music of colour and form, so that people, having been moved by it in his
work, may be encouraged to see the same beauty in the things around
them. This is the best argument in favour of making art a subject of
general education: that it should teach people to see. Everybody does
not need to draw and paint, but if everybody could get the faculty of
appreciating the form and colour on their retinas as form and colour,
what a wealth would always be at their disposal for enjoyment! The
Japanese habit of looking at a landscape upside down between their legs
is a way of seeing without the deadening influence of touch
associations. Thus looking, one is surprised into seeing for once the
colour and form of things with the association of touch for the moment
forgotten, and is puzzled at the beauty. The odd thing is that although
thus we see things upside down, the pictures on our retinas are for once
the right way up; for ordinarily the visual picture is inverted on the
retina, like that on the ground glass at the back of a photographic
camera.

To sum up this somewhat rambling chapter, I have endeavoured to show
that there are two aspects from which the objective world can be
apprehended. There is the purely mental perception founded chiefly on
knowledge derived from our sense of touch associated with vision, whose
primitive instinct is to put an outline round objects as representing
their boundaries in space. And secondly, there is the visual perception,
which is concerned with the visual aspects of objects as they appear on
the retina; an arrangement of colour shapes, a sort of mosaic of colour.
And these two aspects give us two different points of view from which
the representation of visible things can be approached.

When the representation from either point of view is carried far enough,
the result is very similar. Work built up on outline drawing to which