elements. We may therefore confine ourselves for the present to this kind of form-intuition.
There are two ways of perceiving a line: either the eye may move along it, and appreciate its direction, length, etc., by the aid of movement; or it may fix the line, and estimate it by means of the impressions it simultaneously makes on different retinal elements. I shall assume here what is held by German writers like Lotze, Helmholtz, and Wundt, as well as by most English psychologists, that the former is the earlier method. This, then, is the simple experience into which we have first to look for the germ of the enjoyment of form.
A Sensuous Factor.—We must imagine the eye, and first of all one eye apart from the other, moving as it now does, but having, instead of an extended retina, a single sensitive point at the center of the yellow spot, which is successively directed to different points in the outline of an object, with no other change of feeling than that which is connected with the movement itself.[1] It is plain that this experience will exactly resemble that of following a moving object, as a shooting star, with the single difference that in the former case the rapidity of movement will be a matter of choice. In order to understand the kind of æsthetic experience which the eye would have under these circumstances, it is necessary to say a word or two about its mode of action. I shall suppose that the reader is acquainted with the general features of the mechanism of ocular movement, and content myself with specifying one or two facts having an important bearing on our subject.
First of all, then, I would remind the reader that, setting out from the natural or "primary" position in which the axis or center of vision is directed to a point immediately in front of it, the eye is able to follow any line in the supposedly flat field of vision without a great expenditure of muscular energy, and with a uniform action of one or more muscles.[2] In other words, it is the simple and normal mode of visual action to describe a movement which answers to a straight line on the flat field. But, though all rectilinear movements from this primary position are normal ones, some are easier than others. Thus, while horizontal movements only require the action of one muscle, vertical movements involve two, and oblique movements three.[3] Movements far away from the primary position to points near the periphery of the field clearly involve a greater degree of muscular expenditure, the muscles in this case being contracted to their extreme limit. Further, it is noteworthy that in these outer regions of the field movements are no longer executed with the same simplicity. Thus, if the eye follows an horizontal line lying high in the plane of vision, more
- ↑ This supposition is not really conceivable, since a plurality of retinal elements is necessary to the eye's following any line.
- ↑ In this primary position the tension of the antagonist muscles is just balanced, and movement involves the first and easiest stages of contraction and relaxation.
- ↑ See Wundt, "Physiologische Psychologie," pp. 536-539.
