Full text of "Psychological atlas : with 400 illus."

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DAVID KATZ

FOR MANY YEARS it
has been the good for-
tune of Professor David
Katz, of the University of
Stockholm, to be invited
to speak to diverse groups
of people about the meth-
ods and the subject mat-
ter of the science of psy-
chology. Thus he discov-
ered that, no matter how
the members of his audi-
ence differed in compre-
hension of his language,
the use of graphic mate-
rials aroused their inter-
est and served to illus-
trate his points. Over a
period of many years he
has collected many
graphic materials where-
by to illuminate these
popular lectures as well
as to stimulate his univer-
sity students to acquire a
deep store of knowledge
about principles and
methods in the study of
behavior.

A number of the pic-
tures are the common
property of all psycholog-
ists, but most of them are
rarely found in American
books. Students of psy-
chology are certain to dis-
cover that this atlas fur-
nishes material for many
a pleasant and stimulat-
ing hour.

From the collection of the

b t

JJibrary

Francisco, California
2007

PSYCHOLOGICAL ATLAS

PSYCHOLOGICAL
ATLAS

DAVID KATZ

UNIVERSITY OF STOCKHOLM

WITH 400 ILLUSTRATIONS

PHILOSOPHICAL LIBRARY

NEW YORK

THE PHILOSOPHICAL LIBRARY, INC.

15 EAST 4OTH STREET, NEW YORK 1 6, N. Y.

PRINTED IN THE UNITED STATES OF AMERICA

TABLE OF CONTENTS

FOREWORD vii

INTRODUCTION ix

PART I: TEXT 3

CHAPTER 1. GENERAL PSYCHOLOGY 3

CHAPTER 2. CHARACTEROLOGY AND TYPOLOGY 16

CHAPTER 3. DEVELOPMENTAL PSYCHOLOGY 20

CHAPTER 4. PHYSICAL HANDICAPS 26
CHAPTER 5. ABNORMAL PSYCHOLOGY AND PSYCHIATRY

CHAPTER 6. OCCULT PHENOMENA 32

CHAPTER 7. APPLIED PSYCHOLOGY 34

CHAPTER 8. ANIMAL PSYCHOLOGY 36

PART II: DIAGRAMS 43

EMINENT PSYCHOLOGISTS 129

APPENDIX 138

FOREWORD

Pictures and diagrams reach across the barriers of language and differing
modes of thought, and thereby people are brought into a community of understand-
ing. For many years it has been the good fortune of Professor David KaU, of the
University of Stockholm, to be invited to speak to diverse groups of people about
the methods and the subject matter of the science of psychology. Thus he discov
ered that, no matter how the members of his audience differed in comprehension of
his language, the use of graphic materials aroused their interest and served to illus-
trate his points. Over a period of many years he has collected many graphic ma-
terials whereby to illuminate these popular lectures as well as to stimulate his uni'
versity students to acquire a deep store of knowledge about principles and methods
in the study of behavior.

The translator has wisely kept some of the "Old World flavor" in many of the
concise explanatory notes. To the professional American psychologist many of the
pictures and diagrams will appear quaintly amusing. He will be interested to learn
what foreign students of psychology learn about the work of American psycholog'
ists. A number of the pictures are the common property of all psychologists, but
most of them are rarely found in American books. Students of psychology are
certain to discover that this atlas furnishes material for many a pleasant and stim-
ulating hour.

Philip Lawrence Harriman,
Bucknell University

INTRODUCTION

In many fields of science the atlas has proved to be a useful device for interesting
the young student. Courses like geography, zoology, botany, anatomy, and history
of art necessitate the use of graphic materials. No one has hitherto brought together
within the covers of a single volume the interesting and useful pictures which relate
to various phases of psychology. Consequently, this atlas, which represents the first
attempt to organize a collection of graphic material, should meet a genuine need.

The book is intended to stimulate an interest in psychology. In other words,
the primary intent of the author is not that of making a contribution to science, but
that of arousing a zeal for the study of psychology. For many years he has taken
advantage of every opportunity to illustrate, by demonstrations and pictures, his
lectures and discussions in the classroom. As a result, he has accumulated a large
number of pictures. Even when lecturing before gatherings not well'versed in the
author's language, he has found that the intelligibility of pictures and diagrams
transcended linguistic barriers.

Now these materials are presented to American students of psychology. The
general reader may find this atlas as interesting as the classroom student. The pic'
tures certainly demonstrate how broad is the scope of psychology; hence they may
serve to counteract the influence of evanescent interests in such fields as abnormal
psychology or child development. Here, in short, is an eloquent demonstration of
the breadth of the field of psychology.

Not all branches of psychology can be adequately illustrated by pictures and dia-
grams. To represent in graphic form some of the more abstruse topics would re-
quire the use of cumbersome diagrams and pedantic explanations. If that were
done, the atlas would defeat its purpose and become a sterile textbook. Likewise,
it has been necessary to disregard the matter of coherence. Groupings of pictures
are, necessarily, arbitrary procedures; and the user of this atlas may wish to re-or'
ganize the arrangements.

The pictures are numbered sequentially, and the explanatory comments -- neces'
sarily brief and inadequate - - are given in Part I. By intent, these notes have been
made brief. They are intended merely to stimulate the young student to relate this
textbook knowledge to a concrete situation. These pictures have been chosen from
many sources. Some are the common property of all psychologists; hence no credit
is given. Many of the pictures have been drawn from rare books. Some pictures,
unfortunately, the author has been unable to trace.

