²Second 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)¹ | ||
| 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 | |
¹Second 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.
The subjects agree in remarking on the lack of interest of the closed tunnel, and the attractive power of the open tunnel, and notes which emphasize this accompany choices where the open tunnel is put uniformly nearer. (Cf. H, F. 180, V. 50; F. 80, V. 13; G, (2), (3), (4), (5); A, (3), and F. 140.) As a glance at the results shows that the open tunnel is placed on the whole nearer the center, we may conclude that these choices represent a mechanical balance, in which the open tunnel, or depth in the third dimension, is 'heavier.'
But another point of view asserts itself constantly in the results of S, and scatteringly in those of the others. Analyzing at first only the results of S, we find that up to F. 140, with one exception, he places the open tunnel much farther out than the other; and from F. 140 on, nearer. He says, F. 120, V. 185, 'After this there is too large a black space'; that is, in bringing the open tunnel in, he is evidently filling space. But why does he put the open tunnel so far out? It seems that he is governed by the desire for ease in the apperception of the two objects. In his note for F. 80, V. 180, this point of view comes out clearly. He thinks of the objects as being apperceived side by side with the space about each (which apparently takes on the character of its object), and then he seems to balance these two fields. Cf. F. 60, V. 195: 'The closed tunnel allows the eyes to wander, and so it needs a bigger field on each side.' Evidently there is an implication here of the idea of balance. Cf. also F. 120: 'The black tunnel harmonizes with the black to the right, and seems to correspond in distance and depth,' while the closed tunnel 'hangs together with the black on the left.' In brief, the view of F. seems to be that the closed tunnel is less interesting, and partly because it 'allows the eyes to wander,' partly as compensation for the greater heaviness of the open tunnel, it takes with it a larger space than the open tunnel. It is on the whole better to put them apart, because it is more difficult to apperceive them when close together, and so the open tunnel in the earlier choices must, of course, go farther from the center. When these points conflict with the necessity of filling space, the open tunnel comes nearer the center. In general, the notes which emphasize the difficulty of apperceiving the two pictures as flat and deep together accompany choices where the tunnel is put uniformly farther out, or symmetrically. Cf. G, (1), (5); A, (1); M, F. 40, etc.