emphasis, if we produce the rows A and B after one another by means of knocking and without a metronome. Here the emphasised beats are not only subjectively, but also objectively accentuated. If, by this method, another observer compares the rows A and B given successively, he obtains at the end of each row such differing impressions that he cannot decide with certainty whether the rows are of equal or of different lengths. We saw above, that with the repetition of similar rows of beats, five rows of 4/4 time could be apprehended at once. Now, however, as soon as the rhythm is changed, it is impossible to compare one single row with another of differing rhythm. The aggregate feeling concentrated at the end of each row of beats possesses each time a qualitative colouring dependent upon the constitution of the rhythm. This colouring coincides in its general form with the feeling of agreeableness that arises at the end and with the feeling of relaxation following the strain of expectation. These observations supplement essentially our former results as to the apprehension of longer rows of beats. We found that the knowledge that two rows were the same, always came at the end of a row, and that this verification followed the rows directly in one uniform act of apperception. Now we can explain this phenomenon perfectly by the uniform nature and the instantaneous rise of that resulting aggregate feeling. Because of this the last beat in a rhythmical row comes to represent the whole row. 'The quality of the rhythmical feeling that corresponds to the time in question concentrates itself in a perfectly adequate manner in the apperception. Thus the qualitative shades of feeling that are bound to the idea come to represent the idea itself. This substitution is of the greatest importance, above all from the fact, as we have clearly seen in the rhythmical experiments, that the ideas and their components lying in the darker fields of consciousness influence in their apperceptive affective power the process of consciousness.