"I confess my inability to understand visualised numerals; it is otherwise, however, with regard to colour associations with letters. Ever since childhood these have been distinct and unchanging in my consciousness; sometimes, although very seldom, I have mentioned them, to the amazement of my teachers and the scorn of my comrades. A is brown. I say it most dogmatically, and nothing will ever have the effect, I am convinced, of making it appear otherwise! I can imagine no explanation of this association. [He goes into much detail as to conceivable reasons connected with his childish life to show that none of these would do.] Shades of brown accompany to my mind the various degrees of openness in pronouncing A. I have never been destitute in all my conscious existence of a conviction that E is a clear, cold, light-gray blue. I remember daubing in colours, when quite a little child, the picture of a jockey, whose shirt received a large share of E, as I said to myself while daubing it with grey. [He thinks that the letter I may possibly be associated with black because it contains no open space, and O with white because it does.] The colour of R has been invariably of a copper colour, in which a swarthy blackness seems to intervene, visually corresponding to the trilled pronunciation of R. This same appearance exists also in J, X, and Z." The upper row of Fig. 69 shows the various shades of brown, associated with different pronunciations of the letter A, as in "fame," "can," "charm," and "all" respectively. The second, third and fourth rows similarly refer to the various pronunciations of the other vowels. Then follow the letters of the alphabet, grouped according to the character of the appearance they suggest. After these come the numerals. Then I give three lines of words such as they appear to him. The first is my own name, the second is "London," and the third is "Visualisation." Proceeding conversely, Dr. Key collected scraps of various patterns of wall paper, and sent them together with the word that the colour of the several patterns suggested to him. Specimens of these are shown in the three bottom lines of the Fig. I have gone through the whole of them with care, together with his descriptions and reasons, and can quite understand his meaning, and how exceedingly complex and refined these associations are. The patterns are to him like words in poetry, which call up associations that any substituted word of a like dictionary meaning would fail to do. It would not, for example, be possible to print words by the use of counters coloured like those in Fig. 69, because the tint of each influences that of its neighbours. It must be understood that my remarks, though based on Dr. Key's diagrams and statements as on a text, do not depend, by any means, wholly upon them, but on numerous other letters from various quarters to the same effect. At the same time I should say that Dr. Key's elaborate drawings and ample explanations, to which I