The experiments were begun in the following manner: In a velvet screen about a foot high was cut a window 460 mm. by 35 mm. in size. Behind the window was a metre measure and a rod from which hung small strips of cardboard 10 mm. wide. First two, three, and four strips were hung behind the window, and the subjects were required to arrange them at the intervals where they preferred to see them repeated. The results were uniform in certain particulars and very suggestive. In their arrangements of two, three and four strips, the subjects were guided by considerations of symmetry or proportion. They insisted that although they knew that the strips were repeated, they did not feel the repetition, but the strips seemed like parts of some larger unity to be arranged with reference to the unity of the whole. With the addition of the fifth strip came a difference in their apperception. Instead of the strips seeming parts of a whole including figure they seemed like repeated units. FAVORITE ARRANGEMENTS 2 _strips_ 3 _strips_ 4 _strips_ 5 _strips_ J. 30 mms. 4 mms. { mid. sp. = 25 any symmetrical { ends = 10 arrangement better than equality S. 170 12 { mid. sp. = 15 {mid. sp. = 40 { ends = 12 {ends = 30 U. 40 20 30 35 R. 30 130 { mid. sp. = 30 { ends = 10 10 L. 23 40 70 70 W. 40 10 30 30 V. 20 10 { mid. sp. = 100 { ends = 60 15 It will be seen, from the table, that with two exceptions they preferred five strips equally distant from one another, while with four strips, four subjects had preferred a symmetrical arrangement. These gave as their reason that with five strips the latter appeared more definitely to be repetitions of one another, while the four strips seemed more like parts of a whole which required symmetry in its arrangement. Moreover the two subjects who preferred five strips in symmetrical arrangement instead of at equal distances affirmed that a distinct feeling of repetition came with five strips that had not been felt before, only they did not enjoy this feeling of repetition as well as one of symmetry. After having seen the five strips, some subjects could feel the repetition with four strips, but none with three. The question naturally arose, what is this _feeling_ of repetition which makes one say that four or five repeated objects deserve the name, while three or less are regarded in a different light? The analogy between the apperception of this visual repetition and auditory rhythm seemed so strong as to deserve attention.