Fig. 1.
The second thing which the Understanding does in converting sensation into perception, is to make a single perception out of a double sensation; for each eye in fact receives its own separate impression from the object we are looking at; each even in a slightly different direction: nevertheless that object presents itself as a single one. This can only take place in the Understanding, and the process by which it is brought about is the following: Our eyes are never quite parallel, excepting when we look at a distant object, i.e. one which is more than 200 feet from us. At other times they are both directed towards the object we are viewing, whereby they converge, so as to make the lines proceeding from each eye to the exact point of the object on which it is fixed, form an angle, called the optic angle; the lines themselves are called optic axes. Now, when the object lies straight before us, these lines exactly impinge upon the centre of each retina, therefore in two points which correspond exactly to each other in each eye. The Understanding, whose only business it is to look for the cause of all things, at once recognises the impression as coming from a single outside point, although here the sensation is double, and attributes it to one cause, which therefore presents itself as a single object. For all that is perceived by us, is perceived as a cause—that is to say, as the cause of an effect we have experienced, consequently in the Understanding. As, nevertheless, we take in not only a single point, but a considerable surface of the object with both eyes, and yet perceive it as a single object, it will be necessary to pursue this explanation still further. All those parts of the object which lie to one side of the vertex of the optic angle no longer send their rays straight into the centre, but to the side, of the retina in each eye; in both sides, however, to the same, let us say the left, side. The points therefore upon which these rays impinge, correspond symmetrically to each other, as well as the centres—in other words, they are homonymous points. The Understanding soon learns to know them, and accordingly extends the above-mentioned rule of its causal perception to them also; consequently it not only refers those rays which impinge upon the centre of each retina, but those also which impinge upon all the other symmetrically corresponding places in both retinas, to a single radiant point in the object viewed: that is, it sees all these points likewise as single, and the entire object also. Now, it should be well observed, that in this process it is not the outer side of one retina which corresponds to the outer side of the other, and the inner to the inner of each, but the right side of one retina which corresponds to the right side of the other, and so forth; so that this symmetrical correspondence must not be taken in a physiological, but in a geometrical sense. Numerous and very clear illustrations of this process, and of all the phenomena which are connected with it, are to be found in Robert Smith's "Optics," and partly also in Kästner's German translation (1755). I only give one (fig. 2), which, properly speaking, represents a special case, mentioned further on, but which may also serve to illustrate the whole, if we leave the point R out of question. According to this illustration, we invariably direct both eyes equally towards the object, in order that the symmetrically corresponding places on both retinas may catch the rays projected from the same points. Now, when we move our eyes upwards and downwards, to the sides, and in all directions, the point in the object which first impinged upon the central point of each retina, strikes a different place every time, but in all cases one which, in each eye, corresponds to the place bearing the same name in the other eye. In examining (perlustrare) an object, we let our eyes glide backwards and forwards over it, in order to bring each point of it successively into contact with the centre of the retina, which sees most distinctly: we feel it all over with our eyes. It is therefore obvious that seeing singly with two eyes is in fact the same process as feeling a body with ten fingers, each of which receives a different impression, each moreover in a different direction: the totality of these impressions being nevertheless recognised by the Understanding as proceeding from one object, whose shape and size it accordingly apprehends and constructs in Space. This is why it is possible for a blind man to become a sculptor, as was the case, for instance, with the famous Joseph Kleinhaus, who died in Tyrol, 1853, having been a sculptor from his fifth year.[80] For, no matter from what cause it may have derived its data, perception is invariably an operation of the Understanding.
Fig. 2.
But just as a single ball seems to me double, if I touch it with my fingers crossed—since my Understanding, at once reverting to the cause and constructing it according to the laws of Space, takes for granted that the fingers are in their normal position and of course cannot do otherwise than attribute two spherical surfaces, which come in contact with the outer sides of the first and middle fingers, to two different balls—just so also does an object seem double, if my eyes, instead of converging symmetrically and enclosing the optic angle at a single point of the object, each view it at a different inclination—in other words, if I squint. For the rays, which in this case emanate from one point of the object, no longer impinge upon those symmetrically corresponding points in both retinas with which my mind has grown familiar by long experience, but upon other, quite different ones which, in a symmetrical position of the eyes, could only be affected in this way by different bodies; I therefore now see two objects, precisely because perception takes place by means of, and within, the Understanding.—The same thing happens without squinting when, for instance, I look fixedly at the furthest of two objects placed at unequal distances before me, and complete the optic angle at it; for then the rays emanating from the nearer object do not impinge upon symmetrically corresponding places in both retinas, wherefore my Understanding attributes them to two objects, i.e. I see the nearer object double (see fig. 2, page 70). If, on the contrary, I complete the optic angle at the nearer object, by looking steadily at it, the further object appears double. It is easy to test this by holding a pencil two feet from the eyes, and looking alternately at it and at some other more distant object behind it.
