A further characteristic which correlates closely with the æsthetic arrangement is to be found in the relative ease with which images can be called up and contemplated in the various modes of sensation, in the absence of any physical stimulation,—what we may call the imaginative possibilities of the different senses. With most people visual and auditory imagery is both more vivid and intense, and more facile and prompt, than is imagery within any of the other sensory modes. We have in another section referred to one observer who recorded his mental images as they occurred or were noticed until 2,500 had been enumerated, and who reports that 57 per cent of them were visual, 29 per cent auditory, leaving only a total of 14 per cent for images from all the other senses. Dreams, which consist mainly of imagery experiences, are commonly visual in character, with hearing a close second, and the other modes hardly represented at all. Hallucinations reported by supposedly normal people are in 90 per cent of the cases either visual or auditory, and the visual are about twice as frequently reported as the auditory. Records of hallucinations among the insane show vision and hearing clearly most prominent, with hearing somewhat more prominent than sight. Can it be that the possibility of recall in the form of imagery, contemplation in the absence of the original stimulus or object, is one of the prime qualifications of sensory impressions that are to serve as æsthetic material? There will probably be no exception taken to such a generalization on the part of anybody. The order on the basis of imaginative value is identical with that on the basis of æsthetic value, ethical value, and genetic development. _The Non-Social Character of the Lower Senses_ It is interesting to note that the higher senses are also the so-called distance receptors; they do not require immediate contact with the stimulus-producing object, whereas the lower senses inform us mainly concerning objects that are in direct or approximate contact with our own body. By virtue of this fact, as has often been remarked, it is possible for many of us to _see_ the same object, such as a rainbow, however far apart we may be from each other. And we can all hear the same melody-producing instrument if we place ourselves within a certain fairly large area. But social experience is scarcely possible in the case of contact, taste, smell, temperature. Here the most we can do is to get the experiences in succession, and even this is often impossible. Even when it is possible to get the experiences in this way, by taking turns, we find it difficult to confer over them, since all conference is now on the basis of memory images, and, as we have already seen, we find it difficult, if, indeed, not quite impossible, to call up clear and persistent images of the impressions afforded by these senses.