 When the “statue” touches another object, it experiences only one sensation of solidity without the answering sensation. The absence of the second sensation is supposed to induce the judgment that there is something else that is solid. An awareness of the shape of objects and their locations in an ambient space is then developed on this basis. The “statue” subsequently learns to attribute smells and sounds to objects by discovering that moving objects can make these sensations appear or disappear (Treatise III.i-ii). Moving its hands before its eyes and discovering how this causes colour sensations to appear or disappear leads it to think of colour sensations at first as being on the surface of its eyes, then as being outside of it beyond arm’s length, and then as being on the surfaces of particular tangible objects within arms length (Treatise III.iii.1–19). Having reached this stage of development, it is ready to learn to perceive objects to be at even more remote distances through discovering associations between such visual distance cues as the clarity and apparent size of visual images and the distance that must be crossed to touch an object. The interpretation of the cues then becomes so natural that we seem to be directly seeing depth. Condillac quietly ignored his earlier objections to this position (Treatise III.iii.20–33).