This is commonly called an angular relation. If these relations are sensations, no less so are the relations of position. _The relation of position between the top and bottom points of a vertical line is that line,_ and nothing else. The relations of position between a point and a horizontal line below it are potentially numerous. There is one more important than the rest, called its distance. This is the sensation, ideal or actual, of a perpendicular drawn from the point to the line.[155] Two lines, one from each extremity of the horizontal to the point, give us a peculiar sensation of triangularity. This feeling may be said to constitute the _locus_ of all the relations of position of the elements in question. _Rightness and leftness, upness and downness, are again pure sensations_ differing specifically from each other, and generically from everything else. Like all sensations, they can only be indicated, not described. If we take a cube and label one side _top_, another _bottom_, a third _front_, and a fourth _back_, there remains no form of words by which we can describe to another person which of the remaining sides is _right_ and which _left_. We can only point and say _here_ is right and _there_ is left, just as we should say _this_ is red and _that_ blue. Of two points seen beside each other at all, one is always affected by one of these feelings, and the other by the opposite; the same is true of the extremities of any line.[156] Thus it appears indubitable that all space-relations except those of magnitude are nothing more or less than pure sensational objects. But _magnitude_ appears to outstep this narrow sphere. We have relations of muchness and littleness between times, numbers, intensities, and qualities, as well as spaces. It is impossible, then, that such relations should form a particular kind of simply spatial feeling. This we must admit: the relation of quantity is generic and occurs in many categories of consciousness, whilst the other relations we have considered are specific and occur in space alone. When our attention passes from a shorter line to a longer, from a smaller spot to a larger, from a feebler light to a stronger, from a paler blue to a richer, from a march tune to a galop, the transition is accompanied in the synthetic field of consciousness by a peculiar feeling of difference which is what we call the sensation of _more_,--more length, more expanse, more light, more blue, more motion. This transitional sensation of _more_ must be identical with itself under all these different accompaniments, or we should not give it the same name in every case. We get it when we pass from a short vertical line to a long horizontal one, from a small square to a large circle, as well as when we pass between those figures whose shapes are congruous. But when the shapes are congruous our consciousness of the relation is a good deal more distinct, and it is most distinct of all when, in the exercise