we say,—there is a chair. But what we have seen is the mere coloured shape. Perhaps an artist might not have jumped to the notion of a chair. He might have stopped at the mere contemplation of a beautiful colour and a beautiful shape. But those of us who are not artists are very prone, especially if we are tired, to pass straight from the perception of the coloured shape to the enjoyment of the chair, in some way of use, or of emotion, or of thought. We can easily explain this passage by reference to a train of difficult logical inference, whereby, having regard to our previous experiences of various shapes and various colours, we draw the probable conclusion that we are in the presence of a chair. I am very sceptical as to the high-grade character of the mentality required to get from the coloured shape to the chair. One reason for this scepticism is that my friend the artist, who kept himself to the contemplation of colour, shape and position, was a very highly trained man, and had acquired this facility of ignoring the chair at the cost of great labour. We do not require elaborate training merely in order to refrain from embarking upon intricate trains of inference. Such abstinence is only too easy. Another reason for scepticism is
