_C_ puts V. farther than F., except for F. 200, V. 125 and X.

_O_ also, changing as usual at F. 120 to V. nearer than F.

(_b_) F. Curve, V. (8010).

_O_ puts V. always farther than F. _O_ has V. farther for F.

40 and F. 80, then nearer than F. Refuses to choose for F.

200. Results exactly parallel with those of Curve IV.

Comparing all the results of this whole series of experiments on the suggestion of movement, we may conclude that movement, whether suggested by a whole line or part of a line, produces in terms of mechanical balance the same effect that the balanced object would produce after the completion of the suggested motion. This tendency to balance, it appears, lies at the basis of our preference; it often gives way, however, before considerations of s.p.a.ce-filling, when the figure which on the scheme of mechanical balance is weaker, gains interest and so 'heaviness' by being brought nearer the center.

_D. Experiments on Interest._

By intrinsic interest is meant the interest which would attach to an object quite apart from its place in the s.p.a.ce composition. In a picture it would be represented by the interest in an important person, in an unusual object, or in an especially beautiful object, if that beauty were independent of the other forms in the picture--as, for instance, a lovely face, or a jeweled goblet, etc. When the question of the influence of interest on composition came to be discussed, it was found very difficult to abstract the form of the object from the content presented; still more difficult to obtain an effect of interest at all without the entrance of an element of form into the s.p.a.ce arrangement. Disembodied intellectual interest was the problem, and the device finally adopted seemed to present, in as indifferent a form as possible, a content whose low degree of absolute interest was compensated for by constant change. Stamps of various countries in black and white reproductions and very small outline pictures on squares of the same size as the stamps were taken as material. The figures were so small in relation to the board that any influence on composition of the lines composing them was impossible; the outline pictures, indeed, gave to the eye which abstracted from their content an impression scarcely stronger than the neighboring blank square.

The first set of experiments (VI.) had a small outline picture on the side, and on the other a white paper square of the same size. The necessary interest was given in the form of novelty by changing the picture for every choice. The subjects were _M_, _G_ and _D_. The results were of the same type for each subject and could therefore be averaged.

Exp. VI. (1).

_(a)_ F. Picture, V. Blank. Eight choices for each. _M_, Average: V. 17 mm. farther from center. _G_, Average: V. 10 mm. farther from center. (Symmetrical position beyond F. 120.) _D_, Average: V. 25.8 mm. farther from center.

_(b)_ F. Blank, V. Picture. _M_, Average: V. 33 mm. nearer center. _G_, Average: V. 4 mm. nearer center. (Symmetrical beyond F. 120.) _D_, Average: V. 30 mm. nearer center. (But V.

farther at F. 40.)

These results are practically unanimous. They show that an object which possesses intrinsic interest acts like a mechanically heavy object, being placed nearer the center than a blank. Two marked deviations from the mechanical choice occur--although they have not affected the average sufficiently to destroy the general harmony of results. _G_, in both _(a)_ and _(b)_, chooses symmetrical positions from F. 120 on. His notes ['_(a)_ F. 140, V. 136, picture unimportant'; '_(b)_ F. 120 and ff., loses relation as they separate'; '_(b)_ F. 160, picture makes no impression'] show clearly that for positions wide apart the picture, already a faint outline, becomes only a white square like the other and is put into geometrical symmetry.

Exp. VI. (2), by _G_ and _D_. A stamp on one side unchanged, took the place of the blank; on the other side the stamp was changed for each choice.

_(a)_ F. unchanged stamp; V. changed stamp.

_D_. Two series, (1) V. always nearer center. (2) Same, except F. 20, V. 52; F. 80, V. 94; F. 140, V. 152; F. 160, V. 175.

_G_. Two series. (1) V. much farther from center up to F. 140, then nearer. (2) V. farther throughout, except F. 160, V. 121.

_(b)_ F. changed stamp; V. unchanged stamp.

_D_. Two series. (1) V. farther up to F. 100, then symmetrical. (2) V. farther up to F. 100, then symmetrical or nearer center.

_G_. Two series. (1) V. farther up to F. 120, then symmetrical, and beyond F. 140, nearer center. F. 140, V. 63.

(2) V. much farther up to F. 120, then nearer center, but more nearly symmetrical than (1). A complete series of second choices beginning at F. 40, V. slightly nearer center than F.

a.n.a.lyzing results, we find the changed stamp, which has the interest of novelty, nearly always nearer the center than the unchanged. This would indicate a balance of the mechanical type, in which the interest makes an object 'heavier.' The exceptions are in _(a)_ four choices of _D_, _G_ to F. 140, and in _(b)_, _D_'s choice beyond F. 200, and _G_'s beyond F. 120. The deviations are thus seen to be all of the same type: for positions of F. near the center, when a mechanical choice would have brought V. still nearer [(_a_)], it is instead put farther away; for positions of F. far from the center, when a mechanical choice would have put V. still farther away [(_b_)], it is instead brought near. The exceptions are thus fully accounted for by the demand for s.p.a.ce-filling.

_E. Experiments on Depth._

The experiments on suggestion of depth in the third dimension were as follows. It was desired to contrast two objects differing only with respect to the degree to which they expressed the third dimension.

