By comparing their observations with my own, I find a total of 108 mental patients with artistic tendencies, of which:--46 were towards painting, 10 sculpture, 11 engraving, 8 music, 5 architecture, 28 poetry. The prevailing psychopathic forms in these 108 cases were:--In 25, sensorial monomania and that of persecution; 21 dementia, 16 megalomania, 14 acute or intermittent mania, 8 melancholia, 8 general paralysis, 5 moral insanity, 2 epilepsy. It is evident that those which predominate are the congenital and least readily curable forms (monomania and moral insanity), together with dementia, and those forms which it accompanies, or in which it is latent (megalomania and paralysis). Let us now consider the special characteristics of these insane artists. _Geographical distribution._--In the districts where the artistic tendency is more marked among the sane, the number of insane artists is also higher. In fact, I have found very few of the latter at Turin, Pavia, or Reggio, while at Perugia, Lucca, and Siena they abound. _Profession._--Only in a few cases could the tendency be explained by profession or habits acquired before the appearance of the disease. We find among the insane artists mentioned above--8 ex-painters or sculptors, 10 ex-architects, carpenters, or cabinet makers; 10 former schoolmasters or priests, 1 telegraphist, 2 students, 6 sailors, soldiers, or officers of engineers. Among modern painters affected with insanity, we may note Gill, Cham, Chirico, Mancini, and others. In some cases, former tendencies were accentuated by insanity. Thus, a mechanician made drawings of machines, two sailors constructed models of ships, a major-domo traced, on the floor, pictures of tables prepared for a banquet, with pyramids of fruit. At Reggio, a cabinet-maker carved some very fine foliage and ornaments; a naval officer at Genoa at first carved models of ships, and afterwards was continually occupied in depicting--though he had never learnt to paint--scenes at sea which, he said, consoled him for being debarred from his favourite element. Sometimes these men were inspired by insanity with a strange energy in their work, “just as if,” as MM. de Paoli and Adriani wrote to me, “they had been paid for it. They cover the walls, the tables, and even the floor, with painting.” One of them, a painter, who had formerly only reached mediocrity, attained such perfection through his malady, that a copy of one of Raphael’s Madonnas, executed by him during one of his attacks, gained a prize medal at the Exhibition.