Shakespeare was intensely interested in both philosophical and theological problems of vision throughout his plays and poems. His self-consciously visual drama incorporates classical, medieval, and early modern debates about optics, especially in regard to staging monarchs and the visual perspectives of viewing his plays in early modern playhouses. This chapter explores modes of visuality in the Henriad that challenge conventional narratives of divine power that Shakespeare found in his sources. Against the abstract theory of visual perspective of Alberti and others, Shakespeare generates a decentralized and de-divinized viewing experience that embraces the perspectives of individual spectators who have the freedom stand and move freely around the playhouse. His history plays in particular employ specific modes of visuality to define monarchy and to understand nature as a structure of representation. In Richard II, for example, Shakespeare incorporates key metaphors of vision to trace the providential fall of the monarch, while tying the landscape of England to ideas about the order of nature. In Henry V, Shakespeare offers a contrasting vision of the “mirror of kings” in a powerful monarch who incorporates the divine order of nature into the language of courtly power. Shakespeare’s multi-faceted portrait of Henry V combines older and newer models of vision, organizing the senses by outlining new relations between vision, knowledge, and being. In the process, Shakespeare invites collective witnessing of English history by the audience, producing a form of what Lorraine Daston and Peter Galison call “collective empiricism.”