the whole body, which we have seen must be involved. Hildebrand's
"demands of the eye" resolves itself into the stimulation plus
repose of the ciliary muscle,--the organ of accommodation. A
real unity even for the eye alone would have to include not
only space relations in the third dimension, but relations of
line and mass and color in the flat. As for the "complete
sensuous experience of the spatial" (which would seem to be
equivalent to Berenson's "tactile values"), the "clearness" of
Hildebrand's sentence above quoted, it is evident that
completeness of the experience does not necessarily involve
the positive or pleasurable toning of the experience. The
distinction is that between a beautiful and a completely
realistic picture.

A further extension or restatement of this theory, in a recent
article,<1> seems to me to express it in the most favorable
way. Beauty is again connected with the functioning of our
organs of perception (Auffassungorgane). "We wish to be put
into a fresh, lively, energetic and yet at the same time
effortless activity.... The pleasure in form is a pleasure
in this, that the conformation of the object makes possible
or rather compels a natural purposeful functioning of our
apprehending organs." But purposeful for what? For visual
form, evidently to the end of seeing clearly. The element of
repose, of unity, hinted at in the "effortless" of the first
sentence, disappears in the second. The organs of apprehension
are evidently limited to the eye alone. It is not the perfect
moment of stimulation and repose for the whole organism which
is aimed at, but the complete sensuous experience of the
spatial, again.