Subject J is nervous, of an uneven temperament, emotional, and quick to react to a situation of any kind, and, rather more than the others, subject to suggestion. Subject K responds very quickly always, is habitually prompt and clear in statement, of an even temperament, and unusually interested in the experiment. Subject L is unexperienced in this particular kind of work, but slow and careful. Though athletic, his movements are rather heavy. He is deliberate in speech and of an even, though rather undemonstrative temperament. He also is musical. In order to verify my somewhat personal descriptions here recorded a questionnaire was given each subject to fill out according to his own personal judgment of his emotional disposition. This was done toward the close of the investigation, and the answers agree in the main with the descriptions offered above. For the first month's preliminary practice, and with the purpose of stimulating curiosity and interest, and of testing the comparative richness of even slight feeling-experiences, a great variety of stimulations was used. Twenty different tactual surfaces from softest plush to very rough sandpaper served for the tactual impressions. Twelve different odors, as many colors differing in saturation and intensity, and tones from high and low tuning-forks, and noises variously produced, were employed as stimulations for the other senses. Besides these, circles, upright and horizontal ovals of various sizes, imperfect circles and ovals, and other irregular shapes were all presented in the same large black frame. When studied alone indifferent gray fillings were used. When complex states were in question colors served as fillings. When the subjects thus became accustomed to these very simple but very definitely _felt_ experiences, in these for the most part habitually ignored affective elements of ordinary sensations, the investigation at once became narrowed to more careful and minute attention to a few of these feeling-tones. It was soon found also that odors could not easily be used in combination, since they effectively effaced all feeling-tones for the simultaneously given colors or touches. Five colors, fairly representative for all subjects of different kinds of feeling-tones, were chosen, and were used throughout the whole investigation. These were the following: a soft deep red, light brilliant yellow, deep pure green, saturated blue, and a dingy greenish-yellow. The dimensions of the exposed surfaces were six by six inches.