Geometrically, mirror-reversed pictures differ solely by their opposite lateral organization. Phenomenologically, however, both their esthetic and perceptual properties might be modified well beyond this simple left-right inversion, as first pointed out by art experts (e.g., Gaffron,
1950; Wolfflin,
1941). The existence of aesthetic differences has been largely confirmed experimentally: Among pairs of mirror-reversed asymmetric pictures, native left-to-right readers generally prefer the versions lit from the left (Hutchison, Thomas, & Elias,
2011; Sun & Perona,
1998) and portraying elements with rightward positioning and directionality (Beaumont,
1985; Levy,
1976). This aesthetic asymmetry holds a cultural dimension. Native right-to-left readers often exhibit reduced or opposite preferences thought to echo the opposite directionality of their reading/writing systems (Chokron & De Agostini,
2000; Ishii, Okubo, Nicholls, & Imai,
2011; Nachson, Argaman, & Luria,
1999; Smith & Elias,
2013).
In contrast to the aesthetic dimension, the perceptual one remains largely unexplored. Yet, art experts frequently advocated that mirror-reversal causes perceptual alterations, particularly in the spatial domain (see Gross & Bornstein,
1978 for review). According to Mercedes Gaffron (
1950), native left-to-right readers naturally dive into pictures from their lower-left foreground to their upper-right background, so that those portraying elements organized along this path are more prone to evoke pictorial space than their reversed versions. Specific forms of visuospatial asymmetry have been documented, notably with regard to the apparent nearness (Adair & Bartley,
1958) or center (Bowers & Heilman,
1980) of portrayed elements. However, these results do not necessarily imply an asymmetry of the pictorial space, nor do they agree on the contribution of the reading/writing system (Chokron & Imbert,
1993; Ishii et al.,
2011).
To address these questions, we exploit the fact that pictorial space triggers size-distance scaling; i.e., the perceived size of portrayed elements increases automatically with their apparent distance. The “corridor illusion” (Gibson,
1950) provides a compelling illustration: An element in the background of a pictorially-defined corridor is perceived larger than the same one positioned in its foreground. The strength of the illusory size difference reflects the amount of pictorial space conveyed by the corridor. As such, this illusion allows addressing the assertion of Gaffron by testing whether native left-to-right readers experience greater illusion strength (and thus more pictorial space) with a corridor receding rightward (left-foreground/right-background) than with its mirror image receding leftward (right-foreground/left-background;
Figure 1a). It also allows questioning the role of the reading/writing direction in this potential asymmetry of the pictorial space by testing whether native right-to-left readers exhibit an opposite difference in illusion strength.