The irregular unpleasant forms generally retarded the feeling-tone for the enclosed color when that color appeared to have lost some of its accustomed agreeableness. When, however, the contrast in feeling-character between the form-element and the color-element as such was noted as marked, the feeling-character of the color was more often hastened than retarded. These same forms in almost every case (of nearly two months' work for seven subjects) hastened the feeling-tone for the corresponding disagreeable color. Often again pleasant colors changed the feeling-tones for these irregular forms. In such cases the influence could not be attributed to the effect of unpleasant forms upon feeling-tones. Statistics alone seem insignificant here. Each variety of affective experience in itself presents its own peculiar difficulties. In a great number of tests the affective phases of the experiences were all described in such terms as to suggest that too general a grouping of them would not mean much. Often when one thought, after a careful choice of the stimuli to be used, that the experiment would show that feelings whose prominent characteristics were those of excitement or tension, for example, were exerting an influence upon some other kind of feeling, introspection would reveal the fact that altogether other phases of the experience were the pronounced elements. Examples of what at first appeared to be capricious results illustrate the baffling nature of the problem here dealt with. Red is very pleasant. The oval with the bulging side is repulsive. This combination caused no marked retardation in the time required for a feeling-tone to develop. The blue, not so markedly pleasant alone, with the same bulging oval as its frame, had its feeling-tone changed, and the time-development quite perceptibly hastened. This same blue color with an upright oval as its frame produced a feeling-tone much more pleasant, also with marked hastening of the speed-development of its feeling-character. The pleasant-unpleasant dimension of the feeling clearly cannot alone furnish one with an explanation of these different phenomena. The red under normal conditions, _i. e._, if not influenced by either favorable or unfavorable coexisting feeling-tones, aroused its peculiar and not necessarily pervasive kind of physiological process. Likewise all our evidence goes to show that the feeling for blue is correlated with a peculiar physiological process, not so deeply seated in the organism, and not so satisfactorily coördinated, or "definite." Now the specific feeling-tone for forms arises when the imitative adjustment called for is successfully accomplished. In the first combination cited above the feeling-tone for red, being mild, soothing, more pervasive than blue, but lacking in the exciting character, is correlated with processes not so easily influenced by the reactions occasioned by the presented forms. Subjects say that it does not call for "surface