In this investigation, after considerable training, the subjects, with a single exception, _were all convinced that both feeling-tones, for tactual and visual impressions, could be present at once_. When three or more were given at once, confusion as to the state of feeling was usually so great that valuable introspection was always rendered exceedingly difficult. Impressions from the same field, as, for example, colors presented in chosen forms as enclosures, were most often taken as one object with one feeling-tone. This even was by no means always the case. When it was thus taken, the experience was still reported as more complex than either element alone had produced. When the feeling-tones for simultaneous stimulations from two different sources came out sufficiently clearly, the kind of feeling was described in some such terms as indicated in Part I, Section A, except that almost invariably the introspection was more difficult. The relations of these various feeling-components of an affective experience are numerous. There is a frequent tendency to read one into the other. The soft soothing feeling coming from plush, if in the particular experience the color be the more prominent partial element, tends often to make the subject enjoy more the color, because there seems to be added to it a soft yielding surface texture. Frequently also, as in the case of red above, the warmth it suggests is intensified. In cases of feelings of opposite nature occurring together, the stronger generally prevails, finally in most cases effacing all specific tone for the weaker element. An odor, for example, even when always unpleasant, becomes less so when one looks at a pleasant color, when a feeling-tone can, or often even when it cannot, be detected for the color at the time. Again, when a very unpleasant form or tactual impression is being felt, a slightly unpleasant color tends to arouse often in this situation, as if by contrast, a simultaneously pleasant element in the total experience.