For many subjects frequently there results what I shall call a "Total Mood." This, as to its feeling-character, can be merely different from, more than, less than, or the same as either component or of both together. To some the feeling is proportionate to the degree of concentration of attention, and in all such cases rarely does the whole complex situation afford a feeling equal to that given by either component alone, the extra stimulation for the time being simply a disturbing factor. To others the shifting of the focus of attention from one to another of the external objects of interest, or from one feeling-element to the other, is not at all disturbing, "any more than is any general state of satisfied self-contemplation." This kind of experience is often and distinctly reported, not as the enjoyment of two where the discernible elements persist wholly unrelated, but rather an enjoyment (or disagreeable experience as the case may be), simply from two sources of stimulation, a total mood with similar or harmonious constituents. The red color and the tactual feeling for plush afford this. Similarly the unpleasant color above combines with certain odors or with the sandpaper. Yellow, however, does not as a rule produce a feeling that peaceably "falls in with" the tactual impression brought about by the plush. Low tones tend to combine thus with the red color or with the softest plush in the same kind of Total Mood. The feeling-tones usually for pleasant high tones are described as "falling in with" the feeling for yellow when the feeling exists as described above, and as nearer to that of the feeling for the green color than for the particular deep shade of red. What may be termed the "_Congruity_ or _Incongruity of Feeling-Tones_" is perhaps a good name to designate feeling-tone relations. It implies neither mutual exclusiveness nor total fusion, and some such term is necessary. The various phenomena of fusion, summation, partial reënforcement, merely simultaneous, independent coexistence, partial and total inhibition, of one by the other occur. The feeling-tone for yellow tends most readily to fuse with the feeling-tone for high tones and upright ovals. This is not so marked for the green, but more so for all other colors than for the red. Red harmonizes and tends to fuse, for most subjects, with the feeling-tones for soft plush, low tones, and circular forms. This harmonizing, however, is not all that contributes to the amount of feeling in these complex cases. Subjects often prefer the low tones with yellow, even though there is less harmony. So also upright ovals are in themselves generally so much more pleasant than the circles that red is preferred thus presented, though its feeling-character is more akin to that suggested by the circles. These are cases where the intensity itself of the feeling-tone is preferred, even though what is felt to be an harmonious combination is lessened.