Eye-Movements and the Aesthetics of Visual Form. By 6. M. Stratton, University of California. With 31 figures in the text. In current theories of our enjoyment of form by the eye, an im¬ portant role is often assigned to the sensations coming from the optic muscles. Grant Allen, for instance, tells us that »Beauty of Form is chiefly concerned with the muscular sweep of the eye in cogniz¬ ing adjacent points. . . . The agreeable feeling derived from all graceful forms is due to the easy and unimpeded action of the muscles and other tissues concerned«1). And similarly Dr. Santayana writes that »In the curves we call flowing and graceful, we have ... a more natural and rhythmical set of movements of the optic muscles «2). Such quotations could be multiplied in favor of the view that grace of curve and symmetry of composition are mainly muscular matters, and that our pleasure here is in the facility of the eye’s motion as it glides over the contour of the figure. The eye’s move¬ ments themselves by their ease and balance, make the form grateful to us; while ugliness of outline springs from a certain friction and weariness in these same organs. It is true that even those writers who insist most strongly on the importance of this muscular element usually introduce later an »intellectual« factor as contributing to the total result. But they put little heart into this concession, and the impression remains that, for them, our appreciation of line and 1) Physiological Aesthetics, p. 168 et seq. 2) The Sense of Beauty, p. 90.