There is, of course, some connection between the scene outside and the mind through which we watch it, just as there are some long-haired men and short-haired women in radical gatherings. But to the hurried observer a slight connection is enough. If there are two bobbed heads and four beards in the audience, it will be a bobbed and bearded audience to the reporter who knows beforehand that such gatherings are composed of people with these tastes in the management of their hair. There is a connection between our vision and the facts, but it is often a strange connection. A man has rarely looked at a landscape, let us say, except to examine its possibilities for division into building lots, but he has seen a number of landscapes hanging in the parlor. And from them he has learned to think of a landscape as a rosy sunset, or as a country road with a church steeple and a silver moon. One day he goes to the country, and for hours he does not see a single landscape. Then the sun goes down looking rosy. At once he recognizes a landscape and exclaims that it is beautiful. But two days later, when he tries to recall what he saw, the odds are that he will remember chiefly some landscape in a parlor.
Unless he has been drunk or dreaming or insane he did see a sunset, but he saw in it, and above all remembers from it, more of what the oil painting taught him to observe, than what an impressionist painter, for example, or a cultivated Japanese would have seen and taken away with him. And the Japanese and the painter in turn will have seen and remembered more of the form they had learned, unless they happen to be the very rare people who find fresh sight for mankind. In untrained observation we pick recognizable signs out of the environment. The signs stand for ideas, and these ideas we fill out with our stock of images. We do not so much see this man and that sunset; rather we notice that the thing is man or sunset, and then see chiefly what our mind is already full of on those subjects.
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