David Katz

University of Stockholm

PART ONE

I. GENERAL PSYCHOLOGY

Physiological Foundations

1*. Lateral view of the left hemisphere of the brain. The following motor centers
are indicated: eye movement (Augendrehung) , movement of head (Kop/dre-
hung), Broca's speech area (Sprache), writing (Schreiben), facial muscles
(MtmdfaziaZis), tongue (Zunge), larynx (KehZ^opf), mastication (Kauen), es-
ophagus (SchZimd), leg (Bern), and arm (Arm). The following centers for sen-
sory functions are indicated: area for general sensation (Korperfuhlsphare),
visuo'sensory areas (optisches Sprachzentrurn; opti'sche Erinnerungsbilder) , and
audio'sensory area (a\ustisches Sprac/izentrum) .

2. The medial surface of the right hemisphere. The following centers are indicat-
ed: area for general sensation (Korper/uhZsphare), olf action (Riechen), gusta-
tion (Schmec^en), and vision (Sehen).

3. The autonomic nervous system and its relation to the central nervous system,
the duct and the ductless glands, and the visceral organs.

4. A section of the spinal chord; cp, afferent (sensory) nerve; g, ganglion; 5, syn-
apse; cf, efferent (motor) cell.

5. Schematic representation of the electroencephalogram, which records brain
waves.

' The numbering of the descriptions in Part One corresponds to the numbers of the pictures and
the diagrams in Part Two.

6. Two different types of brain waves; A, the Alpha rhythm; Z, the time line;
and B, the Beta wave.

Olfaction, Gustation, and Hunger

7. Schematic representation of the olfactory cells and the supporting tissues.

8. Henning's olfactory sensation prism, the six basic odors being as follows: resin'
ous, burnt, putrid, spicy, flowery, fruity.

9. Papilla and taste bud of the human tongue.

10. Diagram of the upper surface of the tongue, showing the regions not yielding
the four basic tastes. The dots in circles at the top represent the circumvallate
papillae; .... encloses the area insensitive to bitter; - - encloses the area
insensitive to sweet; - - - - the area insensitive to salty; and ooooo the area in'
sensitive to sour. The zone filled with dots is totally insensitive to taste.

11. The taste tetrahedron. There are four basic taste sensations: sweet, sour, bit'
ter, and salty.

12.-13. Cannon, an American physiologist, devised a method for studying the
contractions of the stomach in hunger. He had a subject swallow a rubber
ball connected to a drum (M). Thus, the rhythmic contractions were re'
corded on a kymograph (K). The inhalation-expiration ratio was measured
by a pneumograph (P). The subject indicated his awareness of hunger pangs
by pressing a telegraph key. A section of the kymographic record is shown
in diagram 13.

14.-15. Succi, an Italian professional faster, before and after twenty-nine days of
abstinence from food.

16. Even at the same intensities of hunger, a hen will eat more from a large heap
of food than from a small one. These tests were performed daily; small and
large piles of food being used alternately, the hunger intensity of the hen
being kept constant.

Cutaneous sensations

17. The spots indicate minute areas on the backs of the fourth and fifth fingers
which are sensitive to cold. Not all points on the surface of the skin are
equally sensitive to stimuli of heat, cold, pressure, or pain.

18. Sensitivity of body surface to heat. The darker the area, the greater the sens'
itivity.

19. Areas of the body at which vibrations are sensed while singing. The drawing
shows the degrees of the damping of the vibrations (expressed in nepers) in
various bodily regions.

20. Vibrators are used in a study of the vibratory sensations. These devices relay
graded vibrations to the body. When the subject holds a vibrator in each hand,
he can recognize the difference if one hand receives the vibrations I/ 10,000th
of a second before the other.

21. The bar-triangle experiment. Three wooden bars are arranged to form an
isosceles triangle open at the vertex. The subject places his hands on the base
of the triangle, and the experimenter gently taps one of the bars near the
open vertex. The subject can recognize, by vibration sense, whether the shak'
ing reaches him from the right or the left. This apparatus has been used in
studies of the "vibration sense."

Audition and the sense of equilibrium

22. A cross'section of the human ear. 1, auditory nerve; 2, inner auditory canal;
3, utricle; 4, one of the semicircular canals; 5, saccule; 6, cochlea; 7, ductus
endolymphaticus; 8, saccus endolymphaticus; 9, perilymph space; 10, osseous
labyrinth; 11, petrous bone; 12, oval window; 13, round window; 14, auricle;
15 and 16, cartilaginous and osseous parts of the external auditory canal; 17,
tympanic membrane; 18, malleus; 19, incus; 20, stirrup; 21, 22, and 23, middle
ear.

23. Diagrammatic representation of tones. Musical tones differ in intensities, timbre,
and pitches. O represents the upper limit of hearing - - about 40,000 vibra-

tions a second; U, the lower limit - - about 20 vibrations a second. High tones
(H) are light in volume; low tones (T) are heavy and massive. The approxi-
mate position of the tonal qualities of certain vowels and consonants is indi'
cated.

24. Analysis of a musical sound, consisting- of tone and overtone.

25. The inner ear includes the sense organs for balance: the vestibular apparatus
and the semicircular canals. These receptors may be stimulated by rotating
the subject in a revolving chair.

Vision and optical illusions

26. Cross section of the human eye: s, sclera; b, cornea; /, conjunctiva; a, crystal-
line lens; }{, nodal points; c, posterior chamber; g, choroid tunic; h, ciliary
muscle; b, iris; i, retina; p, yellow spot (macula lutea); and, d, optic nerve.

27. Examples of stages in the evolution of the human eye. A, nautilus; B, phyllo-
doce; C, nauphanta; and, D, cuttlefish.

