In another dream in which I saw a painter occupied on a picture, a landscape representing sunrise, memory recalled the effect of light as vivid, but no definite sense of colour remained. This seems to me the normal condition of things in the ordinary dreams of most persons, colour, when it occurs, or when it is remembered, being for the most part confined to a single object or a single tint, and often being associated with a feeling of aesthetic pleasure. In ordinary dreaming there is usually something more than a spontaneous procession of related imagery. There is a more definitely central and psychic element. There is association, not only by obvious resemblance, but by contiguity, usually the casual contiguity of images received during the previous day, which forces together images related to each other indeed, but by no means obviously. Dreaming consciousness embodies and actively co-ordinates definite, and not merely random, images. The passive and spontaneous flow of imagery is thus modified in its course. The image of the magic lantern well illustrates this character of dream experiences. The movement of the cinematograph, indeed, scarcely corresponds to that fusion of heterogeneous images which marks dream visions. Our dreams are like dissolving views in which the dissolving process is carried on swiftly or slowly, but always uninterruptedly, so that at any moment two (often, indeed, more) incongruous pictures are presented to consciousness, which strives to make one whole of them, and sometimes succeeds, and is sometimes baffled. Or we may say that the problem presented to dreaming consciousness resembles that experiment in which psychologists pronounce three wholly unconnected words and require the subject to combine them at once in a connected sentence. It is unnecessary to add that such analogies fail to indicate the subtle complexity of the apparatus which is at work in the manufacture of dreams.