It is evident that sight and touch are the senses by which the relations of space are perceived, principally or entirely. It does not appear that an odour, or a feeling of warmth or cold, would, independently of experience, suggest to us the conception of a space surrounding us. But when we see objects, we see that they are extended and occupy space; when we touch them, we feel that they are in a space in which we also are. We have before our eyes any object, for instance, a board covered with geometrical diagrams; and we distinctly perceive, by vision, those lines of which the relations are the subjects of our mathematical reasoning. Again, we see before us a solid object, a cubical box for instance; we see that it is within reach; we stretch out the hand and perceive by the touch that it has sides, edges, corners, which we had already perceived by vision. 118

2. Probably most persons do not generally apprehend that there is any material difference in these two cases;—that there are any different acts of mind concerned in perceiving by sight a mathematical diagram upon paper, and a solid cube lying on a table. Yet it is not difficult to show that, in the latter case at least, the perception of the shape of the object is not immediate. A very little attention teaches us that there is an act of judgment as well as a mere impression of sense requisite, in order that we may see any solid object. For there is no visible appearance which is inseparably connected with solidity. If a picture of a cube be rightly drawn, in perspective and skilfully shaded, the impression upon the sense is the same as if it were a real cube. The picture may be mistaken for a solid object. But it is clear that, in this case, the solidity is given to the object by an act of mental judgment. All that is seen is outline and shade, figures and colours on a flat board. The solid angles and edges, the relation of the faces of the figure by which they form a cube, are matters of inference. This, which is evident in the case of the pictured cube, is true in all vision whatever. We see a scene before us on which are various figures and colours, but the eye cannot see more. It sees length and breadth, but no third dimension. In order to know that there are solids, we must infer as well as see. And this we do readily and constantly; so familiarly, indeed, that we do not perceive the operation. Yet we may detect this latent process in many ways; for instance, by attending to cases in which the habit of drawing such inferences misleads us. Most persons have experienced this delusion in looking at a scene in a theatre, and especially that kind of scene which is called a diorama, when the interior of a building is represented. In these cases, the perspective representations of the various members of the architecture and decoration impress us almost irresistibly with the conviction that we have before us a space of great extent and complex form, instead of a flat painted canvass. Here, at least, the space is our own creation; but yet here, it is 119 manifestly created by the same act of thought as if we were really in the palace or the cathedral of which the halls and aisles thus seem to inclose us. And the act by which we thus create space of three dimensions out of visible extent of length and breadth, is constantly and imperceptibly going on. We are perpetually interpreting in this manner the language of the visible world. From the appearances of things which we directly see, we are constantly inferring that which we cannot directly see,—their distance from us, and the position of their parts.

3. The characters which we thus interpret are various. They are, for instance, the visible forms, colours, and shades of the parts, understood according to the maxims of perspective; (for of perspective every one has a practical knowledge, as every one has of grammar;) the effort by which we fix both our eyes on the same object, and adjust each eye to distinct vision; and the like. The right interpretation of the information which such circumstances give us respecting the true forms and distances of things, is gradually learned; the lesson being begun in our earliest infancy, and inculcated upon us every hour during which we use our eyes. The completeness with which the lesson is mastered is truly admirable; for we forget that our conclusion is obtained indirectly, and mistake a judgment on evidence for an intuitive perception. We see the breadth of the street, as clearly and readily as we see the house on the other side of it; and we see the house to be square, however obliquely it be presented to us. This, however, by no means throws any doubt or difficulty on the doctrine that in all these cases we do interpret and infer. The rapidity of the process, and the unconsciousness of the effort, are not more remarkable in this case than they are when we understand the meaning of the speech which we hear, or of the book which we read. In these latter cases we merely hear noises or see black marks; but we make, out of these elements, thought and feeling, without being aware of the act by which we do so. And by an exactly similar process we see a variously-coloured 120 expanse, and collect from it a space occupied by solid objects. In both cases the act of interpretation is become so habitual that we can hardly stop short at the mere impression of sense.

4. But yet there are various ways in which we may satisfy ourselves that these two parts of the process of seeing objects are distinct. To separate these operations is precisely the task which the artist has to execute, in making a drawing of what he sees. He has to recover the consciousness of his real and genuine sensations, and to discern the lines of objects as they appear. This at first he finds difficult; for he is tempted to draw what he knows of the forms of visible objects, and not what he sees: but as he improves in his art, he learns to put on paper what he sees only, separated from what he infers, in order that thus the inference, and with it a conception like that of the reality, may be left to the spectator. And thus the natural process of vision is the habit of seeing that which cannot be seen; and the difficulty of the art of drawing consists in learning not to see more than is visible.