28. To locate the blind-spot, close the right eye, hold the book about a foot away,
fixate the left eye on the upper cross. Observe that the large circle disappears,
though the smaller circles remain in the field of vision. Now shift the fixation
point to the lower cross and observe that the large circle reappears. This
phenomenon is caused by the blind-spot (Mariotte's circle), which is the point
at which the optic nerve emerges into the eyeball. The spot is about 1/1 7th
of an inch in diameter.

29. The perimeter, an instrument used in determining the color zones of the retina.

30. The results of an eye-test by the perimeter are recorded on a chart: F, fixation
point; B, location of blind-spot; the line, the boundaries of the field of vision.

31. The color pyramid, a tridimensional, schematic representation of basic colors:
V, white; S, black; ro, red; H, blue; gr, green; and gu, yellow.

32. A simple device for illustrating positive afterimages. On one side of a card
letters are printed right-side-up, and on the other upside down; the card is
rotated by strings, and an image of the word persists. This phenomenon is
also called the terminal lag of a visual sensation.

33. The histology of the retina: St (Stdbchen), rods; Z (Zap/en), cones; G 1,
G 2 neurons.

34. Simultaneous brightness-contrast. The small circles are of equal brightness, and
so are the angles (d); but the contrasting backgrounds make them appear un-
equal in brightness.

35. Each ring is of the same degree of brightness throughout, but the contrasts
make the inner half of each ring look brighter and the outer half darker. This
is called marginal contrast.

36. If the eyes are fixated at the center, gray areas appear where the white lines
bisect. This illusion is attributable to the contrast effect, which is especially
strong in the lateral plane of the retina.

37. HelmholtVs chessboard design. In order to make the lines of a chessboard
appear straight, they must be curved like those in the figure. If this design
were enlarged sevenfold, the lines would appear straight when viewed with one
eye from a distance of eight inches.

3S.-39. Astigmatism literally means that a point (stigma) is not correctly per-
ceived. Defective curvature in one or more of the refractory portions of the
eye -is the cause. It has been suggested that certain irregularities in the figures
painted by El Greco are due to the artist's astigmatism, but the hypothesis has
not been proved.

40. The Miiller-Lyer illusion. Actually, the horizontal lines are of equal length.

41. Zollner illusion. The vertical lines are parallel, but the short bisecting lines
make them appear to slant.

42. Hering illusion. This, also, indicates that acute angles are over-estimated, and
obtuse angles are underestimated. The lines in the upper and the lower repre-
sentations are parallel.

43. The horizontal line running through the middle of the drawing appears to rise
towards the left. The explanation is that each pair of contiguous squares is per-
ceived as a unit; and, as a result of the emphasis thus placed upon their diago-
nal, they appear to be twisted clockwise. The illusion is caused by the cumu-
lative effect of this torsion motive.

44. Lipps illusion. The central oblique lines are parallel, though they do appear
to diverge. The illusion is attributable to the repetition of contrast effects.

45. The slant of the individual strokes which compose the letters is transferred to
the letters. If the figure is viewed from a distance, the illusion vanishes.

46. You believe that you are looking at spirals, but actually they are circles. The
brighter outlines of the circles make them appear to bend outwards, and the
darker outlines, inwards. The cumulative effect of these alternate lines makes
the illusion so obvious.

47. Curvature contrast. The inner lines are identical.

48. The distance from 1 to 2, from 3 to 4, and from 4 to 5 is the same; but that
between 1 and 2 appears to be the shortest. The explanation lies in the fact
that we do not attend to the diameters of the lower circles in estimating the
distance.

49. Sander's illusion. The diagonals of the two joined parallelograms on the right
are of identical length, but the diagonal of the larger parallelogram seems to
be longer. The judgment depends upon the relative size of the figure. Compare
the length of the lines in the parallograms with those in the triangle at the left.

50. The man in the distance appears to be larger than the boy, though both are
of the same height. The illusion is due to the perspective effect.

51. If you rotate this picture rapidly, the striped disks will appear to move in the
same direction and the cogwheel in the opposite direction. When it is stopped,
we get the impression that it is revolving in the opposite direction. This illusion
is mainly the result of contrast effects.

52. Apparatus for the demonstration of apparent movement. The disk on the ro-
tator is slowly revolved for about a minute. When it is stopped, we get the

impression that it is revolving in the opposite direction. When the spiral is
rotated slowly, it appears to come out from the center. When the rotator is stop'
ped, the spiral gradually shrinks. This apparent movement is due to the termi'
nal lag of the sensation.

Perception

53. Diagram of the optic apparatus. G (Gesichtsfdd) represents the field of vis'
ion; R, retina; P, primary centers for vision; and S (Sehrmde), visual cortex.
Objects on the left side of the visual field stimulate the right side of the retina;
those on the right, the left side of the retina. Note the manner in which the
optic nerves cross, and the way in which they extend toward the cerebrum.

54. If we fixate upon c, it is seen as a single point; but a and b are seen as if they
were each doubled. The diagram illustrates the manner in which we exper-
ience double images.

55. A typical chart for measurement of visual acuity. Cohn's chart is used to de-
termine the visual acuity of small children who cannot read. The disk shows
a design, resembling a letter, which is looked at from various distances. All
the designs except one are covered by a second, superimposed disk. The child
is given a rod with the design fastened to its tip, and is asked to duplicate the
position of the design.

56. Hering's apparatus for testing visual depth perception. The subject has to
decide whether the marble is dropped in front of, or behind, a fixed marble.
Depth perception is much more accurate in binocular than in monocular vision.

