One more example I will give to bring out another and important feature in the mental process. Strolling before breakfast in early spring in my friend's garden, there is borne to me on the morning air a whiff of violet fragrance. Not only does this lead me to construct violets, but it reminds me of a scene in my childhood with which the scent of these flowers was closely associated. Not only is the object constructed, but a scene with which their fragrant odour has been associated is _reconstructed_ in memory. The violets are immediate constructs or presentations of sense; the remembered scene is a _reconstruct_ or representation in memory. So, too, when I heard a piercing howl in the street, the dog I constructed was a vague presentation of sense; but the street in which I instinctively placed him was a reconstruct or representation in memory. The difference between a construct or presentation of sense, and a reconstruct or representation in memory, is that the former is directly suggested through the immediate action of some quality or activity of the object, while the latter is indirectly suggested through some intermediate agency. Before proceeding further, let us review the conclusions we have thus far reached. Through the action of certain surroundings on our sensitive organization, we receive certain impressions, and among these impressions and others revived in memory we recognize certain similarities or differences in quality, in intensity, in order of sequence, and in source of origin. The sensations which thus originate are mental facts in no sense resembling their causes, but representing them in mental symbolism. The consciousness of similarity or difference is no part of the impression, but a further mental fact arising out of the impression, and with it giving origin to sensation. It deals with the relation of impressions among each other and to the recipient. It involves recognition and discrimination. Its basis is laid in memory. The sensations are instantly localized, referred to objects, and projected outwards, mainly through the instrumentality of the muscular sense. The mental symbolism is thus built into the objects around us, and constructs are formed. But into the tissue of these constructs are woven, not only the sensations immediately received, but much that is only suggested through association as the outcome of past experience, individual and ancestral. The constructs and their associated reconstructs are thus endowed with qualities which have practical reality, since they are not for me only, but for you and for mankind. They are, therefore, in a sense independent of _me_, but nowise independent of _man_.[FT] Some of the constructs are endowed with activities, and some with feelings akin to our own. Finally, in the field of vision which we construct or reconstruct, the objects are seen to stand in relationship to each other, and the scene as a whole is perceived to be part of an orderly sequence of events.