304 CRITIQUES AND ADDRESSES. [xn. 



Again, there are two sorts of magnitude or exten 

 sion : 



&quot; It has been shown that there are two sorts of objects apprehended 

 by sight, each whereof has its distinct magnitude or extension : the 

 one properly tangible, i.e. to be perceived and measured by touch, and 

 not immediately falling under the sense of seeing ; the other properly 

 and immediately visible, by mediation of which the former is brought 

 into view.&quot; 55. 



But how are we to reconcile these passages with others 

 which will be perfectly familiar to every reader of the 

 &quot; New Theory of Vision &quot; ? As, for example : 



&quot;It is, I think, agreed by all, that distance of itself, and imme 

 diately, cannot be seen.&quot; 2. 



&quot; Space or distance, we have shown, is no otherwise the object of 

 sight than of hearing.&quot; 130. 



&quot; Distance is in its own nature imperceptible, and yet it is per 

 ceived by sight. It remains, therefore, that it is brought into view by 

 means of some other idea, that is itself immediately perceived in the 

 act of vision.&quot; 11. 



&quot;Distance or external space.&quot; 155. 



The explanation is quite simple, arid lies in the fact 

 that Berkeley uses the word &quot;distance&quot; in three senses. 

 Sometimes he employs it to denote visible distance, and 

 then he restricts it to distance in two dimensions, or 

 simple extension. Sometimes he means tangible distance 

 in two dimensions ; but most commonly he intends to 

 signify tangible distance in the third dimension. And 

 it is in this sense that he employs &quot; distance &quot; as the 

 equivalent of &quot;space.&quot; Distance in two dimensions is, 

 for Berkeley, not space, but extension. By taking a 

 pencil and interpolating the w r ords &quot; visible &quot; and &quot; tan 

 gible &quot; before &quot; distance &quot; wherever the context renders 

 them necessary, Berkeley s statements may be made per 

 fectly consistent ; though he has not always extricated 

 himself from the entanglement caused by his own loose 

 phraseology, which rises to a climax in the last ten 