57. Apparatus for demonstrating the law of identical lines of vision. Two sheets
of plate glass are placed at a distance of about twenty inches apart, and
the subject is asked to stand about twenty inches from the first glass. A fixa-
tion point (F]) is indicated on the rear glass; then a small piece of red paper
is affixed at Si and a green paper at S.. Now a gray hue is seen at F a . In the
second test, the fixation point is indicated on the nearer glass, and the red and
the green papers are located on the second glass. The fixation point (F 2 ) now
appears gray.

58. A prism stereoscope, which is a device for production of tridimensional im-

ages. The photographs are taken with two cameras set as close together as the
human eyes, and they are inserted at m - o. The observer now sees a tridi'
mensional picture at c.

59. It appears as though all points on a moving wheel were going at the same rate:
but, in actuality, the individual points on the rim describe cycloids.

60. Anschiitz, stroboscope, which is a primitive forerunner of modern cinemato-
graphy. The apparatus consists of a drum with slits at equal intervals. The
inner wall of the drum is lined with pictures showing different phases of a
continuous movement. When seen through the slits of the revolving drum,
the pictures seem to be in motion. This device requires the subject to use but
one eye in order to secure the effect.

61. The auditory localisation of stimuli. When the sound waves reach the ears
simultaneously, the source is located as "straight ahead." When the sound
waves reach the left ear (O,, Ohren] before the other, the source is shifted to
that side; likewise with sounds from the right side. Effective time differences
for left or right localization can go as low as l/30,000th of a second.

62. Young's pseudophone. If the sound waves are reversed by this apparatus, the
individual will be confused for a while, but he will eventually become habitu-
ated to acoustic orientation.

63. Aristotle's anomaly. If the fingers are crossed, and a pencil is moved back and
forth at the crossing point a sense of being touched by two pencils will be
experienced. The stimulus is perceived as though the fingers were in normal
position.

64. The subject is asked to fold his hands in the manner shown in the picture,
to look at his fingers, and to move quickly the one which is pointed out by the
experimenter. Nearly always the subject will move the corresponding finger
on the other hand. The illusion is attributable to the influence of habit. If
the experimenter touches the subject finger, the error does not occur.

Ccstalt qualities

65. One of the earliest problems investigated by Gestaltists is the analysis of fac-
tors producing and influencing visual space perception. Six laws are illustrated:

a, Proximity (Components of a configuration are integrated according to the
principle of the shortest distance); b, Similarity (When there are several ele-
ments, there is a tendency to integrate similar elements into patterns) ; c, the
"Good" Gestalt Factor (Elements which form a smooth curve tend to fit to-
gether); d, Closure (Lines forming unbroken boundaries of a plane surface are
more readily perceived as a unit than are lines which do not touch); e, Expe-
rience (Habit influences the manner in which lines are brought into a configura-
tion. Here a capital E is perceived.); and f, Significant Resemblance [Pragnanz]
(Elements which do not deviate too greatly from the pattern are seen as part
of the pattern. Thus the dots at the bottom are identified with the circle.)

66. Although the Gestalt is difficult to get, b is contained in a.

67. Can you see the square in this design?

68. Design and background. The white may be perceived as either the design or
the background. However, symmetry favors the perception of the illustration
as a design.

69. The small triangles are actually of the same degree of brightness, though a
seems to be brighter than b. The explanation is that a impedes the closure of
the Gestalt of a cross.

70. Design and background. Is it a white vase or two faces juxtaposed? The
Gestalts alter quickly.

71. Is it a flight of stairs or a ceiling ornamentation?

72. Is it a six-pointed star or a group of cubes?

73. You see either four capital T's or a white design against a black ground.

74. Is it merely a jumble of black spots or the letters I T A?

75. At first, you see mounds; but look steadily at the picture. Do you see holes?
Notice how the lighting-effect alters.

76. Is it a rabbit or a duck?

77. Do you see an old woman or a young girl?

78. Can you perceive him as looking upwards? downwards?

79.-80. Double heads. Rotate the book slowly by one hundred and eighty degrees.
Notice how the first head vanishes and another takes its place. This effect is
known as trans posability. Mentally defective children seem to have trouble
in perceiving any change.

"Psychology" of the hand

81. The human and the gorilla hand. One important difference is the fact that the
human being is able to bring the thumb into opposition to the fingers.

82. "Hands" for specialized purposes: a, digging (mole); b, swimming (otter); c,
climbing (sloth); d, running (horse); e, flying (bat). The human hand is not
specialized; it is a universal tool.

83. In emotional states, there is a secretion of perspiration on the hands. This
may be observed by smearing the hands with a small amount of iodine in cas'
tor oil, and then rubbing potato flour over them. Secretion of perspiration
makes the flour turn brown.

84. The fact that many tools are, in a sense, models of the functions of the hand
demonstrates its versatility.

85. Expressive hand gestures of a Hindu priest in Bali.

Memory

86. The Ranschburg memory drum. By means of this apparatus, the subject may
be presented with various types of material to be memorized, the exposures
being set at various time intervals.

87. Apparatus for measuring the reaction times for reproducing memorized lists,
such as nonsense syllables. The subject speaks into the microphone on the left

the word which he associates with the one on the memory drum. The reac'
tion time is recorded by the Hipp chronoscope, which measures time in one'
thousandths of a second.

88. Mnemonics consist of systematic aids in acquiring and recalling knowledge.
These pictures serve as a mnemonic device for learning the Morse code.

