2. Probably most persons do not generally apprehend that there is any material difference in these two cases;--that there are any different acts of mind concerned in perceiving by sight a mathematical diagram upon paper, and a solid cube lying on a table. Yet it is not difficult to show that, in the latter case at least, the perception of the shape of the object is not immediate. A very little attention teaches us that there is an act of judgment as well as a mere impression of sense requisite, in order that we may see any solid object. For there is no visible appearance which is inseparably connected with solidity. If a picture of a cube be rightly drawn, in perspective and skilfully shaded, the impression upon the sense is the same as if it were a real cube. The picture may be mistaken for a solid object. But it is clear that, in this case, the solidity is given to the object by an act of mental judgment. All that is seen is outline and shade, figures and colours on a flat board. The solid angles and edges, the relation of the faces of the figure by which they form a cube, are matters of inference. This, which is evident in the case of the pictured cube, is true in all vision whatever. We see a scene before us on which are various figures and colours, but the eye cannot see more. It sees length and breadth, but no third dimension. In order to know that there are solids, we must infer as well as see. And this we do readily and constantly; so familiarly, indeed, that we do not perceive the operation. Yet we may detect this latent process in many ways; for instance, by attending to cases in which the habit of drawing such inferences misleads us. Most persons have experienced this delusion in looking at a scene in a theatre, and especially that kind of scene which is called a _diorama_, when the interior of a building is represented. In these cases, the perspective representations of the various members of the architecture and decoration impress us almost irresistibly with the conviction that we have before us a space of great extent and complex form, instead of a flat painted canvass. Here, at least, the space is our own creation; but yet here, it is {119} manifestly created by the same act of thought as if we were really in the palace or the cathedral of which the halls and aisles thus seem to inclose us. And the act by which we thus create space of three dimensions out of visible extent of length and breadth, is constantly and imperceptibly going on. We are perpetually interpreting in this manner the language of the visible world. From the appearances of things which we directly see, we are constantly inferring that which we cannot directly see,--their distance from us, and the position of their parts.