 Essentially, Porta’s strategy consisted in first gaining an understanding of the effects of simple artifacts and then building on that knowledge to construct (or imagine) ever more complex devices. His particular mode of investigation of the physical properties of artifacts in conjunction with diagrams served Porta to design new artifacts with even more amazing properties. Borrelli has described this as a process of “bottom-up modeling” and as markedly different form medieval and traditional perspectivist optics. Encompassing a more comprehensive approach to optics than for instance Johannes Kepler, Porta conceived of optics as related to images as we perceive them and not to what rays do. This led Porta to compare the human eye to a camera obscura; it was a claim that met the criticism of Kepler (Borrelli 2014, 2017, Dijksterhuis 2017). Yet, and in marked difference to Francis Bacon, who used Porta’s experiments as openings for new experiments, Porta’s endeavors were geared towards the production of artifacts that would render stable and repeatable effects. This approach also made up for an important part of Porta’s reception in seventeenth-century England. (Jalobeanu 2020).