ABSTRACT
This chapter proceeds on by keeping the concept of schema with regard to perception, especially for its heuristic value. We are compelled to advance at the very start the two major perceptual issues on which Ernst Gombrich brought to bear all his efforts eventually culminating in the G-model of visual perception as was rather patched up in The Sense of Order. The modern history of Western art falls, in Gombrich's opinion, into three periods according to three different functions of the image: illustrative function, evocative function, ambiguity function. Richard Wollheim's reasoning about why projection and schemata will not do for natural vision comes close to the problem of initialization that besets Gombrich's way to understand the perception of perspectival settings. On the grounds of 'meaning as possibility', Gombrich will announce the principle of simplicity hypothesis or simplicity hypothesis for short, which sets two cornerstones of Popper's epistemology, "falsification" and "testability", at the heart of visual perception.