89. A program of a demonstration in lightning calculation by G. Ruckle, one of
the most famous experts in mental arithmetic.

fatigue

90. The Mosso ergograph. The finger is inserted into a ring from which a cord
runs to the weight (Vi^t). The number and the strength of pulls are re-
corded on a kymograph (Trumma) . By determining the total weight lifted
(that is, the weight times the number of lifts) and the total height of all the
liftings, the experimenter can express the results in foot-pounds or -meter kilo-
grams.

91. Two ergographs by the same subject. A was made when he was well rested,
and B, after he had taken a long hike.

92. The hand dynamometer, an instrument for measuring the strength of grip.
The maximum score is dependent upon psychological as well as physical fac-
tors. Competition, for instance, raises the score.

93. An esthesiometer, an instrument used to measure the two-point threshold. The
points are applied singly and doubly, in random order and at various distances
between the two points. Ability to judge "twoness" varies widely in differ-
ent parts of the body. At one time it was thought that fatigue might be meas-
ured in terms of a dulling of this discriminative ability.

Emotions

94. Apparatus for recording the pulse rate. In "general, pleasant experiences tend
to quicken the rate; unpleasant experiences, to retard it.

95. Plethysmograph, apparatus for measuring changes in blood volume of a limb.
The blood volume shifts to the skeletal muscles during strong emotion. This
change is measured by having the subject insert his arm into a vessel of water,
a rubber cuff keeping the water from running out. As the volume alters, a re-
cord is made by means of a stylus attached to a drum.

96. A respiration curve (a) and a pulse rhythm (p), t indicating the time line.

Symbolism

97. Each of these feathers had a different meaning for a tribe of North American
Indians: a, the killing of an enemy; b, a scalping; c, beheading; d, the wound'
ing of an enemy.

98. Indian symbols: A, war; B, morning; C, nothing; and D, eating.

99. Chinese ideograms: (hands joined), full, complete; F (hands outstretched),
acceptance, friendship; G (hands aloft), subordination, master; H(hands apart),
removal, distance. These show how symbols pass from concrete to abstract
meanings.

100. Egyptian hieroglyphics (also illustrating the transition from concrete to ab-
stract symbolism): A (sun), division of time; B (writing utensils), writing;
C (front of a lion), previous; D (wasp), royal dignity; E (tadpole), multitude;
F (ostrich feather or any feather), fairness, impartiality; G (moon and stars),
month; H (oral gesture), eating, drinking, speaking, thinking, knowing; I (ceil-
ing), sky, superiority; L (water), cleansing; M (height), enthusiasm, joy; 7s^
(chieftain), dignity; O (child), education; P (mummy), embalming, rite?, pic-
tures, forms.

101. Transition from ideograms to phonetic symbols. A is a lute, but also good-
ness, owing to the likeness between the sound of the words. B is a scarab, but
it means to become. C, a swallow, means great. In D, the first two symbols
represent the sound of the word bread; next to them is the ideogram for bread.

102. These drawings were produced by children between eight and thirteen years
of age when they were asked to symbolize words like time, soul., J^ew Tear,
light, dar\, and the like.

103. A pictorial record by North American Indians. Here is the message: Ten mem-
bers of the Fish Tribe went in a canoe toward the mouth of a river. The lake
is identified by the outline.

104. Picture writing by Alaskan Indians. The account is as follows: Fishermen left
their boat (a) and sought refuge in a hut (d), where they have nothing (b)
to eat (c). The message, on a piece of wood, was left in the hope that assis'
tance would be given.

105. The Chinese ideograms for Psychology, composed of three parts which literally
mean heart, ways, study (Read from top to bottom).

II. CHARACTEROLOGY AND TYPOLOGY

Facial expressions

106.-107. Facial muscles (after Hans Virchow). These are pictures of the muscles
which are innervated in facial expressions.

108 .-111. Piderit's analysis of facial expressions in feelings and emotions. According
to him, expressions arose in the following manner: When tasting sweet, a per-
son brings his jaws tightly together to get the maximum stimulation; when tast'
ing bitter, he opens the jaws as widely as possible. Thus, the "sweet" and the
"bitter" faces had their origin. Muscles about the eyes support the function
of vision. Thereby, according to Piderit, sensory impressions and facial ex-
pressions were associated. At length, the facial expressions occur alone, without
the sensory stimuli originally attached to them. In 108 there are the following
expressions: (a) the sweet expression; (b) scrutiny; (c) sullenness; and (d)
anger. In 109 these expressions are depicted: (a) contempt; (b) laughter; (c)
boisterous mirth; (d) weeping. In 110 there are (a) the furtive look; (b)
the charmed look; (c) concentration. In 111, (a) reveals sleepiness; (b) sur-
prise; (c) bitterness; and (d) stark horror.

112. In the upper row are two photographs of a person expressing different emo-
tions. These were cut in half and pasted together in the pictures in the lower
row. It is evident that the mouth is more expressive than the eyes.

Physiognomy

113.-116. At one time the students of physiognomy, influenced by a writing attrib'
uted to Aristotle, held the theory that when human beings resembled animals
they had the character traits of those animals.

117.-118. Humorists have satirized human types in pictures like these: 117, "The
Poet;" 118, "The Introduction."

Phrenology

119.-120. Bissky's dectrodiagnoscopy , which was a curious attempt to revive Gall's
phrenology. The skull surface is divided into zones, each being identified with
certain abilities and talents. The subject and the examiner both hold electrodes,
and then the examiner touches the regions with his fingertips. The type and
the intensity of the shocks are supposed to indicate the abilities and the talents
of the subject.

