tions of the monument and the idea
that I had of the life of the Greeks. The photograph mars my dream.

"From the seen to the unknown. In the S. G. library. A slender young
woman, smartly dressed--spotless black gloves--between her fingers a
small pencil and a tiny note-book. What business has this affectation
this morning in a classic and dull building, in a common environment of
poor workmen? She is not a servant-maid, and not a teacher. Now for the
solution of the unknown. I follow the woman to her family, into her
home, and it is quite a task.

"In the same library. I want to get an address from the _Almanach
Bottin_. A young man, perhaps a student, has borrowed the ridiculous
volume. Bent over it, his hands in his hair, he turns the leaves with
the sage leisure of a scholar looking for a commentary. From the empty
dictionary he often draws out a letter. He must have received this
letter this morning from the country. His family advises him to apply to
so-and-so. It is a question of money and employment. He must locate the
people who, provincial ignorance said, are near him. And so goes the
wandering imagination.

"When I feel myself drawn to anyone, I prefer seeing images or portraits
rather than the reality. That is how I avoid making unforeseen
discoveries that would spoil my model.

"If I make numerical calculations, in the absence of concrete factors,
the imagination goes afield, and the figures group themselves
mechanically, harkening to an inner voice that arranges them in order to
get the sense.

"There may be an imagination devoted to arithmetical
calculations--forms, beings intrude, even the outline of the figure 3,
for example; and then the addition or any other calculation is ruined.

"I revert to the impossibility of making an addition without a swerve of
imagination, because plastic figures are always ready before the
calculator. The man of imagination is always constructing by means of
plastic images.[169] Life possesses him, intoxicates him, so he never
gets tired."

THE END

FOOTNOTES:

[167] See Conclusion, II, above.

[168] B...... is not an architect.

[169] We see that the speaker is a visualizer.

INDEX.

Absent images, Association of, 94.

Abstraction, 15;
Late appearance of, 146.

Abulics, 11.

Activity, normal end of imagination, 11.

Adaptation of means to end, 264.

Advance plans in commerce, 288.

Adventure, Eras of, 287.

Affective states, Role of,