images.”[104] Of course, the power of vision is by no means completely developed at five months, though the technique of the function, so to speak, is by that time essentially perfected. Now begin the real tasks of visual practice: acquiring familiarity with external objects, imprinting the visual images on the mind, and widening the scope of association. On entering the subject of child’s play which is connected with vision it is evident that there are four points for us to keep in mind—brightness, colour, form, and movement. The inner images and concepts, which go hand in hand with such perception (especially with the notion of movement), do not, so far as I can see, form part of our study, since while an effect of the highest importance they do not constitute one of the objects of play.[105] (_a_) Sensations of Brightness Sensations of brilliance seem to arouse feelings of pleasure at a remarkably early period. Thus Preyer says: “Long before the close of the first day the facial expression of the babe held facing the window changed suddenly when I shaded his eyes with my hand.... The darkened face looked much less satisfied.”[106] Toward the end of the first week the child turned his face toward the window when he had been placed otherwise, and seemed pleased to see it again. During the second week a child will sometimes cry when taken into the dark, and can only be quieted by having the sensation of brightness restored. Thus, we see that in the very first week there is at least a premonition of experimentation. In his second month the infant will break out into joyful cries at the sight of gilded picture frames or lighted lamps, illuminated Christmas trees or shining mirrors. Even in Wolfdietrich the delight of children in bright and shining things is recorded:— “Do vergaz es sînes frostes und spielte mit den ringen sîn. also daz kleine Kindel sîner sorgen gar vergaz, dô greif ez on die ringe und sprach: waz ist daz? des Halsperges schoene daz Kindel nie verdroz.”[107] And it seems to grow with his growth in other directions. The following are some of Sigismund’s notes on his daughter’s third quarter: “The child is now passionately fond of light, and in the evening, when the darkening room is lighted up, she regularly shouts aloud and dances for joy.... This coincides with the fact that artificial illumination stimulates adults also to a genuine and boisterous gaiety. Our feasts and dances are always held at night, and indeed it is difficult to attain the requisite dithyrambic pitch in the daytime.”[108] Nansen wrote, when the electric light blazed for the first time on the frozen-in Fram: “What a tremendous influence light has on the spirits of men! This light enlivened us like a draught of good wine.”[109]