Anecdotes find their way into print, from time to time, of persons whose visual memory is so clear and sharp as to present mental pictures that may be scrutinised with nearly as much ease and prolonged attention as if they were real objects. I became interested in the subject and made a rather extensive inquiry into the mode of visual presentation in different persons, so far as could be gathered from their respective statements. It seemed to me that the results might illustrate the essential differences between the mental operations of different men, that they might give some clue to the origin of visions, and that the course of the inquiry might reveal some previously unnoticed facts. It has done all this more or less, and I will explain the results in the present and in the three following chapters. It is not necessary to trouble the reader with my earlier tentative steps to find out what I desired to learn. After the inquiry had been fairly started it took the form of submitting a certain number of printed questions to a large number of persons (see Appendix E). There is hardly any more difficult task than that of framing questions which are not likely to be misunderstood, which admit of easy reply, and which cover the ground of inquiry. I did my best in these respects, without forgetting the most important part of all--namely, to tempt my correspondents to write freely in fuller explanation of their replies, and on cognate topics as well. These separate letters have proved more instructive and interesting by far than the replies to the set questions. The first group of the rather long series of queries related to the illumination, definition, and colouring of the mental image, and were framed thus:-- "Before addressing yourself to any of the Questions on the opposite page, think of some definite object--suppose it is your breakfast-table as you sat down to it this morning--and consider carefully the picture that rises before your mind's eye." 1. Illumination.--Is the image dim or fairly clear? Is its brightness comparable to that of the actual scene? 2. Definition.--Are all the objects pretty well defined at the same time, or is the place of sharpest definition at any one moment more contracted than it is in a real scene? 3. Colouring.--Are the colours of the china, of the toast, bread-crust, mustard, meat, parsley, or whatever may have been on the table, quite distinct and natural? The earliest results of my inquiry amazed me. I had begun by questioning friends in the scientific world, as they were the most likely class of men to give accurate answers concerning this faculty of visualising, to which novelists and poets continually allude, which has left an abiding mark on the vocabularies of every language, and which supplies the material out of which dreams and the well-known hallucinations of sick people are built. To my astonishment, I found that the great majority of the men of science to whom I first applied protested that mental imagery was unknown to them, and they looked on me as fanciful and fantastic in supposing that the words "mental imagery" really expressed what I believed everybody supposed them to mean. They had no more notion of its true nature than a colour-blind man, who has not discerned his defect, has of the nature of colour. They had a mental deficiency of which they were unaware, and naturally enough supposed that those who affirmed they possessed it, were romancing. To illustrate their mental attitude it will be sufficient to quote a few lines from the letter of one of my correspondents, who writes:-- "These questions presuppose assent to some sort of a proposition regarding the 'mind's eye,' and the 'images' which it sees.... This points to some initial fallacy.... It is only by a figure of speech that I can describe my recollection of a scene as a 'mental image' which I can 'see' with my 'mind's eye.' ... I do not see it ... any more than a man sees the thousand lines of Sophocles which under due pressure he is ready to repeat. The memory possesses it, etc." Much the same result followed inquiries made for me by a friend among members of the French Institute. On the other hand, when I spoke to persons whom I met in general society, I found an entirely different disposition to prevail. Many men and a yet larger number of women, and many boys and girls, declared that they habitually saw mental imagery, and that it was perfectly distinct to them and full of colour. The more I pressed and cross-questioned them, professing myself to be incredulous, the more obvious was the truth of their first assertions. They described their imagery in minute detail, and they spoke in a tone of surprise at my apparent hesitation in accepting what they said. I felt that I myself should have spoken exactly as they did if I had been describing a scene that lay before my eyes, in broad daylight, to a blind man who persisted in doubting the reality of vision. Reassured by this happier experience, I recommenced to inquire among scientific men, and soon found scattered instances of what I sought, though in by no means the same abundance as elsewhere. I then circulated my questions more generally among my friends and through their hands, and obtained the replies that are the main subject of this and of the three next chapters. They were from persons of both sexes, and of various ages, and in the end from occasional correspondents in nearly every civilised country. I have also received batches of answers from various educational establishments both in England and America, which were made after the masters had fully explained the meaning of the questions, and interested the boys in them. These have the merit of returns derived from a general census, which my other data lack, because I cannot for a moment suppose that the writers of the latter are a haphazard proportion of those to whom they were sent. Indeed I know of some who, disavowing all possession of the power, and of many others who, possessing it in too faint a degree to enable them to express what their experiences really were, in a manner satisfactory to themselves, sent no returns at all. Considerable statistical similarity was, however, observed between the sets of returns furnished by the schoolboys and those