feeling concentrates itself upon the last beat of each row, which in its specific feeling-quality corresponds to the previous rhythmical whole. Exactly the same thing that happened in these rhythmical experiments, repeats itself now in these retarded recognitions of ordinary experience, except that in a way the distribution of the feelings is reversed. In the recognition of a rhythm the feeling corresponding to it arises out of the influence of the elements, that have receded out of the focus of attention into the darker field of consciousness, upon the apperception; in the steady rise of an impression to a state of recognition, the feeling is caused by the influence of the elements that are already in the darker field of consciousness but have not yet entered into the focus of attention. In these complex processes of the recognition of objects, a further condition is added, which in the repetition of rows of beats did not make itself felt, at least not in the same degree, because of the simplicity of the phenomenon, It consists in the fact that each idea possesses a background of other ideas that are joined to it in a spatial or temporal connection, and that in the process of recognition these ideas may hinder or assist the assimilation process. They may retard the recognition or make it absolutely impossible, or they may form essential aids to it. Such secondary ideas can be observed very distinctly in cases where they join the chief idea after some time has elapsed. So in the above example, where the mentioning of the man's name caused a sudden recognition of the person himself; or, to take the reverse of this example, where the assimilation that is being formed is retarded owing to the fact that the name is other than the one suited to the motives of assimilation. Such secondary ideas are of course always present, even although we do not notice them. Even although they are in the darkest region of consciousness, they form, along with the feeling-tone of the chief idea, important components of the feelings accompanying the processes of cognition and recognition, especially in regard to their influence upon the apperception. In this way these latter are in reality always resultants of a sum of influences, and thus each separate experience, because of the unlimited variation of the secondary ideas accompanying assimilations and recognitions, possesses its specific feeling-tone, which distinguishes it from other previous or succeeding experiences.