The article discusses research carried out since 2019 by the Scientific Club [PHI], WAPP. It concernes the analysis of form, made from the so-called critical perception distance. The assumptions of the method result from aesthetic evolutionism. Here they are, in short: The existential challenges of everyday life, repeated for thousands of generations of homo sapiens, perfected the human eye. Our ancestors distant in time, faced with an unknown form, especially a living form, had to immediately detect threats resulting from the meeting. In these frequent, critical for the survival situations, it was crucial to read both the potency and the intentions of the form met: assess both anatomical features and strength, and his “mood” – readiness to take hostile or friendly actions. This assessment must be made in time, from such a distance that would still allow escape if the intentions of the individual turn out to be hostile, and he himself has the necessary strength to implement them. Ethology refers to this critical distance as the residual distance of escape. In the course of evolution anatomy of the human eye has adapted to this distance, forming our field of view as a system of zones. Each of them simultaneously extracts appropriate fragments of the observed form, automatically combined by the interpreting brain into a meaningful whole. This atavistic mechanism of the decomposition of the form on the retina of the eye is the foundation of perception, the basis of universal aesthetics. Thesis of the research: The Great Aesthetic Theory sanctioned the above mechanism implicitly in harmonious forms. They consist of parts which – when analyzed from a critical distance – clearly fill individual zones of the field of view without causing anxiety. These are “good” forms: safe, strengthening the sense of harmony of being: confirming the sense of beauty that is already “in the eye of the beholder”. This overlapping of the image just seen with the expected image (in the eye zones prepared for it) causes an aesthetic resonance – a feeling of beauty. The evidence for the truth of the thesis put forward here has not been derived from the way in which the external image is created in the eye, projected and focused on its retina. The proof results from the analysis of the reverse process: the process of “projection from the eye outwards”, thus the way in which the beauty of the form hidden under the artist’s eyelids is projected - externalized, materializing in artistic or architectural incarnations. The presented material is in the archives of the Club [PHI].