5. But again; even in the simplest drawing we exhibit something which we do not see. However slight is our representation of objects, it contains something which we create for ourselves. For we draw an outline. Now an outline has no existence in nature. There are no visible lines presented to the eye by a group of figures. We separate each figure from the rest, and the boundary by which we do this is the outline of the figure; and the like may be said of each member of every figure. A painter of our own times has made this remark in a work upon his art4: ‘The effect which natural objects produce upon our sense of vision is that of a number of parts, or distinct masses of form and colour, and not of lines. But when we endeavour to represent by painting the objects which are before us, or which invention supplies to our minds, 121 the first and the simplest means we resort to is this picture, by which we separate the form of each object from those that surround it, marking its boundary, the extreme extent of its dimensions in every direction, as impressed on our vision: and this is termed drawing its outline.’

6. Again, there are other ways in which we see clear manifestations of the act of thought by which we assign to the parts of objects their relations in space, the impressions of sense being merely subservient to this act. If we look at a medal through a glass which inverts it, we see the figures upon it become concave depressions instead of projecting convexities; for the light which illuminates the nearer side of the convexity will be transferred to the opposite side by the apparent inversion of the medal, and will thus imply a hollow in which the side nearest the light gathers the shade. Here our decision as to which part is nearest to us, has reference to the side from which the light comes. In other cases the decision is more spontaneous. If we draw black outlines, such as represent the edges of a cube seen in perspective, certain of the lines will cross each other; and we may make this cube appear to assume two different positions, by determining in our own mind that the lines which belong to one end of the cube shall be understood to be before or to be behind those which they cross. Here an act of the will, operating upon the same sensible image, gives us two cubes, occupying two entirely different positions. Again, many persons may have observed that when a windmill in motion at a distance from us, (so that the outline of the sails only is seen,) stands obliquely to the eye, we may, by an effort of thought, make the obliquity assume one or the other of two positions; and as we do this, the sails, which in one instance appear to turn from right to left, in the other case turn from left to right. A person a little familiar with this mental effort, can invert the motion as often as he pleases, so long as the conditions of form and light do not offer a manifest contradiction to either position. 122.

Thus we have these abundant and various manifestations of the activity of the mind, in the process by which we collect from vision the relations of solid space of three dimensions. But we must further make some remarks on the process by which we perceive mere visible figure; and also, on the mode in which we perceive the relations of space by the touch; and first, of the latter subject.

7. The opinion above illustrated, that our sight does not give us a direct knowledge of the relations of solid space, and that this knowledge is acquired only by an inference of the mind, was first clearly taught by the celebrated Bishop Berkeley5, and is a doctrine now generally assented to by metaphysical speculators.

But does the sense of touch give us directly a knowledge of space? This is a question which has attracted considerable notice in recent times; and new light has been thrown upon it in a degree which is very remarkable, when we consider that the philosophy of perception has been a prominent subject of inquiry from the earliest times. Two philosophers, advancing to this inquiry from different sides, the one a metaphysician, the other a physiologist, have independently arrived at the conviction that the long current opinion, according to which we acquire a knowledge of space by the sense of touch, is erroneous. And the doctrine which they teach instead of the ancient errour, has a very important bearing upon the principle which we are endeavouring to establish,—that our knowledge of space and its properties is derived rather from the active operations than from the passive impressions of the percipient mind.

Undoubtedly the persuasion that we acquire a knowledge of form by the touch is very obviously suggested by our common habits. If we wish to know the form of any body in the dark, or to correct the impressions conveyed by sight, when we suspect them to be false, we have only, it seems to us, at least at first, to stretch forth the hand and touch the object; and we learn its 123 shape with, no chance of errour. In these cases, form appears to be as immediate a perception of the sense of touch, as colour is of the sense of sight.

8. But is this perception really the result of the passive sense of touch merely? Against such an opinion Dr. Brown, the metaphysician of whom I speak, urges6 that the feeling of touch alone, when any object is applied to the hand, or any other part of the body, can no more convey the conception of form or extension, than the sensation of an odour or a taste can do, except we have already some knowledge of the relative position of the parts of our bodies; that is, except we are already in possession of an idea of space, and have, in our minds, referred our limbs to their positions; which is to suppose the conception of form already acquired.

