Moreover, we have to note here, and to emphasize, that the organs involved are more than the eye, as has already been made plain. We cannot separate eye innvervations from bodily innervations in general. And therefore "the demands of the eye" can never alone decide the question of the beauty of visual form. If it were not so, the favorable stimulation combined with repose of the eye would alone make the conditions of beauty. The "demands of the eye" must be interpreted as the demands of the eye plus the demands of the motor system,--the whole psychophysical personality, in short. It is in these two principles,--"bodily resonance," and favorable as opposed to energetic functioning,--and these alone, that we have a complete refutation of the claim made by many artists to-day, that the phrase "demands of the eye" embodies a complete aesthetic theory. The sculptor Adolph Hildebrand, in his "Problem of Form in the Plastic Art" first set it forth as the task of the artist "to find a form which appears to have arisen only from the demands of the eye;"<1> and this doctrine is to-day so widely held, that it must here be considered at some length. <1> _Das Proablem der form in d. bildenden Kunst_, 1897. It is the space-form, all that is seen, and not the object itself, that is the object of vision. Now in viewing a plastic object near at hand, the focus of the eye must be constantly changed between the nearer and further points. In a more distant view, on the other hand (Hildebrand's "Fernbild"), the contour is denoted by differences of light and shadow, but it is nevertheless perceived in a single act of accommodation. Moreover, being distant, the muscles of accommodation are relaxed; the eye acts at rest. The "Fernbild" thus gives the only unified picture of the three-dimensional complex, and hence the only unity of space- values. In the perception of this unity, the author holds, consists the essential pleasure which the work of art gives us. Hildebrand's treatment is difficult, and lends itself to varying interpretations, which have laid stress now on unity as the essential of art,<1> now on "the joy in the complete sensuous experience of the spatial."<2> The latter seems in harmony with the passage in which Hildebrand says "all pleasure in Form is pleasure in our not being obliged to create this clearness for ourselves, in its being created for us, nay, even forced upon us, by the form itself." <1> A. Riehl, _Vierteljahrschr. f. wissenensch. Philos._, xxi, xxii. <2> K. Groos, _Der Aesthetische Genuss_, 1902, p. 17.