| 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 |
| 80 | 170 | 195 | |
| 60 | 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 space 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)¹ | (5)¹ | |
| 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 |
¹Second 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)² | (5)² | |
| 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 |