sent by my separate correspondents, and I may add that they accord in this respect with the oral information I have elsewhere obtained. The conformity of replies from so many different sources which was clear from the first, the fact of their apparent trustworthiness being on the whole much increased by cross-examination (though I could give one or two amusing instances of break-down), and the evident effort made to give accurate answers, have convinced me that it is a much easier matter than I had anticipated to obtain trustworthy replies to psychological questions. Many persons, especially women and intelligent children, take pleasure in introspection, and strive their very best to explain their mental processes. I think that a delight in self-dissection must be a strong ingredient in the pleasure that many are said to take in confessing themselves to priests. Here, then, are two rather notable results: the one is the proved facility of obtaining statistical insight into the processes of other persons' minds, whatever À priori objection may have been made as to its possibility; and the other is that scientific men, as a class, have feeble powers of visual representation. There is no doubt whatever on the latter point, however it may be accounted for. My own conclusion is, that an over-ready perception of sharp mental pictures is antagonistic to the acquirement of habits of highly-generalised and abstract thought, especially when the steps of reasoning are carried on by words as symbols, and that if the faculty of seeing the pictures was ever possessed by men who think hard, it is very apt to be lost by disuse. The highest minds are probably those in which it is not lost, but subordinated, and is ready for use on suitable occasions. I am, however, bound to say, that the missing faculty seems to be replaced so serviceably by other modes of conception, chiefly, I believe, connected with the incipient motor sense, not of the eyeballs only but of the muscles generally, that men who declare themselves entirely deficient in the power of seeing mental pictures can nevertheless give life-like descriptions of what they have seen, and can otherwise express themselves as if they were gifted with a vivid visual imagination. They can also become painters of the rank of Royal Academicians. The facts I am now about to relate are obtained from the returns of 100 adult men, of whom 19 are Fellows of the Royal Society, mostly of very high repute, and at least twice, and I think I may say three times, as many more are persons of distinction in various kinds of intellectual work. As already remarked, these returns taken by themselves do not profess to be of service in a general statistical sense, but they are of much importance in showing how men of exceptional accuracy express themselves when they are speaking of mental imagery. They also testify to the variety of experiences to be met with in a moderately large circle. I will begin by giving a few cases of the highest, of the medium, and of the lowest order of the faculty of visualising. The hundred returns were first classified according to the order of the faculty, as judged to the best of my ability from the whole of what was said in them, and of what I knew from other sources of the writers; and the number prefixed to each quotation shows its place in the class-list. VIVIDNESS OF MENTAL IMAGERY. (From returns, furnished by 100 men, at least half of whom are distinguished in science or in other fields of intellectual work.) Cases where the faculty is very high. 1. Brilliant, distinct, never blotchy. 2. Quite comparable to the real object. I feel as though I was dazzled, e.g. when recalling the sun to my mental vision. 3. In some instances quite as bright as an actual scene. 4. Brightness as in the actual scene. 5. Thinking of the breakfast-table this morning, all the objects in my mental picture are as bright as the actual scene. 6. The image once seen is perfectly clear and bright. 7. Brightness at first quite comparable to actual scene. 8. The mental image appears to correspond in all respects with reality. I think it is as clear as the actual scene. 9. The brightness is perfectly comparable to that of the real scene. 10. I think the illumination of the imaginary image is nearly equal to that of the real one. 11. All clear and bright; all the objects seem to me well defined at the same time. 12. I can see my breakfast-table or any equally familiar thing with my mind's eye, quite as well in all particulars as I can do if the reality is before me. Cases where the faculty is mediocre. 46. Fairly clear and not incomparable in illumination with that of the real scene, especially when I first catch it. Apt to become fainter when more particularly attended to. 47. Fairly clear, not quite comparable to that of the actual scene. Some objects are more sharply defined than others, the more familiar objects coming more distinctly in my mind. 48. Fairly clear as a general image; details rather misty. 49. Fairly clear, but not equal to the scene. Defined, but not sharply; not all seen with equal clearness. 50. Fairly clear. Brightness probably at least one-half to two-thirds of original. [The writer is a physiologist.] Definition varies very much, one or two objects being much more distinct than the others, but the latter come out clearly if attention be paid to them. 51. Image of my breakfast-table fairly clear, but not quite so bright as the reality. Altogether it is pretty well defined; the part where I sit and its surroundings are pretty well so. 52. Fairly clear, but brightness not comparable to that of the actual scene. The objects are sharply defined; some of them are salient, and others insignificant and dim, but by separate efforts I can take a visualised inventory of the whole table. 53. Details of breakfast-table when the scene is reflected on are fairly defined and complete, but I have had a familiarity of many years with my own breakfast-table, and the above would not be the case with a table seen casually unless there were some striking peculiarity in it, 54. I can recall any single object or group of objects, but not the whole table at once. The things recalled are generally clearly defined. Our table is a long one; I can in my mind pass my eyes all down the table and see the different things distinctly, but not the whole table at once. Cases where the faculty is at the lowest. 