ybody 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
has been added light and shade, colour, aerial perspective, &c., may
eventually approximate to the perfect visual appearance. And inversely,
representations approached from the point of view of pure vision, the
mosaic of colour on the retina, if pushed far enough, may satisfy the
mental perception of form with its touch associations. And of course the
two points of view are intimately connected. You cannot put an accurate
outline round an object without observing the shape it occupies in the
field of vision. And it is difficult to consider the "mosaic of colour
forms" without being very conscious of the objective significance of the
colour masses portrayed. But they present two entirely different and
opposite points of view from which the representation of objects can be
approached. In considering the subject of drawing I think it n