While the subject was consciously enjoying a sound from a tuning-fork or a tactual impression from some chosen texture surface, one of the colors was presented to him. The time-interval thus ascertained as necessary for the new feeling-tone to reach its maximum was compared in each case with the time-interval when the color alone was presented. Various combinations were here employed also. Colors in forms in addition were studied in comparison with the same colors presented without regard to the enclosing forms. No definite results could be obtained in most cases. It was thought that the repose one feels for plush might appreciably hasten the feeling-tone for the red and probably retard that for the more exciting yellow. The evidence is not directly conclusive. This was not found to be the case in much more than half of the tests. It did, however, in the great majority of the cases with all subjects, retard the time-interval for the development of the unpleasant character of ordinarily disagreeable colors. Given at such times also the normally unpleasant colors not infrequently appeared themselves as slightly agreeable. In these cases the interval was also appreciably longer, suggesting evidence that new processes of some sort were set up. A pleasant low tone hastened the arousal of a pleasant feeling-tone for red quite perceptibly for three subjects, and had no influence upon the other subjects. The feeling-tone for yellow under the same circumstances was for two subjects retarded regularly, with no marked effect either way for the others. The same low tone retarded all the unpleasant colors, as did the plush, in many cases causing them to appear as pleasant. The effect of forms, as enclosures for colors, upon the time-rate was more marked and constant. Subject I again was always disturbed when colors were presented to him in definite forms. For him feeling-tones never arose so quickly when the form-element entered. For the other six subjects, available for this part of the work, upright ovals considerably increased the whole state of pleasure whether or not fusion of the different elements resulted. For them the feeling-tone for every pleasing color was hastened from two fifths to four fifths of a second. These same forms retarded the unpleasant colors whenever one element of the experience seemed to be opposed to the other. Occasionally here also the color appeared as itself directly and unaccountably pleasant, the prepared situation of the subject being such, apparently, that the ordinary character of the color did not appear at all. This was very frequently the case for all subjects.