These statues presented on colors as backgrounds are variously and interestingly modified. The feeling-tones for colors distinctly affect the meaning of the statues. Of the above colors our shade of red is preferred with Venus by all subjects. Here the feeling-tones more nearly fuse. Always the feeling-character of the statue predominates, and the other feeling-elements of the situation are accepted or rejected in proportion as they harmonize or fail to harmonize with the predominant partial tone. Red, for example, here adds to the "richness and luxuriousness." It accentuates the strength, poise, grace, balance, ease, rest, wisdom, composure, endurance, and dignity. It is more soothing, and calls for no unnecessary action. One subject never liked any color as a background. In this case colors were good in proportion as "they kept out of the way." This is the reason for red being always preferred to yellow or green. With these latter colors there is an interplay of reactions not coöperating. The color-exciting element is more immediate, tension is brought about, the color asserts itself, is pleasant, and tends directly to inhibit the feelings for the statue. The pleasure in the color is called "thin" in comparison, and the power of sympathetic appreciation of Venus is lessened. There is suggestion now in the statue still of its strength, but with no "enduring" quality. It has become commonplace, merely a "pretty woman," jaunty, self-sufficient, cynical, and with little dignity. The motion element, now prominent, is not pertinent. The statue looks "cheap," and as a figure is volatile and unsteady. In a similar way one finds these feeling-tones for colors variously playing their part. The statue of Apollo is not pleasing to some subjects. They want it "toned down." The red effects this. To some it is most pleasing by its suggestion of easy grace and springy, elastic step. The yellow harmonizes and accentuates this chosen feeling. The blue often destroys its moral meaning. The red hampers the feeling for the _Laocoön_ group. They become listless, dead, and have still strength, but no struggle. Yellow increases the amount of activity, but often lessens the "serious despair." Fierceness is added, but the liveliness thus furnished is at the expense of the necessary balancing solemnity. The color again becomes intrusive. "The snakes fairly dance," and the "flashing action behind" the statue is now too prominent.