Presents an interpretation of the famous engraved title page of Hobbes's Leviathan, in which the ‘person’ of the state is depicted as a colossal figure composed of smaller individual figures. It argues that the origins of this design can be found in an optical device developed by the French scientist Jean François Niceron, which used a specially cut lens to create a single composite figure out of separate smaller figures; and it explores the significance of this for Hobbes's theory of ‘representation’.
Keywords: anamorphic art, Hobbes, Leviathan, Niceron, representation