Composite photography

121. -124. Francis Galton was the first to make composite photographs. These are
produced by superimposing the photographs of members of the same trade or
profession upon one another. Thus, the individual features become obliterated,
and the features common to all members of the group are accentuated. 121,
The ten most intelligent boys in a class of ten-year-olds. 122, The ten least in-
telligent. 123. Composite photograph of the most intelligent boys. 124. Com'
posite photograph of the least intelligent boys.

Diet and facial expressions

125. Ten-year-old boys who lived on a vegetarian diet.

126. Twelve boys who ate meat.

127. Twelve girls who lived on a vegetarian diet.

128. Girls who ate meat.

129. Composite photograph of the boys who lived on a vegetarian diet.

130. Composite photograph of the boys who ate meat.

131. Composite photograph of the girls who had a vegetarian diet.

132. Composite photograph of the girls who ate meat.

133. 135. Thirteetvyear-old boys and girls who lived on a vegetarian diet.

134. 136. Those who ate meat.

137. 139. Composite photograph of the vegetarians.

138. 140. Composite photograph of those who ate meat.

Facial asymmetries

141. -144. At the top of each set of pictures is a photograph of the subject. Below
are synthetic photographs made by combining half the face with its mirror
image. This has been done for the left and the right sides of each face.
Symmetrical faces are rare. Some French people have developed the opinion
that the right side of the face reveals the inner character (of a right'handed
person), and the left half, the social nature.

Kretschmer's types

145. The asthenic bodily type associated with schizophrenia.

146. The face of a schizophrenic, revealing the asthenic type.

147. The pyknic build of the manic depressive.

148. The broad type of face associated with the pyknic build.

149. The athletic build.

Gauss' types

150. The achievement type (Nordic).

151. The performer type (Mediterranean).

152. The destiny type (desert people).

153. The destiny type.

154. The salvation type (Near East).

155. The deliverance type (Turanian).

156. The deliverance type.

Rorschach and Szondi tests of personality

15 7. -160. These are the symmetrical inkblots included in the Rorschach test. Since
they are chance forms, the subject's interpretations reveal his manner of ap-
proaching situations, his mental sets and attitudes, and his range of interests.

161. The Szondi test. The subject is asked to decide which faces he likes and which
he dislikes. The photographs are of persons with such well'defined disorders as
manic-depressive psychosis, paranoia, schizophrenia, hysteria, sadism, and the
like.

III. DEVELOPMENTAL PSYCHOLOGY

Psychophysica.1 development

162. Changes in the relative proportions of the human body from birth to age
twenty-five.

163. Proportional changes in various parts of the body during maturation.

164. On the left, the skull of an infant one year of age; in the middle, of a ten-
year-old child; and on the right, of an adult.

165. The grasping reflex, which is strong immediately after birth.

166. Graphic representations of how the infant spends its day. The segments sig-
nify, respectively, the following: (a) sleep; (b) sleepiness; (c) negative reac-
tion; (d) feeding; (e) movement; (f) quiet wakefulness; (g) impulsive move-
ments; (h) random play. Graph I shows the day of a newborn infant; II, of
a three-months-old infant; III, of an infant five months old; and IV, of one who
is twelve months old.

167. The respiratory and the brain-pulse (fontanelle) curves of an infant seven days
old. The respiration curve is labeled A; brain pulse, B; time line, C; the moth-
er's voice, D.

168. Effects of restraint of movement. The infant's head is held gently but firmly
between the experimenter's hands; the infant responds with loud cries and strug-
gling movements.

169. Stages in the development of posture, from the first to the tenth month of life.

170. Typical postures of a year'old infant. Responsiveness to various situations is
depicted.

171. Fraternal (dizygotic) twins.

172. Identical (monozygotic) twins.

173. The "oral stage." The young infant explores the environment by putting ob-
jects into its mouth.

174. Defiance.

175. Christian Heinrich Heineken, a child prodigy. According to the story, he spoke
High and Low German and Latin at the age of two; he is said to have had
an extensive command of many fields of knowledge. He died at four years of
age.

176. The manner in which children used to be dressed. At one time, children were
considered to be miniature adults, and they wore adult clothing and wigs.
Only the children of lower-class parents could enjoy the freedom of simpler
dress.

Drawings by children

177. Drawings by very young children. It is interesting to note that the first
drawings deal with human beings.

178. Development of observation and self-criticism as revealed by drawings; (a) by
a child four years of age; (b) by a six-year-old; (c) at the age of eight; and
(d) at ten years of age.

179. A house.

180. Animals: (a) dog; (b) hen; (c) and (d) horse; (e) pig; (f) dog; (g) pig.
These drawings by young children are of interest because they indicate the
fact that there is no one-to-one correspondence between the stimulus and the

response. The stimulus ('"Draw a dog.") merely touches off the response pat-
terns which the child is capable of making.

181. A child's drawings of a flower.

182. A tree.

183. Sketches of human beings in various situations.

184. A "social situation" as depicted by a young child.

185. Drawings by children of different mental-age levels: (a) by a boy whose chron-
ological age was fourteen and whose intelligence quotient was 46; (b) by
a boy aged nine, IQ 67; (c) by a girl aged eight, IQ 64; (d) by a girl aged
five, IQ 77.

186. Sketch by an eight-year-old boy with pathological characteristics.

187. Drawing by a normal boy of eleven.

188. Drawing by a normal girl of eight: "Picnic."

189 .-190. Drawings by the same girl: (189) "Newly-wed;" (190) "The Circus."

191. Drawings by a talented child at three years and five months of age. The
grandfather and a great-uncle were artists. At a very early age, this child dis-
played enthusiasm for drawing, and attempted to draw profiles when he was
three years and seven months of age. The sketch of a man (on the left) would
rate at about the normal five-year level.

