"Though I can usually summon up any object thought of, it not only is somewhat different from the real thing, but it rapidly changes. The changes are in many cases clearly due to a suggestiveness in the article of something else, but not always so, as in some cases hereafter described. It is not at ail necessary to think of any particular object at first, as something is sure to come spontaneously within a minute or two. Some object having once appeared, the automatism of the brain will rapidly induce the series of changes. The images are sometimes very numerous, and very rapid in succession: very frequently of great beauty and highly brilliant. Cut glass (far more elaborate than I am conscious of ever having seen), highly chased gold and silver filigree ornaments; gold and silver flower-stands, etc.; elaborate coloured patterns of carpets in brilliant tints are not uncommon. "Another peculiarity resides in the extreme restlessness of my visual objects. It is often very difficult to keep them still, as well as from changing in character. They will rapidly oscillate or else rotate to a most perplexing degree, and when the characters change at the same time a critical examination is almost impossible. When the process is in full activity, I feel as if I were a mere spectator at a diorama of a very eccentric kind, and was in no way concerned with the getting up of the performance. "When a succession of images has been passing, I sometimes _determine_ to introduce an object, say a watch. Very often it is next to impossible to succeed. There is an evident struggle. The watch, pure and simple, will not come; but some hybrid structure appears--something round, perhaps--but it lapses into a warming-pan or other unexpected object. "This practice has brought to my mind very clearly the distinction between at least one form of automatism of the brain and volition; but the strength of the former is enormous, for the visual objects, when in full career of the change, are _imperative_ in their refusal to be interfered with.