 Hopkins’ definition of seeing-in addresses several influential objections to Wollheim’s own approach. In particular, it avoids the implication that the figure-ground relationship is a universal feature of depiction; it explains precisely how the experience of seeing a certain kind of object in a surface is related to the experience of seeing the same kind of object face to face, and how the experience of seeing one kind of object in a surface differs from the experience of seeing another kind of object in a surface; and it explains the fact that objects are necessarily depicted from an implicit point of view. But Hopkins does not claim that there is invariably an exact match between the content of a picture and what can be seen in it (Hopkins 1998a: 128; see also Brown 2010; Dilworth 2005, 2010). Drawing on his or her knowledge of pictorial culture and convention, an educated spectator will discount some features of the object seen in a picture—such as deviations from normal human anatomy—attributing them to the prevalent pictorial style, rather than including them in the picture’s intended content. In this way, Hopkins draws a distinction between the content of seeing-in, which is determined by experienced resemblance in outline shape alone, and pictorial content, which also depends on the artist’s intentions (Hopkins 1998a).