On Images (1850-1869)

"Observation is like a piece of glass, which, as a mirror, must be very smooth, and must be very carefully polished, in order that it may reflect the image pure and undistorted." (Justus von Liebig, "The Study of the Natural Sciences", 1853)

"It may sound quite strange, but for me, as for other scientists on whom these kinds of imaginative images have a greater effect than other poems do, no science is at its very heart more closely related to poetry, perhaps, than is chemistry." (Just Liebig, 1854)

"The genuine spirit of Mathesis is devout. No intellectual pursuit more truly leads to profound impressions of the existence and attributes of a Creator, and to a deep sense of our filial relations to him, than the study of these abstract sciences. Who can understand so well how feeble are our conceptions of Almighty Power, as he who has calculated the attraction of the sun and the planets, and weighed in his balance the irresistible force of the lightning? Who can so well understand how confused is our estimate of the Eternal Wisdom, as he who has traced out the secret laws which guide the hosts of heaven, and combine the atoms on earth? Who can so well understand that man is made in the image of his Creator, as he who has sought to frame new laws and conditions to govern imaginary worlds, and found his own thoughts similar to those on which his Creator has acted?" (Thomas Hill, "The Imagination in Mathematics", The North American Review Vol. 85 (176), 1857)

"There is a kind, I might almost say, of artistic satisfaction, when we are able to survey the enormous wealth of Nature as a regularly ordered whole - a kosmos, an image of the logical thought of our own mind." (Hermann von Helmholtz. "On the Conservation of Force", 1862)

"When I have before my eyes a pair of stereoscopic drawings which are hard to combine, it is difficult to bring the lines and points that correspond, to cover each other, and with every little motion of the eyes they glide apart. But if I chance to gain a lively mental image (Anschauungsbild) of the represented solid form" (a thing that often occurs by lucky chance), I then move my two eyes with perfect certainty over the figure without the picture separating again." (Hermann von Helmholtz, "Tonempfindungen" ["Sensations of Tone"], 1863)

"By reducing imagination to the power of forming images, and by insisting that no image can be formed except out of the elements furnished by experience, I do not mean to confound imagination with memory; indeed, the frequent occurrence of great strength of memory with comparative feebleness of imagination, would suffice to warn us against such a conclusion." (George H Lewes, "The Principles of Success in Literature", 1865)

"However rapid and remote their flight of thought, it is a succession of images, not of abstractions. The details which give significance, and which by us are seen vaguely as through a vanishing mist, are by them seen in sharp outlines. The image which to us is a mere suggestion, is to them almost as vivid as the object. And it is because they see vividly that they can paint effectively." (George H Lewes, "The Principles of Success in Literature", 1865)

"Simplicity of structure means organic unity, whether the organism be simple or complex; and hence in all times the emphasis which critics have laid upon Simplicity, though they have not unfrequently confounded it with narrowness of range. In like manner, as we said just now, when treating of diction they have overlooked the fact that the simplest must be that which best expresses the thought. Simplicity of diction is integrity of speech; that which admits of least equivocation, that which by the clearest verbal symbols most readily calls up in the reader's mind the images and feelings which the writer wishes to call up. Such diction may be concrete or abstract, familiar or technical; its simplicity is determined by the nature of the thought. We shall often be simpler in using abstract and technical terms." (George H Lewes, "The Principles of Success in Literature", 1865)

"The degree in which each mind habitually substitutes signs for images will be, CETERIS PARIBUS [with other conditions remaining the same], the degree in which it is liable to error. This is not contradicted by the fact that mathematical, astronomical, and physical reasonings may, when complex, be carried on more successfully by the employment of signs; because in these cases the signs themselves accurately represent the abstractness of the relations. Such sciences deal only with relations, and not with objects; hence greater simplification ensures greater accuracy. But no sooner do we quit this sphere of abstractions to enter that of concrete things, than the use of symbols becomes a source of weakness. Vigorous and effective minds habitually deal with concrete images." (George H Lewes, "The Principles of Success in Literature", 1865)

"To imagine - to form an image - we must have the numerous relations of things present to the mind, and see the objects in their actual order. In this we are of course greatly aided by the mass of organised experience, which allows us rapidly to estimate the relations of gravity or affinity just as we remember that fire burns and that heated bodies expand. But be the aid great or small, and the result victorious or disastrous, the imaginative process is always the same." (George H Lewes, The Principles of Success in Literature", 1865)

"Thus representations of the external world are images of the lawlike temporal succession of natural events, and if they are correctly formed in accordance with the laws of our thinking, and we are able correctly to translate them back again into actuality through our actions, then the representations that we have are also the uniquely true [ones] for our faculty of thought; all others would be false." (Hermann von Helmholtz, "Handbuch der physiologischen Optik" Vol. 3, 1867)

"In order to depict nature in its exalted sublimity, we must not dwell exclusively on its external manifestations, but we must trace its image, reflected in the mind of man, at one time filling the dreamy land of physical myths with forms of grace and beauty, and at another developing the noble germ of artistic creations." (Alexander von Humboldt, "Cosmos: A Sketch of a Physical Description of the Universe" Vol. 2, 1869)