192. The drawings of a talented boy eight years of age.

193. Drawings of a talented boy nine years of age.

194. Sketches of a talented boy ten years of age.

195. A table, as drawn by three children.

196. A pyramid, as drawn by three children.

197. A six-sided pyramid on a cylinder, as drawn by an eight-year-old. These draw-
22

ings (195-197) illustrate' the fact that children have no compulsion to produce
a photographic likeness of the model.

198. Diverse reproductions of a model. Children were asked to draw the model at
the top, with these results.

199. Drawings of a cone. Observe the diversity of representations, all of them made
from the same model.

200. Drawings from the model of a cylinder. Each drawing was done by a different
child, although all the children used the same model.

201. Drawings by Eskimo children.

202. Sketches by university students, who worked without a model.

203. Rock drawings by American Indians.

204. Cave drawings by Paleolithic man.

205. A reindeer engraved by a Paleolithic man.

206. Celtic alterations in designs of Greek coins.

207 through 209. Simple expressionistic drawings: (207) "Dream on a Boat," by
Paul Klee; (208) "Animals in Captivity;" and (209) a sketch by Gabriele
Miinster. Note that non-representational or expressive art resembles the draw-
ing of young children and primitive people.

210. Statuettes by young children.

211. Statuette by a young child. Five teeth are indicated in the mouth.

Montessori's methods

212. Material used by Madam Montessori for training the child to lace and button.

213. Material used for training muscular co-ordination. The cylinders are to be
inserted into the proper holes.

214. A formboard for training in perception of spatial relationships.

215. Sandpaper letters used to give training preliminary to teaching the child how
to write.

Measurement of intelligence

216. Which is the prettiest? (From the Binet'Simon Scale, age five).

217. Finding omissions in pictures. (Binet'Simon Scale, age seven).

218. Picture comprehension; the child being asked to tell what is going on in the
picture. Very young children merely enumerate two or three details; later on
they give a simple description; finally they interpret the scene.

219. The Gaussian curve. Intelligence, as well as many other traits, is distributed
according to chance, with most scores piling up at the center and with rela'
tively few scores at the extremes.

220. A device for demonstrations of chance distribution. Peas, dropped into the
funnel at the top, are distributed according to the Gaussian curve. The ob'
server has to infer the shape of the curve from the heights of the columns of
peas.

221. An inference test. These pictures are shown one at a time, the child being asked
to tell what is represented. The sooner the child is able to infer what the
drawing represents, the higher his score.

222. A test for eidetic imagery. E. R. Jaensch tested children by having them look
at a picture like this, and then describe it. He found that many young chil'
dren have vivid images.

223. Materials for the mosaic test. Here the mosaics were simply thrown together
by a mentally defective child of eight.

224. Mosaics arranged by a mental defective of nine years of age.

225. Mosaics by a normal child of eleven.
24

226. A ship made by a normal boy twelve years of age.

227. A mosaic by an intelligent girl of twelve.

228. The work of an artistic woman.

229. The work of a normal woman. Note that it is not chaotic, like the mosaics
of mental defectives, but that it is not so good as some of the mosaics of nor'
mal children. Adults are sometimes inhibited by fear of criticism or by aware-
ness of a lack of talent.

Personality appraisers

230. The well-organized "world" of a normal boy eight years of age. The materials
are from the Build-a- World Game.

231. The "world" of a retarded boy ten years of age.

232 through 234. Pictograms by young children. The children were told to com-
municate with a foreigner, who did not know their language, inviting him
for a visit, giving news about the family, and expressing good wishes: (232)
by a seven-year-old boy; (233) by an eight-year-old girl; and (234) by a fif-
teen-year-old boy.

235. Examples of associations of young children: (a), (b), (c), (d), the manner in
which a child imagined spatial relations among numbers; (e), (/) associations
of spatial relationships among the months of the year; (g) the seasons; (h),
the days of the week.

IV. PHYSICAL HANDICAPS

Deafness

236. Teaching deaf-mutes to recognise rhythms. The children place their fingertips
on the piano while the teacher plays rhythms.

237. Speech instruction for the deaf. The instructor's voice is amplified, and the
pupils sense the vibrations while they try to imitate the sound.

238. 239. Examples of gesture language. Note the general similarity among gestures
of the Australian aborigine, the American Indian, and the deaf -mute.

Blindness

240. Learning to count.

241. Learning about animals. Note the happy expressions on the children's faces.

242. Part of the Braille system. When letters and figures are raised, the blind read
by the touch method.

243. Miss Helen Keller, an American who became deaf and blind at eighteen months
of age.

244. Teaching a child who is deaf, mute, and blind. The teacher helps the child to
place the lips and the tongue into position for speech.

245. The manual alphabet, used by the deaf and by the deaf 'blind.

246. A figure by Kleinhaus, the blind Tyrolean sculptor.

247. A bust by Schmidt, who is a blind German sculptor.

248. Bust by the blind Italian sculptor, Gonnelli.

249. A lion made by Vidal, a French artist, after he had lost his sight.

Art by the blind

250 through 253. Statuettes made by blind persons without talent. These are in'
teresting because .they reveal the type of concepts which the blind have. Note
the huge hand of "The Beggar" (250). In 251, the blind person reveals his
conception of terror. 252 is entitled "Deserted." In 253 - - "The Dream of
Jacob" - the ridges on the chest are intended to be expressive of Jacob's heart-
beat.

Substitutions of feet for hands

254 through 256. Photographs of Unthan, an artist who was born handless.

