two, whether he ought
to choose a background which is similar in color or one which
contrasts with the pieces exhibited, whether he ought to present the
single object in a special background as in a case, or to show it
without one. He is not aware that by simple psychological illusions,
it is not difficult to change the apparent size of an isolated object
by special treatment, making his show-piece appear larger by a fitting
background or intentionally making a dainty object appear smaller by
contrasting surroundings. These, to be sure, are very trivial
illustrations, but the same fundamental psychological laws which are
true for the show-window of the next corner store are true for the
world-display of the nation. The point is to present clearly the idea,
which can be most simply expressed in such trivial material. But it
may be added that even in the case of the most indifferent example a
few hasty experiments with one or two subjects cannot yield any
results of value.

All parts of physiological psychological optics can contribute similar
material. The questions of color harmony and color contrast, light
intensity and mutual support of uniformly colored objects, of
irradiation, depth and perspective, are significant for an effective
display in the show-window, and the laboratory results can easily be
translated into psychotechnical prescriptions. But here it is still
more necessary to separate carefully the merely optical impression
from its aesthetic side. All that we claimed as to the poster is still
more justified for the presentation of the saleable objects
themselves. As soon as the display of the articles forms a real work
of art, it must produce inhibitions in the soul of the spectator by
which the practical economic desire is turned aside. Beauty here too
has strong power of attraction, and moreover the suggestive power, by
which it withdraws our senses from the chance surroundings, forces us
to lose ourselves in the offered presentation. But just through this
process the content of the display becomes isolated and separated from
the world of our practical interests. Our desires are brought to
silence, we do not seek a personal relation to the things which we
face as admiring spectators, and the intended economic effect is
therefore eliminated. Whoever is to examine the psychotechnics of
displays and exhibitions must therefore study the psychology of
aesthetic stimulation, of suggestion, of the effects of li