Subject B could get no kind of pleasant feeling from any tactual surface, while to Subject E even the coarsest sandpaper usually afforded pleasant stimulation. As spoken of above, articulatory impulses were characteristic of the motor tendencies of Subjects D and G. To Subject A the experiences seemed richest and fullest, and the corresponding bodily processes were likewise more pronounced and varied. In the great majority of the experiments, especially during the period of training, the feeling itself vanished when the subjects attempted to analyze the bodily processes. It was chiefly, however, a matter of training, and this more and more ceased to be a disturbing element. Some subjects preferred often to speak of circulatory, or at least, decidedly internal and usually involuntary changes in addition to, and sometimes without, the controlled muscular actions. The mood of the time affects the amount of feeling, and occasionally, but far less frequently, the quality. The moral significance of the feelings was most prominent when the subject felt most interested in the experiment, as may be noted above in their descriptions of the feelings for red and yellow. What may be termed the "_regularity element_" would seem generally to serve as the test especially for the pleasant-unpleasant character of the feeling-tone. The feeling of expansiveness never accompanied unpleasant feelings. Feelings of contraction, on the other hand, very often occurred when the feelings were not at all disagreeable. In such cases there was a significance attached to the direction or meaning of the adjustment. PART II _Section A._ Here simultaneous stimulations of different sense-organs were given, and the situation became at once more complex. For some time only colors and tactual surfaces were employed. Later tones from tuning-forks and noises were added. Forms with different colors as fillings still further complicated the experience. Odors as a rule were unsatisfactory, being so strong as entirely to inhibit all noticeable effects from the other senses. For all subjects at first the feeling-tone related only to the one object directly attended to. Some effort is required to detect the feeling-tone for these slight stimulations, and while this is being done, the feeling for the other sensation tends to vanish. If, while enjoying the soothing contact with the plush, a chosen color is disclosed in the frame and attended to sufficiently to obtain from it a decided feeling, there is a distinct awareness of the dropping of the feeling for the touch. To some subjects, whatever the combinations used, this almost constantly occurred for perhaps a month. Often again there seemed to result a total "feeling of the situation," when the attention was on neither stimulating object.