OBJECT AND LIVING ORGANISM 97 



set on the canvas the content-signs corresponding to a clear- 

 cut schema, if he is to achieve a convincing effect. Accord- 

 ingly, he must pay close attention to the process within 

 himself when he is drawing objects, so that this may dominate 

 his representation of them as freely as possible. 



In the line of the great masters we recognise this domina- 

 tion by their schemata ; and, at the same time, we get the 

 conviction that the schemata are individual to the artist, and 

 are markedly distinguishable from one another even when 

 the commonest things are depicted. 



Our whole memory is like the rigging-loft of a theatre / 

 with wings filled with schemata, which from time to time 

 appear on the stage of our consciousness, not in their own 

 character, but dressed up in the content-qualities of our mind. 



It is most unfortunate that we can never behold the 

 consciousness-stage of another living being ; nothing would 

 be more instructive than to see the world through the schemata 

 of another. But at least let us never forget, as we watch our 

 fellow-men going to and fro around us, that they are treading 

 the boards of our stage, and we theirs. The stages are never 

 identical ; in most cases, indeed, they are fundamentally 

 different. And we can never hope to play on the stage of 

 others the role that we play on our own. 



THING AND OBJECT 



Qualities and schemata together compose the things of 

 the outer world, as we see them displayed before us. We 

 say that things have such and such properties, and if every- 

 thing remained in a state of repose, this would be a complete 

 statement concerning the world. But everything in the 

 world is subject to movement and change, and all things 

 react on one another reciprocally. In the course of their 



G 



