Here, again, we may see two opposed impulses at work, of which either one or the other may be uppermost in different children, or at different times in the same child. The dread of new clothes has its natural antagonist in the love of new clothes, which is often supported in children of a "subjective" turn by a feeling of something like disgrace at having to go on wearing the same clothes so long. Sometimes the love of novelty becomes a passion. The boy Alfred de Musset at the age of four, watching his mother fitting on his feet a pair of pretty red shoes, exclaimed: "Dépèche-toi, maman, mes souliers neufs vont devenir vieux". Some other fears closely resemble that of new clothes insomuch as they involve an unpleasant transformation of a familiar object, the human figure, the mainstay of a child's trust. Possibly the alarming effect of making faces, which is said to disturb a child within the first three months, illustrates the effect of shock at the spoiling of what is getting familiar and liked. The donning of a pair of dark spectacles, by extinguishing the focus of childish interest, the eye, will produce a like effect of the uncanny. Children show a similar dislike and fear at the sight of an ugly doll with features greatly distorted from the familiar pattern. The fear of certain big objects contains, I think, the germ of this feeling of uneasiness in the presence of strange surroundings. One of the best illustrations of this is produced by a first sight of the sea. Some children clearly show signs of alarm, nestling towards their nurses when they are carried near the edge of the water. Yet here, again, the behaviour of the childish mind varies greatly. A little boy who first saw the sea at the age of thirteen months exhibited signs not of fear but of wondering delight, prettily stretching out his tiny hands towards it as if wanting to go to it. I am disposed to think that imaginative children, whose minds take in something of the bigness of the sea, are more susceptible of this variety of fear. This conjecture is borne out by the case of two sisters, of whom one, an imaginative child, had not even at the age of six got over her fear of going into the sea, whereas the sister, who was comparatively unimaginative, was perfectly fearless. The supposition finds a further confirmation in the descriptions given by imaginative writers of their early impressions of the sea, for example, that of M. Pierre Loti in his volume _Le Roman d'un Enfant_.