89. Dim and indistinct, yet I can give an account of this morning's breakfast-table; split herrings, broiled chickens, bacon, rolls, rather light-coloured marmalade, faint green plates with stiff pink flowers, the girls' dresses, etc. etc. I can also tell where all the dishes were, and where the people sat (I was on a visit). But my imagination is seldom pictorial except between sleeping and waking, when I sometimes see rather vivid forms. 90. Dim and not comparable in brightness to the real scene. Badly defined with blotches of light; very incomplete. 91. Dim, poor definition; could not sketch from it. I have a difficulty in seeing two images together. 92. Usually very dim. I cannot speak of its brightness, but only of its faintness. Not well defined and very incomplete. 93. Dim, imperfect. 94. I am very rarely able to recall any object whatever with any sort of distinctness. Very occasionally an object or image will recall itself, but even then it is more like a generalised image than an individual image. I seem to be almost destitute of visualising power, as under control. 95. No power of visualising. Between sleeping and waking, in illness and in health, with eyes closed, some remarkable scenes have occasionally presented themselves, but I cannot recall them when awake with eyes open, and by daylight, or under any circumstances whatever when a copy could be made of them on paper. I have drawn both men and places many days or weeks after seeing them, but it was by an effort of memory acting on study at the time, and assisted by trial and error on the paper or canvas, whether in black, yellow, or colour, afterwards. 96. It is only as a figure of speech that I can describe my recollection of a scene as a "mental image" which I can "see" with my "mind's eye." ... The memory possesses it, and the mind can at will roam over the whole, or study minutely any part. 97. No individual objects, only a general idea of a very uncertain kind. 98. No. My memory is not of the nature of a spontaneous vision, though I remember well where a word occurs in a page, how furniture looks in a room, etc. The ideas not felt to be mental pictures, but rather the symbols of facts. 99. Extremely dim. The impressions are in all respects so dim, vague, and transient, that I doubt whether they can reasonably be called images. They are incomparably less than those of dreams. 100. My powers are zero. To my consciousness there is almost no association of memory with objective visual impressions. I recollect the breakfast-table, but do not see it. These quotations clearly show the great variety of natural powers of visual representation, and though the returns from which they are taken have, as I said, no claim to be those of 100 Englishmen taken at haphazard, nevertheless, to the best of my judgment, they happen to differ among themselves in much the same way that such returns would have done. I cannot procure a strictly haphazard series for comparison, because in any group of persons whom I may question there are always many too indolent to reply, or incapable of expressing themselves, or who from some fancy of their own are unwilling to reply. Still, as already mentioned, I have got together several groups that approximate to what is wanted, usually from schools, and I have analysed them as well as I could, and the general result is that the above returns may be accepted as a fair representation of the visualising powers of Englishmen. Treating these according to the method described in the chapter of statistics, we have the following results, in which, as a matter of interest, I have also recorded the highest and the lowest of the series:-- Highest.--Brilliant, distinct, never blotchy. First Suboctile.--The image once seen is perfectly clear and bright. First Octile.--I can see my breakfast-table or any equally familiar thing with my mind's eye quite as well in all particulars as I can do if the reality is before me. First Quartile--Fairly clear; illumination of actual scene is fairly represented. Well defined. Parts do not obtrude themselves, but attention has to be directed to different points in succession to call up the whole. Middlemost.--Fairly clear. Brightness probably at least from one-half to two-thirds of the original. Definition varies very much, one or two objects being much more distinct than the others, but the latter come out clearly if attention be paid to them. Last Quartile.--Dim, certainly not comparable to the actual scene. I have to think separately of the several things on the table to bring them clearly before the mind's eye, and when I think of some things the others fade away in confusion. Last Octile.--Dim and not comparable in brightness to the real scene. Badly defined, with blotches of light; very incomplete; very little of one object is seen at one time. Last Suboctile.--I am very rarely able to recall any object whatever with any sort of distinctness. Very occasionally an object or image will recall itself, but even then it is more like a generalised image than an individual one. I seem to be almost destitute of visualising power as under control. Lowest.--My powers are zero. To my consciousness there is almost no association of memory with objective visual impressions. I recollect the table, but do not see it. I next proceed to colour, as specified in the third of my questions, and annex a selection from the returns classified on the same principle as in the preceding paragraph. COLOUR REPRESENTATION. Highest.--Perfectly distinct, bright, and natural. First Suboctile.--White cloth, blue china, argand coffee-pot, buff stand with sienna drawing, toast--all clear. First Octile.--All details seen perfectly. First Quartile.--Colours distinct and natural till I begin to puzzle over them. Middlemost.--Fairly distinct, though not certain that they are accurately recalled. Last Quartile.--Natural, but very indistinct. Last Octile.--Faint; can only recall colours by a special effort for each. Last Suboctile.--Power is nil. Lowest.