Page:Popular Science Monthly Volume 16.djvu/819

 most obvious way of realizing such smoothness is by reducing the degree of change or contrast to a minimum. In this way we get a gradation of movement either in respect of velocity or of direction.

Gradation in direction or velocity, like gradation in shade of color or pitch of tone, is attended by a peculiarly agreeable feeling. One and the same movement may exhibit a gradual rise and fall of velocity, and it is probable that this is the form of movement naturally produced by all muscular contraction. Gradation in direction, which is at the basis of all curvilinear movements, depends on a gradual alteration in the relative degrees of activity of two or more muscles, and so corresponds to gradation in color or tone, which is supposed to rest on a continual increase of activity in certain nerve-elements, and decrease in others. A mode of gradation somewhat similar to that in direction is experienced in symmetrical movements of convergence, and especially in moving the axes from a near to a distant point, and so gradually relaxing the tension due to convergence.

This mode of motor enjoyment is realized when standing in the middle of a building or an avenue of trees, and tracing an imaginary central receding line, and it is noticeable that we naturally place ourselves in the position and execute this kind of movement whenever we wish to appreciate the effect of perspective. It may be added that a union of gradation of velocity with that of duration, as in tracing the path of a projectile across the field of vision, affords the eye its richest form of motor delight.

A graduated series of movements allows of the least exciting degree of the feeling of variety. If a more powerful effect of change is desired, the element of smoothness must be looked for in another way. A succession of different movements has a certain degree of smoothness if they are continuous and free from sudden pauses and jerkiness. This can only happen if the movement is continuous in time, and, what is implied in this, in space—that is to say, the second movement must be one which can be commenced in that position of the eye in which the first has left it. Where this is not the case, there must be a "spring," so to speak, of the eye, to the new starting point, which counts as an appreciable element of roughness or unevenness.

A higher degree of fluency is attained when the muscles, successively employed, are organically connected one with another, whether by some innate arrangement or by the influence of habit. This applies more especially to the action of the antagonists. A movement of the eyes to the left of the field produces a tendency in the antagonists to pull them back again. Hence the natural disposition to trace