=Images of Sounds.=--These also differ in individuals. Those who think by preference in auditory images are called audiles by Mr. Galton. _This type_, says M. Binet, "_appears to be rarer than the visual_. Persons of this type imagine what they think of in the language of sound. In order to remember a lesson they impress upon their mind, not the look of the page, but the sound of the words. They reason, as well as remember, by ear. In performing a mental addition they repeat verbally the names of the figures, and add, as it were, the sounds, without any thought of the graphic signs. Imagination also takes the auditory form. 'When I write a scene,' said Legouvé to Scribe, 'I _hear_; but you _see_. In each phrase which I write, the voice of the personage who speaks strikes my ear. _Vous, qui êtes le théâtre même_, your actors walk, gesticulate before your eyes; I am a _listener_, you a _spectator_.'--'Nothing more true,' said Scribe; 'do you know where I am when I write a piece? In the middle of the parterre.' It is clear that the _pure audile_, seeking to develop only a single one of his faculties, may, like the pure visualizer, perform astounding feats of memory--Mozart, for example, noting from memory the _Miserere_ of the Sistine Chapel after two hearings; the deaf Beethoven, composing and inwardly repeating his enormous symphonies. On the other hand, the man of auditory type, like the visual, is exposed to serious dangers; for if he lose his auditory images, he is without resource and breaks down completely." =Images of Muscular Sensations.=--Professor Stricker of Vienna, who seems to be a 'motile' or to have this form of imagination developed in unusual strength, has given a careful analysis of his own case. His recollections both of his own movements and of those of other things are accompanied invariably by distinct muscular feelings in those parts of his body which would naturally be used in effecting or in following the movement. In thinking of a soldier marching, for example, it is as if he were helping the image to march by marching himself in his rear. And if he suppresses this sympathetic feeling in his own legs and concentrates all his attention on the imagined soldier, the latter becomes, as it were, paralyzed. In general his imagined movements, of whatsoever objects, seem paralyzed, the moment no feelings of movement either in his own eyes or in his own limbs accompany them. The movements of articulate speech play a predominant part in his mental life. "When, after my experimental work," he says, "I proceed to its description, as a rule I reproduce in the first instance only words which I had already associated with the perception of the various details of the observation whilst the latter was going on. For speech plays in all my observing so important a part that I ordinarily clothe phenomena in words as fast as I observe them."