--Power is nil. It may seem surprising that one out of every sixteen persons who are accustomed to use accurate expressions should speak of their mental imagery as perfectly clear and bright; but it is so, and many details are added in various returns emphasising the assertion. One of the commonest of these is to the effect, "If I could draw, I am sure I could draw perfectly from my mental image." That some artists, such as Blake, have really done so is beyond dispute, but I have little doubt that there is an unconscious exaggeration in these returns. My reason for saying so is that I have also returns from artists, who say as follows: "My imagery is so clear, that if I had been unable to draw I should have unhesitatingly said that I could draw from it." A foremost painter of the present day has used that expression. He finds deficiencies and gaps when he tries to draw from his mental vision. There is perhaps some analogy between these images and those of "faces in the fire." One may often fancy an exceedingly well-marked face or other object in the burning coals, but probably everybody will find, as I have done, that it is impossible to draw it, for as soon as its outlines are seriously studied, the fancy flies away. Mr. Flinders Petrie, a contributor of interesting experiments on kindred subjects to Nature, informs me that he habitually works out sums by aid of an imaginary sliding rule, which he sets in the desired way and reads off mentally. He does not usually visualise the whole rule, but only that part of it with which he is at the moment concerned (see Plate II. Fig. 34, where, however, the artist has not put in the divisions very correctly). I think this is one of the most striking cases of accurate visualising power it is possible to imagine. I have a few returns from chess-players who play games blindfolded; but the powers of such men to visualise the separate boards with different sets of men on the different boards, some ivory, some wood, and so forth, are well known, and I need not repeat them. I will rather give the following extract from an article in the Pall Mall Gazette, 27th June 1882, on the recent chess tournament at Vienna:-- "The modern feats of blindfold play (without sight of board) greatly surpass those of twenty years ago. Paul Morphy, the American, was the first who made an especial study of this kind of display, playing some seven or eight games blindfold and simultaneously against various inferior opponents, and making lucrative exhibitions in this way. His abilities in this line created a scare among other rivals who had not practised this test of memory. Since his day many chess-players who are gifted with strong and clear memory and power of picturing to the mind the ideal board and men, have carried this branch of exhibition play far beyond Morphy's pitch; and, contemporaneously with this development, it has become acknowledged that skill in blindfold play is not an absolute test of similarly relative powers over the board: e.g. Blackburne and Zukertort can play as many as sixteen, or even twenty, blindfold games at a time, and win about 80 per cent of them at least. Steinitz, who beats them both in match play, does not essay more than six blindfold at a time. Mason does not, to our knowledge, make any spÉcialitÉ at all of this sort." I have many cases of persons mentally reading off scores when playing the pianoforte, or manuscript when they are making speeches. One statesman has assured me that a certain hesitation in utterance which he has at times, is due to his being plagued by the image of his manuscript speech with its original erasures and corrections. He cannot lay the ghost, and he puzzles in trying to decipher it. Some few persons see mentally in print every word that is uttered; they attend to the visual equivalent and not to the sound of the words, and they read them off usually as from a long imaginary strip of paper, such as is unwound from telegraphic instruments. The experiences differ in detail as to size and kind of type, colour of paper, and so forth, but are always the same in the same person. A well-known frequenter of the Royal Institution tells me that he often craves for an absence of visual perceptions, they are so brilliant and persistent. The Rev. George Henslow speaks of their extreme restlessness; they oscillate, rotate, and change. It is a mistake to suppose that sharp sight is accompanied by clear visual memory. I have not a few instances in which the independence of the two faculties is emphatically commented on; and I have at least one clear case where great interest in outlines and accurate appreciation of straightness, squareness, and the like, is unaccompanied by the power of visualising. Neither does the faculty go with dreaming. I have cases where it is powerful, and at the same time where dreams are rare and faint or altogether absent. One friend tells me that his dreams have not the hundredth part of the vigour of his waking fancies. The visualising and the identifying powers are by no means necessarily combined. A distinguished writer on meta-physical topics assures me that he is exceptionally quick at recognising a face that he has seen before, but that he cannot call up a mental image of any face with clearness. Some persons have the power of combining in a single perception more than can be seen at any one moment by the two eyes. It is needless to insist on the fact that all who have two eyes see stereoscopically, and therefore somewhat round a corner. Children, who can focus their eyes on very near objects, must be able to comprise in a single mental image much more than a half of any small object they are examining. Animals such as hares, whose eyes are set more on the side of the head than ours, must be able to perceive at one and the same instant more of a panorama than we can. I find that a few persons can, by what they often describe as a kind of touch-sight, visualise at the same moment all round the image of a solid body. Many can do so nearly, but not altogether round that of a terrestrial globe. An eminent mineralogist assures me that he is able to imagine simultaneously all the sides of a crystal with which he is familiar. I may be allowed to quote a curious faculty of my own in respect to this. It is exercised only occasionally and in dreams, or rather in nightmares, but under those circumstances