But the finest thing of all is, that this experiment may quite well be reversed: so that, with two real objects straight before and close to us, and with our eyes wide open, we nevertheless see but one. This is the most striking proof that perception is a work of the Understanding and by no means contained in sensation. Let two cardboard tubes, about 8 inches long and 1-1/2 inches in diameter, be fastened parallel to one another, like those of a binocular telescope, and fix a shilling at the end of each tube. On applying our eyes to the opposite extremity and looking through the tubes, we shall see only one shilling surrounded by one tube. For in this case the eyes being forced into a completely parallel position, the rays emanating from the coins impinge exactly upon the centres of the two retinas and those points which immediately surround them, therefore upon places which correspond symmetrically to each other; consequently the Understanding, taking for granted the usual convergent position of the optic axes when objects are near, admits but one object as the cause of the reflected rays. In other words, we see but one object; so direct is the act of causal apprehension in the Understanding.
We have not space enough here to refute one by one the physiological explanations of single vision which have been attempted; but their fallacy is shown by the following considerations:—
1o. If seeing single were dependent upon an organic connection, the corresponding points in both retinas, on which this phenomenon is shown to depend, would correspond organically, whereas they do so in a merely geometrical sense, as has already been said. For, organically speaking, the two inner and two outer corners of the eyes are those which correspond, and so it is with the other parts also; whereas for the purpose of single vision, it is the right side of the right retina which corresponds to the right side of the left retina, and so on, as the phenomena just described irrefutably show. It is also precisely on account of the intellectual character of the process, that only the most intelligent animals, such as the higher mammalia and birds of prey—more especially owls—have their eyes placed so as to enable them to direct both optic axes to the same point.
2o. The hypothesis of a confluence or partial intersection of the optic nerves before entering the brain, originated by Newton,[81] is false, simply because it would then be impossible to see double by squinting. Vesalius and Cæsalpinus besides have already brought forward anatomical instances in which subjects saw single, although neither fusion nor even contact of the optic nerves had taken place. A final argument against the hypothesis of a mixed impression is supplied by the fact, that on closing our right eye firmly and looking at the sun with our left, the bright image which persists for a time is always in the left, never in the right, eye: and vice versa.
The third process by which the Understanding converts sensation into perception, consists in constructing bodies out of the simple surfaces hitherto obtained—that is, in adding the third dimension. This it does by estimating the expansion of bodies in this third dimension in Space—which is known to the Understanding à priori—through Causality, according to the degree in which the eye is affected by the objects, and to the gradations of light and shade. In fact, although objects fill Space in all three dimensions, they can only produce an impression upon the eye with two; for the nature of that organ is such, that our sensation, in seeing, is merely planimetrical, not stereometrical. All that is stereometrical in our perception is added by the Understanding, which has for its sole data the direction whence the eye receives its impression, the limits of that impression, and the various gradations of light and dark: these data directly indicate their causes, and enable us to distinguish whether what we have before us is a disk or a ball. This mental process, like the preceding ones, takes place so immediately and with such rapidity, that we are conscious of nothing but the result. It is this which makes perspective drawing so difficult a problem, that it can only be solved by mathematics and has to be learnt; although all it has to do, is to represent the sensation of seeing as it presents itself to our Understanding as a datum for the third process: that is, visual sensation in its merely planimetrical extension, to the two dimensions of which extension, together with the said data in them, the Understanding forthwith adds the third, in contemplating a drawing as well as in contemplating reality. Perspective drawing is, in fact, a sort of writing which can be read as easily as printed type, but which few are able to write; precisely because our intellect, in perceiving, only apprehends effects with a view to constructing their causes, immediately losing sight of the former as soon as it has discovered the latter. For instance, we instantly recognise a chair, whatever position it may be in; while drawing a chair in any position belongs to the art which abstracts from this third process of the Understanding, in order to present the data alone for the spectator himself to complete. In its narrowest acceptation, as we have already seen, this is the art of drawing in perspective; in a more comprehensive sense, it is the whole art of painting. A painting presents us with outlines drawn according to the rules of perspective; lighter and darker places proportioned to the effect of light and shade; finally patches of colouring, which are determined as to quality and intensity by the teaching of experience. This the spectator reads and interprets by referring similar effects to their accustomed causes. The painter's art consists in consciously retaining the data of visual sensation in the artist's memory, as they are before this third intellectual process; while we, who are not artists, cast them aside without retaining them in our memory, as soon as we have made use of them for the purpose described above. We shall become still better acquainted with this third intellectual process by now passing on to a fourth, which, from its intimate connection with the third, serves to elucidate it.