Those objects that do express the third dimension are, in general, views down streets, colonnades, corridors, gates, etc., or, in landscape, deep valleys, vistas between trees, distant mountains, etc.

It is evident that representations of products of human handiwork would be less unnatural when isolated for experiment, and two pairs of pictures were accordingly prepared as follows: There was drawn on a square of 80 mm. the picture of the mouth of a railway tunnel, closed tightly by an apparently ma.s.sive door; and another picture of identical form and surroundings, but showing the rails entering at a slight curve, the deep blackness within, and the small circle of light at the farther end. The second pair consisted of the gateway of a baronial castle, with heraldic bearings and closed iron-wrought doors; and the same gateway open, showing a flagged pavement and an open court with fountain beyond. The perspective effect was heightened by all possible means for both pictures, and care was taken to have the contrast of black and white the same for each pair, so that to the half-shut eye, opened and closed forms seemed to have the same tone.

The subjects were directed to try to _feel_ the third dimension as vividly as possible--to project themselves down the vistas, as it were--and then to arrange the squares in the most pleasing manner. The experiments were made by _A_, _M_, _S_, _H_ and _D_. Not all made the same number of repet.i.tions, but as their notes were unusually suggestive, I have made use of all the results, and shall quote the notes for the most part _verbatim_:

Exp. VIII. F. Closed Tunnel. V. Open Tunnel.

F. V.

Subject _H_. 40 90 60 57 80 13 100 12 120 39 140 - 1 160 -32 180 -71, +50

_Notes._--_H_ finds that he neglects the closed tunnel almost entirely, eye is constantly attracted to open tunnel, F. 180, choice of evils. Position of closed tunnel makes the pictures disagreeable. F. 80, V. 13, closed tunnel grows more uninteresting as it goes out, while the open tunnel seems heavier than ever. F. 140, V.-1, closed tunnel loses force and doesn't gain weight. Open tunnel hangs together with the black field beyond it.

F. V.

Subject _S_. 40 85 95 60 170 195 80 160 180 100 185 200 120 185 - 35, 200 140 85 20 160 115 115 180 100

_Notes._--F. 120, V. 185. After this there is too large a black s.p.a.ce between squares, and so a more central position is taken, but there is the necessity of avoiding symmetry, which is displeasing. F. 160, V. 115 is not symmetrical and so is more pleasing. F. 60, V. 195:--the open tunnel holds the eyes, while the other allows them to wander, and so it needs a bigger field on each side. F. 80, V. 180:--a position close together is possible, but it is hard to take them so except as one picture, and that is also difficult. F. 100, V.

200:--there is the same objection to any position which seems to be an acknowledgment of similarity; that is, symmetrical position seems to imply that they are alike, and so is disagreeable. F. 120, V.-35, 200:--now they can be close together because the black tunnel harmonizes with the black to the right, and seems to correspond in distance and depth, while the tunnel 'hangs together' with the black to the left.

(Cf. _H_, F. 160, V.--32.) F. 140, V. 20:--when they are together it is difficult to apperceive the frame as a whole; but this position is not far apart, and not disagreeable because the larger stretch of black to the right again hangs together with the tunnel. F. 160, V. 115:--when the open tunnel was in the middle, the closed one seemed to have no business at all, therefore the open tunnel had to be moved over. The only position which was not disagreeable.

SUBJECT G.

F. V.

(1) (2) (3) (4) (5) 40 48 31 36 30 23 60 105 31 40 51 39 80 111 71 60 64 54 100 104 63 78 60 86 120 123 75 91 62 115 140 136 82 111 56 137 160 162 93 148 72 156 180 107 115 181 83 176

Second pair (Court).

_Notes._--(1) All quite unsatisfactory. The arrangement difficult to apperceive as a whole. Each picture taken by itself. (2) The tunnel closed doesn't amount to much. (3) The significance of the tunnel gives it weight. For F. 160, V.

148, and F. 180, V. 180, relation difficult. (4) Court closed gets weaker as gets farther from center. (5) At F. 100, begins to lose relation between pictures, as if one were in one room, one in another.

SUBJECT A.

F. V.

(1) (2) (3) (4) (5) 40 70 66 140 59 130 60 80 73 159 62 138 80 103 71 120 77 134 100 113 94 108 93 100 120 119 88 96 96 63 140 108 92 60,164 82 43 160 92 118 70 109 50 180 130 154 78 101 50

Second pair (Court).

_Notes_.--(1) Difficult to apperceive together. From F. 140, V. 108, depth is more strongly imagined. (3) Tunnel closed has not much value. (5) F. 80, V. 134, taken with reference both to frame and to the other picture--must not be symmetrical nor too far out.

SUBJECT D.

F. V.

(1) (2) (3) 40 100 47 38 60 75 60 68 80 104 78 80 100 148, -12 104 120 120 159 166 160 140 182 152, 84, 78 168 160 193 184, -75 180 180 200 - 95, 190 190

_Note_.--F. 100, V.-12; F. 140, V.-52; F. 160, V. -75: they must be close together when on the same side.

F. V.

(1) (2) Subject M. 40 55 50 60 56 74 80 64 84 100 86 102 120 93 111 140 124 130 160 134 146 180 144 178

Second pair (Court).

_Note_.--(1) Quite impossible to take both together; necessary to keep turning from one to the other to get perception of depth together with both.