I am perfectly conscious of embracing an entire sphere in a single perception. It appears to lie within my mental eyeball, and to be viewed centripetally. This power of comprehension is practically attained in many cases by indirect methods. It is a common feat to take in the whole surroundings of an imagined room with such a rapid mental sweep as to leave some doubt whether it has not been viewed simultaneously. Some persons have the habit of viewing objects as though they were partly transparent; thus, if they so dispose a globe in their imagination as to see both its north and south poles at the same time, they will not be able to see its equatorial parts. They can also perceive all the rooms of an imaginary house by a single mental glance, the walls and floors being as if made of glass. A fourth class of persons have the habit of recalling scenes, not from the point of view whence they were observed, but from a distance, and they visualise their own selves as actors on the mental stage. By one or other of these ways, the power of seeing the whole of an object, and not merely one aspect of it, is possessed by many persons. The place where the image appears to lie, differs much. Most persons see it in an indefinable sort of way, others see it in front of the eye, others at a distance corresponding to reality. There exists a power which is rare naturally, but can, I believe, be acquired without much difficulty, of projecting a mental picture upon a piece of paper, and of holding it fast there, so that it can be outlined with a pencil. To this I shall recur. Images usually do not become stronger by dwelling on them; the first idea is commonly the most vigorous, but this is not always the case. Sometimes the mental view of a locality is inseparably connected with the sense of its position as regards the points of the compass, real or imaginary. I have received full and curious descriptions from very different sources of this strong geographical tendency, and in one or two cases I have reason to think it allied to a considerable faculty of geographical comprehension. The power of visualising is higher in the female sex than in the male, and is somewhat, but not much, higher in public schoolboys than in men. After maturity is reached, the further advance of age does not seem to dim the faculty, but rather the reverse, judging from numerous statements to that effect; but advancing years are sometimes accompanied by a growing habit of hard abstract thinking, and in these cases--not uncommon among those whom I have questioned--the faculty undoubtedly becomes impaired. There is reason to believe that it is very high in some young children, who seem to spend years of difficulty in distinguishing between the subjective and objective world. Language and book-learning certainly tend to dull it. The visualising faculty is a natural gift, and, like all natural gifts, has a tendency to be inherited. In this faculty the tendency to inheritance is exceptionally strong, as I have abundant evidence to prove, especially in respect to certain rather rare peculiarities, of which I shall speak in the next chapter, and which, when they exist at all, are usually found among two, three, or more brothers and sisters, parents, children, uncles and aunts, and cousins. Since families differ so much in respect to this gift, we may suppose that races would also differ, and there can be no doubt that such is the case. I hardly like to refer to civilised nations, because their natural faculties are too much modified by education to allow of their being appraised in an off-hand fashion. I may, however, speak of the French, who appear to possess the visualising faculty in a high degree. The peculiar ability they show in prearranging ceremonials fÊtes of all kinds, and their undoubted genius for tactics and strategy, show that they are able to foresee effects with unusual clearness. Their ingenuity in all technical contrivances is an additional testimony in the same direction, and so is their singular clearness of expression. Their phrase, "figurez-vous," or "picture to yourself," seems to express their dominant mode of perception. Our equivalent of "imagine" is ambiguous. It is among uncivilised races that natural differences in the visualising faculty are most conspicuous. Many of them make carvings and rude illustrations, but only a few have the gift of carrying a picture in their mind's eye, judging by the completeness and firmness of their designs, which show no trace of having been elaborated in that step-by-step manner which is characteristic of draughtsmen who are not natural artists. Among the races who are thus gifted are the commonly despised, but, as I confidently maintain from personal knowledge of them, the much underrated Bushmen of South Africa. They are no doubt deficient in the natural instincts necessary to civilisation, for they detest a regular life, they are inveterate thieves, and are incapable of withstanding the temptation of strong drink. On the other hand, they have few superiors among barbarians in the ingenious methods by which they supply the wants of a difficult existence, and in the effectiveness and nattiness of their accoutrements. One of their habits is to draw pictures on the walls of caves of men and animals, and to colour them with ochre. These drawings were once numerous, but they have been sadly destroyed by advancing colonisation, and few of them, and indeed few wild Bushmen, now exist. Fortunately a large and valuable collection of facsimiles of Bushman art was made before it became too late by Mr. Stow, of the Cape Colony, who has very lately sent some specimens of them to this country, in the hope that means might be found for the publication of the entire series. Among the many pictures of animals in each of the large sheets full of them, I was particularly struck with one of an eland as giving a just idea of the precision and purity of their best work. Others, again, were exhibited last summer at the Anthropological Institute by Mr. Hutchinson. The method by which the Bushmen draw is described in the following extract from a letter written to me by Dr. Mann, the well-known authority on South African matters of science. The boy to whom he refers belonged to a wild