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form, arc the products of experience. Colors simply have their own character and subtend an angle. This is all that the mind, through the eye as an organ, directly declares. Surfaces are determined by distances both as to nature and extent, and the only fixed perceptive term out of which these judgments grow, so far as the eye is concerned, is angular measurements, which are the same for many different surfaces, the same for solids as for surfaces, and hence directly involve no one surface. The floating muscae of the eve assume any size, according to the distance of the objects on which they are cast, though their angular dimensions remain the same. When we look out into space, the spherical impression of the concave is due to partial interpretation, with conditions of vision too narrow to make it complete. The stars are all thrown outward, but with differences of distances undiscernible. The corners of a room would disappear, or the edges of a cube, were not our impressions of these made up of shades as well as angular measurements. The two we easily translate into position and surface. It is these elements that the painter deals with, renewing the impressions of vision by colors and shades, and by surfaces which act not by their absolute dimensions, but by their suggestions of distance and position. It is true he reaches his angles through surfaces, but we do not contemplate them as surfaces of such and such dimensions on the canvas, but in their angular force through the eye as suggestive of the character and positions of known objects. The horse in the foreground covers more space in the picture than the mountain in the background; and the size of the latter is impressed upon us, first by indications of distance, and then by the angle subtended.

The earliest and most fundamental of absorbed judgments is that of distance. Touch and motion come to initiate this judgment, and, the size of familiar objects being