y of the several things on the table to
bring them clearly before the mind's eye, and when I think of some
things the others fade away in confusion.

_Last Octile_.--Dim and not comparable in brightness to the real
scene. Badly defined, with blotches of light; very incomplete; very
little of one object is seen at one time.

_Last Suboctile_.--I am very rarely able to recall any object
whatever with any sort of distinctness. Very occasionally an object
or image will recall itself, but even then it is more like a
generalised image than an individual one. I seem to be almost
destitute of visualising power as under control.

_Lowest_.--My powers are zero. To my consciousness there is almost
no association of memory with objective visual impressions. I
recollect the table, but do not see it.

I next proceed to colour, as specified in the third of my questions,
and annex a selection from the returns classified on the same
principle as in the preceding paragraph.

COLOUR REPRESENTATION.

_Highest_.--Perfectly distinct, bright, and natural.

_First Suboctile_.--White cloth, blue china, argand coffee-pot,
buff stand with sienna drawing, toast--all clear.

_First Octile_.--All details seen perfectly.

_First Quartile_.--Colours distinct and natural till I begin to
puzzle over them.

_Middlemost_.--Fairly distinct, though not certain that they are
accurately recalled.

_Last Quartile_.--Natural, but very indistinct.

_Last Octile_.--Faint; can only recall colours by a special effort
for each.

_Last Suboctile_.--Power is nil.

_Lowest_.--Power is nil.

It may seem surprising that one out of every sixteen persons who are
accustomed to use accurate expressions should speak of their mental
imagery as perfectly clear and bright; but it is so, and many
details are added in various returns emphasising the assertion. One
of the commonest of these is to the effect, "If I could draw, I am
sure I could draw perfectly from my mental image." That some artists,
such as Blake, have really done so is beyond dispute, but I have
little doubt that there is an unconscious exaggeration in these
returns. My reason for saying so is that I have also returns from
artists, who say as follows: "My imagery is so clear, that if I had
been unable to draw I should have unhesitatingly said that I could
draw from it." A foremost painter of the present day has used that
expression. He finds deficiencies and gaps when he tries to draw
from