tribe living in caves in the Drakenberg, who plundered outlying farms, and were pursued by the neighbouring colonists. He was wounded and captured, then sent to hospital, and subsequently taken into service. He was under Dr. Mann's observation in the year 1860, and has recently died, to the great regret of his employer, Mr. Proudfoot, to whom he became a valuable servant. Dr. Mann writes as follows:-- "This lad was very skilful in the proverbial Bushman art of drawing animal figures, and upon several occasions I induced him to show me how this was managed among his people. He invariably began by jotting down upon paper or on a slate a number of isolated dots which presented no connection or trace of outline of any kind to the uninitiated eye, but looked like the stars scattered promiscuously in the sky. Having with much deliberation satisfied himself of the sufficiency of these dots, he forthwith began to run a free bold line from one to the other, and as he did so the form of an animal--horse, buffalo, elephant, or some kind of antelope--gradually developed itself. This was invariably done with a free hand, and with such unerring accuracy of touch, that no correction of a line was at any time attempted. I understood from the lad that this was the plan which was invariably pursued by his kindred in making their clever pictures." It is impossible, I think, for a drawing to be made on this method unless the artist had a clear image in his mind's eye of what he was about to draw, and was able, in some degree, to project it on the paper or slate. Other living races have the gift of drawing, but none more so than the Eskimo. I will therefore speak of these and not of the Australian and Tasmanian pictures, nor of the still ruder performances of the old inhabitants of Guiana, nor of those of some North American tribes, as the Iroquois. The Eskimos are geographers by instinct, and appear to see vast tracts of country mapped out in their heads. From the multitude of illustrations of their map-drawing powers, I may mention one of those included in the journals of Captain Hall, at p. 224, which were published in 1879 by the United States Government, under the editorship of Professor J. E. Nourse. It is the facsimile of a chart drawn by an Eskimo who was a thorough barbarian in the accepted sense of the word; that is to say, he spoke no language besides his own uncouth tongue, he was wholly uneducated according to our modern ideas, and he lived in what we should call a savage fashion. This man drew from memory a chart of the region over which he had at one time or another gone in his canoe. It extended from Pond's Bay, in lat. 73°, to Fort Churchill, in lat. 58°44', over a distance in a straight line of more than 960 nautical, or 1100 English miles, the coast being so indented by arms of the sea that its length is six times as great. On comparing this rough Eskimo outline with the Admiralty chart of 1870, their accordance is remarkable. I have seen many MS. route maps made by travellers a few years since, when the scientific exploration of the world was much less advanced than it is now, and I can confidently say that I have never known of any traveller, white or brown, civilised or uncivilised, in Africa, Asia, or Australia, who, being unprovided with surveying instruments, and trusting to his memory alone, has produced a chart comparable in extent and accuracy to that of this barbarous Eskimo. The aptitude of the Eskimos to draw, is abundantly shown by the numerous illustrations in Rink's work, all of which were made by self-taught men, and are thoroughly realistic. So much for the wild races of the present day; but even the Eskimo are equalled in their power of drawing by the men of old times. In ages so far gone by, that the interval that separates them from our own may be measured in perhaps hundreds of thousands of years, when Europe was mostly icebound, a race who, in the opinion of all anthropologists, was closely allied to the modern Eskimo, lived in caves in the more habitable places. Many broken relics of that race have been found; some few of these are of bone engraved with flints or carved into figures, and among these are representations of the mammoth, elk, and reindeer, which, if made by an English labourer with the much better implements at his command, would certainly attract local attention and lead to his being properly educated, and in much likelihood to his becoming a considerable artist if he had intellectual powers to match. It is not at all improbable that these prehistoric men had the same geographical instincts as the modern Eskimo, whom they closely resemble in every known respect. If so, it is perfectly possible that scraps of charts scratched on bone or stone, of prehistoric Europe, when the distribution of land, sea, and ice was very different to what it is now, may still exist, buried underground, and may reward the zeal of some future cave explorer. There is abundant evidence that the visualising faculty admits of being developed by education. The testimony on which I would lay especial stress is derived from the published experiences of M. Lecoq de Boisbaudran, late director of the École Nationale de Dessein, in Paris, which are related in his Education de la M. Émoire Pittoresque [7] He trained his pupils with extraordinary success, beginning with the simplest figures. They were made to study the models thoroughly before they tried to draw them from memory. One favourite expedient was to associate the sight memory with the muscular memory, by making his pupils follow at a distance the outlines of the figures with a pencil held in their hands. After three or four months' practice, their visual memory became greatly strengthened. They had no difficulty in summoning images at will, in holding them steady, and in drawing them. Their copies [7] were executed with marvellous fidelity, as attested by a commission of the Institute, appointed in 1852 to inquire into the matter, of which the eminent painter Horace Vernet was a member. The present Slade Professor of Fine Arts at University College, M. LÉgros, was a pupil of M. de Boisbaudran. He has expressed to me his indebtedness to the system, and he has assured me of his own success in teaching others in a somewhat