within the Fernbild favorable stimulation and repose must still
be sought. And repose or unity is given by symmetry, subjectively
the balance of attention, inasmuch as this balance is a tension
of antagonistic impulses, an equilibrium, and thus an inhibition
of movement.

From this point of view, we are in a position to refute Souriau's
interesting analysis<1> of form as the condition for the
appreciation of content. He says that form, in a picture for
instance, has its value in its power to produce (through its
fixation and concentration of the eye) a mild hypnosis, in which,
as is well known, all suggestions come to us with bewildering
vividness. This is, then, just the state in which the contents
of the picture can most vividly impress themselves. Form, then,
as the means to content, by giving the conditions for suggestion,
is Sourieau's account of it. In so far as form--in the sense
of unity--gives, through balance and equilibrium of impulses,
the arrest of the personality, it may indeed be compared with
hypnotism. But this arrest is not only a means, but an end in
itself; that aesthetic repose, which, as the unity of the
personality, is an essential element of the aesthetic emotion
as we have described it.

<1> _La Suggestion en l'Art_.


VI

There is no point of light or color, no contour, no line, no
depth, that does not contribute to the infinite complex which