9. By what faculty then do we originally acquire our conceptions of the relations of position? Brown answers by the muscular sense; that is, by the conscious exertions of the various muscles by which we move our limbs. When we feel out the form and position of bodies by the hand, our knowledge is acquired, not by the mere touch of the body, but by perceiving the course the fingers must take in order to follow the surface of the body, or to pass from one body to another. We are conscious of the slightest of the volitions by which we thus feel out form and place; we know whether we move the finger to the right or left, up or down, to us or from us, through a large or a small space; and all these conscious acts are bound together and regulated in our minds by an idea of an extended space in which they are performed. That this idea of space is not borrowed from the sight, and transferred to the muscular feelings by habit, is evident. For a man born blind can feel out his way with his staff, and has his conceptions of position determined by the conditions of space, no less than one who has the use of his eyes. And the muscular consciousness which reveals to us the position of objects and parts of objects, 124 when we feel them out by means of the hand, shows itself in a thousand other ways, and in all our limbs: for our habits of standing, walking, and all other attitudes and motions, are regulated by our feeling of our position and that of surrounding objects. And thus, we cannot touch any object without learning something respecting its position; not that the sense of touch directly conveys such knowledge; but we have already learnt, from the muscular sense, constantly exercised, the position of the limb which the object thus touches.

10. The justice of this distinction will, I think, be assented to by all persons who attend steadily to the process itself, and might be maintained by many forcible reasons. Perhaps one of the most striking evidences in its favour is that, as I have already intimated, it is the opinion to which another distinguished philosopher, Sir Charles Bell, has been led, reasoning entirely upon physiological principles. From his researches it resulted that besides the nerves which convey the impulse of the will from the brain to the muscle, by which every motion of our limbs is produced, there is another set of nerves which carry back to the brain a sense of the condition of the muscle, and thus regulate its activity; and give us the consciousness of our position and relation to surrounding objects. The motion of the hand and fingers, or the consciousness of this motion, must be combined with the sense of touch properly so called, in order to make an inlet to the knowledge of such relations. This consciousness of muscular exertion, which he has called a sixth sense7, is our guide, Sir C. Bell shows, in the common practical government of our motions; and he states that having given this explanation of perception as a physiological doctrine, he had afterwards with satisfaction seen it confirmed by Dr. Brown’s speculations.

11. Thus it appears that our consciousness of the relations of space is inseparably and fundamentally connected with our own actions in space. We perceive 125 only while we act; our sensations require to be interpreted by our volitions. The apprehension of extension and figure is far from being a process in which we are inert and passive. We draw lines with our fingers; we construct surfaces by curving our hands; we generate spaces by the motion of our arms. When the geometer bids us form lines, or surfaces, or solids by motion, he intends his injunction to be taken as hypothetical only; we need only conceive such motions. But yet this hypothesis represents truly the origin of our knowledge; we perceive spaces by motion at first, as we conceive spaces by motion afterwards:—or if not always by actual motion, at least by potential. If we perceive the length of a staff by holding its two ends in our two hands without running the finger along it, this is because by habitual motion we have already acquired a measure of the distance of our hands in any attitude of which we are conscious. Even in the simplest case, our perceptions are derived not from the touch, but from the sixth sense; and this sixth sense at least, whatever may be the case with the other five, implies an active mind along with the passive sense.

12. Upon attentive consideration, it will be clear that a large portion of the perceptions respecting space which appear at first to be obtained by sight alone, are, in fact, acquired by means of this sixth sense. Thus we consider the visible sky as a single surface surrounding us and returning into itself, and thus forming a hemisphere. But such a mode of conceiving an object of vision could never have occurred to us, if we had not been able to turn our heads, to follow this surface, to pursue it till we find it returning into itself. And when we have done this, we necessarily present it to ourselves as a concave inclosure within which we are. The sense of sight alone, without the power of muscular motion, could not have led us to view the sky as a vault or hemisphere. Under such circumstances, we should have perceived only what was presented to the eye in one position; and if different appearances had been presented in succession, we could 126 not have connected them as parts of the same picture, for want of any perception of their relative position. They would have been so many detached and incoherent visual sensations. The muscular sense connects their parts into a whole, making them to be only different portions of one universal scene8.

