There are three cases left; two where alternates vary in content with no system, and one with variation in distance. The first two are differently carved sections of railing on the side of Freiburg Cathedral, and a differently decorated frieze of squares and circles in the S. Lorenzo Cloisters, Rome. The effect is only of disconnected and fragmentary series in both cases, and especially in the latter case it is impossible to feel it as a repetition at all unless the variations are ignored, and the attention fixed on the unvarying factor of size. The variation of distance is in the Beauvais Palais de Justice, where the first window is at an unequal distance from the others in the series. The effect is only of disorder and accident. We have, then, surveyed all our examples of alternate repetition, and found that in the exceptions to the general principles laid down some other effect than repetition as such was sought. Either (1) symmetry for the series as a unity was required, which demanded variation of the end or central units. In so far, then, as it fulfilled the requirements of symmetry, those of repetition were disregarded. (2) Richness of effect was accomplished by those slight variations in decoration of alternates as well as the principal units. These by their vague suggestions of different combinations of similar elements, and minor differences felt but not attended to, gave a superfluity of experience which made up its peculiar richness. (3) When the human form (or any other form of especial meaning in itself) makes the alternate unit, some variation is demanded as in keeping with its own significance, since in proportion as a thing has meaning in itself, it must not be exactly duplicated. But an invariable alternate is always supplied in the way of a frame, or background, which is felt as the real rest-phase of the rhythm, while the varying alternate forms have a place in a series of their own. Also, since such a complex attitude would be fatiguing, such series are always short, or circular, so that few units are in the field at once. (4) Regular variations in size or content, in either major or minor which recur at fixed intervals, give a heightened rhythmical effect by making certain beats heavier than the rest. As has been stated before, the major unit holds within it the real significance of the _content_ of the experience; the minor unit holds the secret of the _rhythmic_ effect. (5) Only 4 examples of the 125 were found to repeat themselves alternately with irregular variation of alternates and violation of the other principles laid down at the start. These can only be regarded as accidents, as faulty examples of art, whose virtue lies in some other part of the work as a whole, and not by any beauty they possess in themselves as repeated series. SUMMARY 125 _Illustrations._ I. Variations in Principal Unit alone, 87