similar way. [Footnote 7: Republished in an 8vo, entitled Enseignment Artistique. Morel et Cie. Paris, 1879.] Colonel Moncrieff informs me that, when wintering in 1877 near Fort Garry in North America, young Indians occasionally came to his quarters, and that he found them much interested in any pictures or prints that were put before them. On one of these occasions he saw an Indian tracing the outline of a print from the Illustrated News very carefully with the point of his knife. The reason he gave for this odd manoeuvre was, that he would remember the better how to carve it when he returned home. I could mention instances within my own experience in which the visualising faculty has become strengthened by practice; notably one of an eminent electrical engineer, who had the power of recalling form with unusual precision, but not colour. A few weeks after he had replied to my questions, he told me that my inquiries had induced him to practise his colour memory, and that he had done so with such success that he was become quite an adept at it, and that the newly-acquired power was a source of much pleasure to him. A useful faculty, easily developed by practice, is that of retaining a retinal picture. A scene is flashed upon the eye; the memory of it persists, and details, which escaped observation during the brief time when it was actually seen, may be analysed and studied at leisure in the subsequent vision. The memories we should aim at acquiring are, however, such as are based on a thorough understanding of the objects observed. In no case is this more surely effected than in the processes of mechanical drawing, where the intended structure has to be portrayed so exactly in plan, elevation, side view, and sections, that the workman has simply to copy the drawing in metal, wood, or stone, as the case may be. It is undoubtedly the fact that mechanicians, engineers, and architects usually possess the faculty of seeing mental images with remarkable clearness and precision. A few dots like those used by the Bushmen give great assistance in creating an imaginary picture, as proved by our general habit of working out ideas by the help of marks and rude lines. The use of dolls by children also testifies to the value of an objective support in the construction of mental images. The doll serves as a kind of skeleton for the child to clothe with fantastic attributes, and the less individuality the doll has, the more it is appreciated by the child, who can the better utilise it as a lay figure in many different characters. The chief art of strengthening visual, as well as every other form of memory, lies in multiplying associations; the healthiest memory being that in which all the associations are logical, and toward which all the senses concur in their due proportions. It is wonderful how much the vividness of a recollection is increased when two or more lines of association are simultaneously excited. Thus the inside of a known house is much better visualised when we are looking at its outside than when we are away from it, and some chess-players have told me that it is easier for them to play a game from memory when they have a blank board before them than when they have not. There is an absence of flexibility in the mental imagery of most persons. They find that the first image they have acquired of any scene is apt to hold its place tenaciously in spite of subsequent need of correction. They find a difficulty in shifting their mental view of an object, and examining it at pleasure in different positions. If they see an object equally often in many positions the memories combine and confuse one another, forming a "composite" blur, which they cannot dissect into its components. They are less able to visualise the features of intimate friends than those of persons of whom they have caught only a single glance. Many such persons have expressed to me their grief at finding themselves powerless to recall the looks of dear relations whom they had lost, while they had no difficulty in recollecting faces that were uninteresting to them. Others have a complete mastery over their mental images. They can call up the figure of a friend and make it sit on a chair or stand up at will; they can make it turn round and attitudinise in any way, as by mounting it on a bicycle or compelling it to perform gymnastic feats on a trapeze. They are able to build up elaborate geometric structures bit by bit in their mind's eye, and add, subtract, or alter at will and at leisure. This free action of a vivid visualising faculty is of much importance in connection with the higher processes of generalised thought, though it is commonly put to no such purpose, as may be easily explained by an example. Suppose a person suddenly to accost another with the following words:-- "I want to tell you about a boat." What is the idea that the word "boat" would be likely to call up? I tried the experiment with this result. One person, a young lady, said that she immediately saw the image of a rather large boat pushing off from the shore, and that it was full of ladies and gentlemen, the ladies being dressed in white and blue. It is obvious that a tendency to give so specific an interpretation to a general word is absolutely opposed to philosophic thought. Another person, who was accustomed to philosophise, said that the word "boat" had aroused no definite image, because he had purposely held his mind in suspense. He had exerted himself not to lapse into any one of the special ideas that he felt the word boat was ready to call up, such as a skiff, wherry, barge, launch, punt, or dingy. Much more did he refuse to think of any one of these with any particular freight or from any particular point of view. A habit of suppressing mental imagery must therefore characterise men who deal much with abstract ideas; and as the power of dealing easily and firmly with these ideas is the surest criterion of a high order of intellect, we should expect that the visualising faculty would be starved by disuse among philosophers, and this is precisely what I found on inquiry to be the case. But there is no reason why it should be so, if the faculty is free in its action, and not tied to reproduce hard and persistent forms; it may then produce