The psychology of individuals and groups shows startling differences in the kind and vividness of imagery. Many cases are on record where the mental life is almost exclusively in visual, in auditory, or in motor terms. One student learns a foreign language by writing out every word and sentence; another is wholly dependent on hearing them spoken; a third can recall the printed page with an almost photographic vividness. The history of literature and art furnishes us with illustrations of remarkable powers of visualization. Blake and Fromentin were able to reproduce in pictures scenes long retained in memory. The latter recognized that his painting was not an exact reproduction of what he had seen, but that it was none the less artistic because of the selective influence that his mind had exerted on the memory image. Wordsworth at times postponed the description of a scene that appealed to his poetic fancy with the express purpose of blurring the outlines, but enhancing the personal factor. Goethe had the power to call up at will the form of a flower, to make it change from one color to another and to unfold before his mind's eye. Professor Dilthey has collected many other records of the hallucinatory clearness of the visual imagery of literary artists. On the other hand, Galton, after his classical study of mental imagery (1883), stated that scientific men, as a class, have feeble powers of visual representation. He had appealed for evidence of visual recall to distinguished scientists because he thought them more capable than others of accurately stating the results of their introspection. He had recourse not only to English but to foreign scientists, including members of the French Institute. "To my astonishment," he writes, "I found that the great majority of men of science to whom I first applied protested that mental imagery was unknown to them, and they looked on me as fanciful and fantastic in supposing that the words 'mental imagery' really expressed what I believed everybody supposed them to mean. They had no more notion of its true nature than a color-blind man, who has not discerned his defect, has of the nature of color." One scientist confessed that it was only by a figure of speech that he could describe his recollection of a scene as a mental image to be perceived with the mind's eye.