Likewise as regards so-called bad forms, no single statement is unqualifiedly true of any considerable number of subjects. The decided feeling of irregularity, the "bulging-out" or the undesirable "pushing-in" of the figure, the feeling of weakness in one's own body corresponding, the feeling of instability which one tends himself to imitate in various ways, the total effect of lack of poise, all tend to make these figures on the whole unpleasant. But one cannot even here count upon the constancy of the subjects' feelings. At times, due perhaps to undercurrents of association processes of which even the subject himself is not clearly aware, the figure suddenly looms up as quite definitely pleasing, and full of vague suggestiveness and hidden richness of content. These varying characters of the feelings for forms come out interestingly later in the study of them when they are presented as frames for the above described colors. * * * * * _Section B._ The bodily processes noted by the subjects are numerous, and here also, just as with the amount of feeling above, the personal differences are striking. Some subjects detect a great many forms of organic commotion, others rarely find anything that can be said to be descriptive or explanatory of the feeling-state. To all of them at first this looking for bodily accompaniments destroyed the feeling itself. Only after considerable training was it possible for them to find any physiological processes that seemed at all significant. As a general statement the evidence would all tend to suggest that feelings for color are most readily and directly referred to the head, face, throat, and particularly to the forehead and to the eye-muscles. When, however, the feelings are particularly strong, they tend to pervade the whole organism. Red thus often brings about the suggestion of general bodily comfort, and yellow, when very strong, arouses the impulses calling for "spreading-out, aggressive movements," referred to arms, shoulders, and chest. Tones have in general the same reference to the head. Odors are always more organic, affecting more directly the respiration, muscles of the abdomen, and the more internal apparatus generally. Tactual impressions refer to the trunk rather than to the face, hand, arms, or legs. Forms seem to call forth imitative movements, and the actual or incipient motor impulses refer to the action of the eyes in motion, the position of the head, of the whole body, of the shoulders particularly, of the shaping of the cheeks, lips, etc., and of the similarly imitative actions in the hands and arms. The following is a list collected from the reported bodily references given for the feelings described in Part I, Section A. (1) Free full respiration and free activity of all voluntary muscles; or, for other feelings, the checking of respiration and often the lack of impulse to move at all, with no suggestion, however, in most cases, of lassitude.