The interpretation of form is an extraordinarily complex affair. The consequences of the asymmetricality of space as we construct it must be noted. Up and down have distinct characters which differ from those of right and left, which differ again from those of away and towards us. A measured vertical distance does not seem to us the same as an equal horizontal distance. Nor does a equal distance away from us seem equal to either. These effects are modified again, sometimes reinforced, sometimes reduced, by effects due to quite a different source, to the relative ease or difficulty with which the eye follows certain lines. The greater and less compatibility of certain eye movements with others is the cause of much of what is confusedly called Rhythm in the plastic arts. After certain lines we expect others, and the success or failure of our expectation modifies our response. Unexpectedness, of course, is an obvious technical resource for the artist. The intervention here of the representational factor cannot be overlooked. An eye movement which encounters difficulty for any of a number of possible reasons, among which so-called rhythmical factors deserve special notice, is interpreted as standing for a greater distance than an equal but more easy movement. This is only a rough rule, for yet other psychological factors may come in to nullify or even reverse the effect; for example, an explicit recognition of the difficulty. Yet another determining condition in our estimation of intervals of space is the uniformity of their filling. Thus a line one inch long hatched across will generally seem longer than an equal line unhatched, and a modulated surface seem larger than a smooth one. These instances of the psychological factors which help to make the imaginatively constructed statue-space different from the actual space occupied by the marble will be enough to show how intricate is the interpretation by which we take even the first step towards the appreciation of a statue. Our full response of attitude and emotion is entirely dependent upon how we perform the initial operations. It is of course impossible to make these interpretations separately, consciously and deliberately. Neural arrangements over which we have little or no direct control perform them for us. Thanks to their complexity the resultant effect, the imagined form of the statue, will vary greatly from individual to individual and in the same individual from time to time. It might be thought therefore that the hope that a statue will be a vehicle of the same experience for many different individuals is vain. Certain simplifications, however, save the situation.