taneous retinal impression. A word or two will perhaps make this clearer.
The substitution of simultaneous retinal perception of form for successive perception has the effect of bringing together the terms of the relations of variety and contrast, unity and similarity, under what is approximately one act of attention. If we watch the movements of a painter's hand as he draws the outline of a human figure on a canvas, our eye may attain a rough perception of the successive directions and distances; but how vague will this perception be as compared with that which we instantaneously obtain when the artist moves away from his canvas, and shows us these as parts of a permanent coexistent whole! In the former case we had to bring together by the aid of memory a number of impressions occupying some appreciable time: in the latter these were presented to us in one and the same instant. It must follow, then, that the perception of all relations, whether of dissimilarity or similarity, will under the circumstances become more definite and more exact.
Nor is this all the gain. The addition of simultaneous retinal appreciation introduces a new and finer standard in estimating the elements of form themselves. In the case of two lines, for example, which are nearly equal, or of two lines which are nearly parallel, the discrimination of magnitude and direction is finer when the lines are brought together and simultaneously perceived by help of the retinal impressions than when they are so situated that they (or their distances from one another) have to be successively estimated by the moving eye. It may be thought that these more delicate estimates are of more importance in science than in art; yet even in the latter the less obtrusive charms of form, more particularly that of the human face, involve this finer retinal appreciation. It may be added that, even when the former is too large to be easily taken in by the eye at rest, the retinal capability of simultaneous perception greatly assists in the clearer and more exact appreciation of relations. In estimating, for example, the symmetry of a tapering column, of a pyramid or of a human figure, the eye need not pass over the whole of the contour. It is sufficient if it describe a path answering to the axis of the figure; for in this case the perfect equality of any two opposed parts will be estimated by retinal perception, and the whole intuition of form will then consist of a series of simultaneous perceptions.
