F.  Middle vulgar, common, prosaic; unequal lively.  Prefers the lively.  Eyes rest on division point, moving to the end of long and then of short.  Ease, simplicity and restfulness are proper to the long part of complex figures.  Short part of simple line looks wider, brighter and more important than long.

G.  Unequal better than equal.  Eye likes movement over long and then over short.  Subject interested only in division point.  Short part gives the aesthetic quality to the line.

H.  Center not wanted.  Division point the center of interest. (No further noteworthy introspection from H, but concerning complex figures he said that he wanted simple or the compact on the short, and the interesting on the long.)

These introspective notes were given at different times, and any repetitions serve only to show constancy.  The subjects were usually very certain of their introspection.  In general it appears to me to warrant these three statements:  (1) That the center of interest is the division point, whence eye-movements, or innervations involving, perhaps, the whole motor system, are made to either side. (2) That there is some sort of balance or equivalence obtained (a bilateral symmetry), which is not, however, a vertical balance—­that is, one of weights pulling downwards, according to the principle of the lever.  All the subjects repudiated the suggestion of vertical balance. (3) That the long side means ease and simplicity, and represents graphically exactly what it means; that the short side means greater intensity, concentration, or complexity, and that this is substituted by the subject; the short division, unlike the long, means something that it does not graphically represent.

So much for the relation between what is objectively given and the significance subjectively attributed to it.  There remains still the translation into psychophysical terms.  The results on the complex figures (showing that a division may be shortened by making the innervations on that side increasingly more involved) lend plausibility to the interpretation that the additional significance is, in visual terms, a greater intricacy or difficulty of eye-movement, actual or reproduced; or, in more general terms, a greater tension of the entire motor system.  In such figures the psychophysical conditions for our pleasure in the unequal division of the simple horizontal line are merely graphically symbolized, not necessarily duplicated.  On page 553 I roughly suggested what occurs in regarding the unequally divided line.  More exactly, this:  the long section of the line gives a free sweep of the eyes from the division point, the center, to the end; or again, a free innervation of the motor system.  The sweep the subject makes sure of.  Then, with that as standard, the aesthetic impulse is to secure an equal and similar movement, from the center, in the opposite direction.  It is checked, however, by the end point of the short