generalised pictures out of its past experiences quite automatically. It has no difficulty in reducing images to the same scale, owing to our constant practice in watching objects as they approach or recede, and consequently grow or diminish in apparent size. It readily shifts images to any desired point of the field of view, owing to our habit of looking at bodies in motion to the right or left, upward or downward. It selects images that present the same aspect, either by a simple act of memory or by a feat of imagination that forces them into the desired position, and it has little or no difficulty in reversing them from right to left, as if seen in a looking-glass. In illustration of these generalised mental images, let us recur to the boat, and suppose the speaker to continue as follows:--"The boat was a four-oared racing-boat, it was passing quickly to the left just in front of me, and the men were bending forward to take a fresh stroke." Now at this point of the story the listener ought to have a picture well before his eye. It ought to have the distinctness of a real four-oar going to the left, at the moment when many of its details still remained unheeded, such as the dresses of the men and their individual features. It would be the generic image of a four-oar formed by the combination into a single picture of a great many sight memories of those boats. In the highest minds a descriptive word is sufficient to evoke crowds of shadowy associations, each striving to manifest itself. When they differ so much from one another as to be unfitted for combination into a single idea, there will be a conflict, each being prevented by the rest from obtaining sole possession of the field of consciousness. There could, therefore, be no definite imagery so long as the aggregate of all the pictures that the word suggested of objects presenting similar aspects, reduced to the same size, and accurately superposed, resulted in a blur; but a picture would gradually evolve as qualifications were added to the word, and it would attain to the distinctness and vividness of a generic image long before the word had been so restricted as to be individualised. If the intellect be slow, though correct in its operations, the associations will be few, and the generalised image based on insufficient data. If the visualising power be faint, the generalised image will be indistinct. I cannot discover any closer relation between high visualising power and the intellectual faculties than between verbal memory and those same faculties. That it must afford immense help in some professions stands to reason, but in ordinary social life the possession of a high visualising power, as of a high verbal memory, may pass quite unobserved. I have to the last failed in anticipating the character of the answers that my friends would give to my inquiries, judging from my previous knowledge of them; though I am bound to say that, having received their answers, I could usually persuade myself that they were justified by my recollections of their previous sayings and conduct generally. The faculty is undoubtedly useful in a high degree to inventive mechanicians, and the great majority of those whom I have questioned have spoken of their powers as very considerable. They invent their machines as they walk, and see them in height, breadth, and depth as real objects, and they can also see them in action. In fact, a periodic action of any kind appears to be easily recalled. But the powers of other men are considerably less; thus an engineer officer who has himself great power of visual memory, and who has superintended the mathematical education of cadets, doubts if one in ten can visualise an object in three dimensions. I should have thought the faculty would be common among geometricians, but many of the highest seem able somehow to get on without much of it. There is a curious dictum of Napoleon I. quoted in Hume's PrÉcis of Modern Tactics, p. 15, of which I can neither find the original authority nor do I fully understand the meaning. He is reported to have said that "there are some who, from some physical or moral peculiarity of character, form a picture (tableau) of everything. No matter what knowledge, intellect, courage, or good qualities they may have, these men are unfit to command." It is possible that "tableau" should be construed rather in the sense of a pictorial composition, which, like an epigrammatic sentence, may be very complete and effective, but not altogether true. There can, however, be no doubt as to the utility of the visualising faculty when it is duly subordinated to the higher intellectual operations. A visual image is the most perfect form of mental representation wherever the shape, position, and relations of objects in space are concerned. It is of importance in every handicraft and profession where design is required. The best workmen are those who visualise the whole of what they propose to do, before they take a tool in their hands. The village smith and the carpenter who are employed on odd jobs employ it no less for their work than the mechanician, the engineer, and the architect. The lady's maid who arranges a new dress requires it for the same reason as the decorator employed on a palace, or the agent who lays out great estates. Strategists, artists of all denominations, physicists who contrive new experiments, and in short all who do not follow routine, have need of it. The pleasure its use can afford is immense. I have many correspondents who say that the delight of recalling beautiful scenery and great works of art is the highest that they know; they carry whole picture galleries in their minds. Our bookish and wordy education tends to repress this valuable gift of nature. A faculty that is of importance in all technical and artistic occupations, that gives accuracy to our perceptions, and justness to our generalisations, is starved by lazy disuse, instead of being cultivated judiciously in such a way as will on the whole bring the best return. I believe that a serious study of the best method of developing and utilising this faculty, without prejudice to the practice of abstract thought in symbols, is one of the many pressing desiderata in the yet unformed science of education. |