f. The sixth trope is taken from intermixture, because nothing comes within the scope of the sense alone and isolated, but only as mingled with something else; this admixture with something else, however, causes change, just as scents are stronger in the sunshine than in cold air, &c. Further, through the subject himself, this admixture comes in; the eyes consist of various tunics and humours, the ear has different passages, &c., consequently they cannot allow sensations—the light or the voice—to come to us in their purity, for the sensuous element comes to us first of all modified by these tunics of the eye and likewise by the passages of the ear.[202] But if we are to express ourselves in this particular manner, the direct opposite might likewise be maintained, that the sensuous element there present is simply purified; the apprehending ear, for example, again purifies the voice that comes in bodily form from a soul. g. The seventh trope is the cohesion, the size or quantity of things, through which they appear different; for instance, we see how glass is transparent, but loses this transparency when it is pounded, and thus has its cohesion altered. Shavings of goat’s-horn appear to be white, but the whole piece looks black; or Carrara marble ground into powder looks white, though the whole piece is yellow. The same holds good as regards quantity. A moderate portion of wine fortifies and exhilarates, a large quantity of it destroys the body, and the case is similar with drugs.[203] If the quantity is not to be spoken of as the substance, it is still an abstraction that quantity and combination are matters of indifference as regards quality and disintegration; the change of quantity likewise changes the quality.