall.

Keith's Idea:
1. When you want to understand something/someone, see what's

    around them! Their suurounding absorbs their images!

2. No matter how low-key you are, you still "passively" project

    your image to your surroundings! That's life!