The _vividness_ of the feeling-tone is likewise a relatively independent phenomenon, and it, too, is not commensurate with the vividness of the sensation as such, and hence demands a different explanation. It can then be dependent upon the _actual stage in the process of completing the movements suggested_ by the color or tone or form in question. All feelings dealt with in this investigation one can describe by relating them to the actual stage in the process of completing the _coördinated adjustments_. Without some progress in such a process no feeling would cross the threshold of awareness. In Part III above are recorded many illustrations, where _degrees of vividness_ for feelings are noted by the subjects. When they were attempting to report the actual time when a feeling became definite enough to be called such at all, there was much difficulty in knowing just when to give the signal. Feelings develop much more slowly than do perceptions. Subjects often give the signal too soon, at once correcting themselves by saying that it was too vague at that moment. It grows in definiteness, and has degrees of vividness. A movement in the first stages of the process, before the feeling-tone has sufficiently developed, is a state of vague feeling. Again, many states of so-called indifferent feeling meant, according to the subjects, not lack of feeling, but rather vagueness, lack of vividness. Three or more stimulations from different sources resulted in confusion where no feelings were vivid. When the color again, for example, is pronounced "dead" so far as feeling is concerned, other feelings and other movements are too prominent. The sensations are in such cases unchanged. The intensity and vividness of the feeling-tone for the color are at a minimum.