course, we could learn by much practice to correct the judgment of our senses, but it is only in rare and special cases that we have the necessary practice. I have often noticed my own ludicrous failures in estimating the relative depths of two parts of the same pool by the relative obscurity of the bottom. Maps of ocean-depths are never made on what may be called natural scales, but always on symbolic ones, in which consecutive increases of tint, as judged by the eye, correspond to successive increases of depth. According to Weber's law (which I content myself here with expressing in its original and approximative form), if it requires a tenfold period of exposure to make a doubly deep impression on the mind, it would require a hundred-fold period to make a trebly deep one, a thousand-fold period to make it quadruply deep, and so on. The one series follows an arithmetical, the other a geometrical progression.
Whatever the true law may be that connects the strength of the impression with the time that the object is before our eyes, or with the frequency with which it is seen, its form is certainly not very dissimilar to that of the law of Weber. Otherwise it would not accord with the fact that sights on which we have not lingered, often leave abiding impressions, while the pictures that hang on our walls, before our eyes, every day of our life, are not always remembered with vivid distinctness. The effect of the law, whatever its precise form may be, is to prevent generic images from having the same definition and simplicity as the corresponding photographs. The most extreme elements will always leave their traces very visibly because the medium elements are not present in sufficient number to overpower them. These images can not be otherwise than blurred and surrounded by monstrous and faint imagery. The attention is unable to deal with such pictures, because when it is engaged on one part of them the remainder slips out of memory. All parts of an image must be congruous and well defined before the attention can sweep so swiftly over the entire field of view as practically to bring it all at once into sight. If an image is incongruous and vague, the mind follows the course already described when the illustration was used of a clergyman in a pulpit.
The conclusions to be drawn from what I have said are that composite portraits are perfectly trustworthy when made by optical means and with proper precautions, and that photographic composites are as correct representations of these as photographs ever are of the pictures from which they are taken. Composite portraits are therefore to be considered as pictorial statistics. Also it is conceivable that general
sixteen. The effect of the scattered white on the cards is to produce various grays which the eye will judge to be separated by equal intervals of tint. Card 4, which contains eight portions, has the medium amount of white (eight and a half is the precise medium), but the eye reckons differently; it places the medium tint at card 3, which contains only four portions of white.
