come the sensations of the two so-called chemical senses of taste and of smell. Even in man they have the important function of organs of help or protection in the choice of food, as is the case in the whole animal kingdom. The sensations and ideas of hearing stretch much further. By means of them the outer world enters into relation with our consciousness in language, song, and music. And last of all, the sense of sight, the sense of distance in the real meaning of the word, gives form and content to the whole picture of the outer world, that we carry in our consciousness. However different the qualities of sensations and the forms of ideas may be, yet these elements and complexes all agree in one particular--they all refer to the objective world, to things and processes outside of us, to their qualities, their combinations, and their relations. Our own body, to which touch and organic sensations relate, forms in contradistinction to our consciousness a part of this outer world. It is the nearest to us, but still a mere part of the outer world. The question immediately arises: Do these objective elements and complexes form the only content of consciousness? Or in other words, are the only psychical elements such as we project outwards? Or are there in our consciousness, besides this picture of the outer world, other elements, which we do not apprehend as objects or their qualities that stand in contradistinction to ourselves? To answer this question let us use the metronome to help us. If we choose time intervals of a medium length, say 1/2 to 1 1/2 seconds, and if we make such a row of beats rhythmical by the voluntary emphasis of certain beats in the manner described above, then each single beat represents a sensation and the whole row of beats represents an idea. At the same time, during the impression on consciousness of such a rhythmical whole we notice phenomena that are not contained in our definition of sensation or idea. Above all, we have at the end of the row of beats the impression of an agreeable whole. If we wish to define this concept of "agreeable" more accurately, we may describe it as a subjective feeling of pleasure, which is caused by outward impressions, which we therefore call agreeable. This concept consists therefore of two parts--an objective idea, in our case the row of beats, and a subjective feeling of pleasure. This latter is obviously not in itself included in the impression of the row of beats or in that which we call the idea. It is clearly an added subjective element. It also shows itself to be such from the fact that we do not project it into the outer world. It is apprehended directly as a reaction of our consciousness, or rather, to express it at once more fittingly, of our apperception. This shows itself also in the relative independence of this feeling of pleasure from the objective constitution of the impression. Since in such a simple compound as a