There are all possible degrees of transition from the simple bald representation of the words pleasure or pain, love or fear, to the acute, fully and entirely felt representation of these states. In a crowd of people taken at random, one might, with the help of adequate information, determine all the intermediate degrees, from the abstract to the concrete. Still more, these may be met with in the same individual. When the poet says that “Sadness departs upon the wings of Time,” his meaning, in psychological language, is that the affective memory is gradually transformed into an intellectual memory. We know that certain artists, in order to get rid of the memory of a sorrow or a passion, have fixed it in a work of art. This was Goethe’s method; every one knows the story of _Werther_, to quote but one example. One of my correspondents employs the same procedure with success; _i.e._, in the case we are dealing with, the question is how to transfer emotion to the region of the imagination, and, consequently, intellectualise it. I have said that in certain persons the revival of emotional states seems to be complete. Is it so in fact? I believe that it is impossible to give a precise answer to this question; and here we have a point where the emotional memory differs from the intellectual memory. A given recollection is considered accurate; but in the majority of cases this is only an illusion. Nearly always, in revived impressions, there are deductions and losses, sometimes additions; sometimes they include _plus_, sometimes _minus_ factors. At any rate, in the intellectual order, there are certain cases where one can say that the recollection is perfect, without the least gap or error; and this affirmation is legitimate because verifiable. It is quite sufficient to compare the copy with the original. If I enter a hall of the Alhambra with my eyes closed, I can ascertain whether the inner vision which I have retained from a former visit is adequate to the reality. I can check my recollection of a passage of music by the actual hearing of the same. The painter mentioned by Wigan who executed his portraits from memory, Mozart reconstructing Allegri’s _Miserere_, are the classic examples of perfect cases where the impression is revived with irreproachable exactitude.