13. These considerations point out the fallacy of a very curious representation made by Dr. Reid, of the convictions to which man would be led, if he possessed vision without the sense of touch. To illustrate this subject, Reid uses the fiction of a nation whom he terms the Idomenians, who have no sense except that of sight. He describes their notions of the relations of space as being entirely different from ours. The axioms of their geometry are quite contradictory to our axioms. For example, it is held to be self-evident among them that two straight lines which intersect each other once, must intersect a second time; that the three angles of any triangle are greater than two right angles; and the like. These paradoxes are obtained by tracing the relations of lines on the surface of a concave sphere, which surrounds the spectator, and on which all visible appearances may be supposed to be presented to him. But from what is said above it appears that the notion of such a sphere, and such a connexion of visible objects which are seen in different 127 directions, cannot be arrived at by sight alone. When the spectator combines in his conception the relations of long-drawn lines and large figures, as he sees them by turning his head to the right and to the left, upwards and downwards, he ceases to be an Idomenian. And thus our conceptions of the properties of space, derived through the exercise of one mode of perception, are not at variance with those obtained in another way; but all such conceptions, however produced or suggested, are in harmony with each other; being, as has already been said, only different aspects of the same idea.

14. If our perceptions of the position of objects around us do not depend on the sense of vision alone, but on the muscular feeling brought into play when we turn our head, it will obviously follow that the same is true when we turn the eye instead of the head. And thus we may learn the form of objects, not by looking at them with a fixed gaze, but by following the boundary of them with the eye. While the head is held perfectly still, the eye can rove along the outlines of visible objects, scrutinize each point in succession, and leap from one point to another; each such act being accompanied by a muscular consciousness which makes us aware of the direction in which the look is travelling. And we may thus gather information concerning the figures and places which we trace out with the visual ray, as the blind man learns the forms of things which he traces out with his staff, being conscious of the motions of his hand.

15. This view of the mode in which the eye perceives position, which is thus supported by the analogy of other members employed for the same purpose, is further confirmed by Sir Charles Bell by physiological reasons. He teaches us that9 when an object is seen we employ two senses: there is an impression on the retina; but we receive also the idea of position or relation in space, which it is not the office of the retina to give, by our consciousness of the efforts of the voluntary 128 muscles of the eye: and he has traced in detail the course of the nerves by which these muscles convey their information. The constant searching motion of the eye, as he terms it10, is the means by which we become aware of the position of objects about us.

16. It is not to our present purpose to follow the physiology of this subject; but we may notice that Sir C. Bell has examined the special circumstances which belong to this operation of the eye. We learn from him that the particular point of the eye which thus traces the forms of visible objects is a part of the retina which has been termed the sensible spot; being that part which is most distinctly sensible to the impressions of light and colour. This part, indeed, is not a spot of definite size and form, for it appears that proceeding from a certain point of the retina, the distinct sensibility diminishes on every side by degrees. And the searching motion of the eye arises from the desire which we instinctively feel of receiving upon the sensible spot the image of the object to which the attention is directed. We are uneasy and impatient till the eye is turned so that this is effected. And as our attention is transferred from point to point of the scene before us, the eye, and this point of the eye in particular, travel along with the thoughts; and the muscular sense, which tells us of these movements of the organ of 129 vision, conveys to us a knowledge of the forms and places which we thus successively survey.

17. How much of activity there is in the process by which we perceive the outlines of objects appears further from the language by which we describe their forms. We apply to them not merely adjectives of form, but verbs of motion. An abrupt hill starts out of the plain; a beautiful figure has a gliding outline. We have

These terms express the course of the eye as it follows the lines by which such forms are bounded and marked. In like manner another modern poet11 says of Soracte, that it

Thus the muscular sense, which is inseparably connected with an act originating in our own mind, not only gives us all that portion of our perceptions of space in which we use the sense of touch, but also, at least in a great measure, another large portion of such perceptions, in which we employ the sense of sight. As we have before seen that our knowledge of solid space and its properties is not conceivable in any other way than as the result of a mental act, governed by conditions depending on its own nature; so it now appears that our perceptions of visible figure are not obtained without an act performed under the same conditions. The sensations of touch and sight are subordinated to an idea which is the basis of our speculative knowledge concerning space and its relations; and this same idea is disclosed to our consciousness by its practically regulating our intercourse with the external world.

By considerations such as have been adduced and referred to, it is proved beyond doubt, that in a great 130 number of cases our knowledge of form and position is acquired from the muscular sense, and not from sight directly:—for instance, in all cases in which we have before us objects so large and prospects so extensive that we cannot see the whole of them in one position of the eye12.

We now quit the consideration of the properties of Space, and consider the Idea of Time.