257. A painter who had lost both arms holds the brush in his mouth.

258. The boy lost the use of his arms, and then learned to eat with his feet.

259. "Footwriting." It is interesting to observe that there are as many individual
differences in writing done by the foot as in handwriting.

V. MEDICAL PSYCHOLOGY

Percussion

260. Apparatus for teaching percussion to medical students. Lead forms have been
placed under the sheet of cardboard. Specimens of these forms are shown above.

261. Cardiac and pulmonary areas for percussion. First in the usual way, by auscul-
tation and palpation; then only by the aid of the vibration sense.

Amputations

262. The stump illusion. After the loss of an arm or leg, the patient feels as if the
limb were still intact. Gradually the "ghost limb" retracts into the stump. A
patient who has lost an arm may eventually sense a "dwarf hand" in the
stump.

263. Sauerbruch's operation. This consists of making a tunnel through the muscles
of the arm, so that the artificial limb may be manipulated by the biceps (some-
times by the triceps as well). Facility in control is gained by exercises.

264. A patient who had undergone Sauerbruch's operation. He is being tested for
the degree of control over the remaining musculature of the upper arm.

265. Positions of an artificial hand.
28

Hallucinations

266 through 269. Representations of visions induced by mezcaline, a drug used by
South American Indians during religious celebrations. Note the rhythmical
characteristics of the visions.

270 through 273. Pictures drawn by a schizophrenic patient to illustrate his hallu'
cinations. In 270, he depicts the frightful nature of some of his delusional-hal-
lucinated states. In 271, he represents the hallucination of being in a mine,
where a man's legs have been sliced into thin disks. Note the angle at which a
miner is descending the ladder. In 272, he has the hallucination of being wheel-
ed past the scene of a mass execution, while he hears the groans and cries of
people who are being beheaded. In 273, the devil appears before him. The
brass ball (center) is "the globe of the cosmos."

Hysteria

274. Characteristic posture (arc-de-cercle) of the hysteric.

275. Sketch by an hysteric to illustrate the two-fold nature of his personality: (a)
his basic drives; and (b) the vigilant side of his personality, which watches lest
these drives have a chance to express themselves.

276. An hysteric drew this picture while in the state of hypnosis. The heads are
representations of childhood sweethearts; the animal is a goat or satyr; and the
snake is an erotic symbol.

Drawings by the psychotic

277. An example of psychotic condensation. The sketch is supposed to depict a cel-
lar, a tavern, a parlor, and a stable all united into one.

278. An ink sketch by a paranoid schizophrenic. Note the repetition of designs, the
absence of a general theme, and the careful attention to minute details.

279. Sketch by an art student with a manic'depressive psychosis, depressive type.

His explanation of the picture: "A rolled-up salamander staring at a star,

which is represented by the tear'shaped, sacciform organ (center) and the halo

(upper left)." He adds, "I should like to turn my back to the world and to

seek the Divine in my own Self."

280. A pictorial representation of a dream by a female patient. She explains the
picture as follows: "I dreamed that I examined a neglected plant to find out
whether the roots had died. Innumerable earthworms crawled out of the soil
in the flowerpot. In the bottom of the pot was a small yellow snake, from
which I shrank back in horror. It climbed out of the pot; and, as it came nearer
to me, it grew larger and larger. The larger it grew, the less was I afraid
of it. As soon as I saw that it wore a crown on its head I prostrated myself
before it. The snake said to me, in a feminine voice, 'Now I must put you
to sleep.' ... I have found that by the act of painting this picture of my
dream, and in particular, by surveying the finished work, I have awakened
my mind to the symbolism of the snake. It is really the symbol of healing."

281. Another drawing by this female patient. The eagle is the symbol of the spir-
itual, of masculinity, and of the divine. The phallic symbol (lower center)
is invested with the sublimity of lofty symbols. Both 280 and 281 are good
examples of Freudian symbolisms.

Hypnotic phenomena,

282. A hen in a cataleptic state. The hen was quickly grabbed and placed in this
position, where it lay for some time.

283. A bear placed in a position of catalepsy, where it lay for a while as if trans-
fixed by the gaze of the trainer.

284. Hypnotic analgesia. A tooth is being extracted while the patient is under
hypnosis.

285. Hypnotic analgesia during a major operation.

286. Autohypnotic postures of a Yogi.

Art and phantasy

287-288. "War" and "Famine" as depicted by Kubin.

289. A drawing on an Attic vase (circa 500 B. C.) It depicts the departure of the
soul from the body of a person just deceased.

Superstition, delusion, and schizophrenic symbolism

290. Natives of New Pomerania wearing cross'pieces in their noses to keep out
disease.

291. Nose-stoppers fashioned by a psychotic to exclude hostile odors. It is of inte'
rest to observe that some psychiatrists have developed the theory of "archaic
mentality" to account for resemblances such as those depicted in 292.

292. (a) Pipe tamper made by a psychotic; (b) figurine made by a native of New
Guinea. Note the similarity.

293. Figurines made by primitive people: (a) by natives of New Mecklenburg; (b)
by a native in West Africa.

294. Figurines made by a schizophrenic. Compare these with the figurines in 293.

295. (a) Figurines made by natives of the French Congo; (b) figurines made by a
schizophrenic patient.

VI. OCCULT PHENOMENA

Dowsing

296. The divining rod. The dowser holds the rod lightly (top) and walks slowly
around to locate the site for digging a well (center). When he discovers the
site, the rod turns downwards. Dowsing is a very old custom which still flow
ishes in rural areas.

Chiromancy

297. The "meaning" of the hand: (1) will; (2) reason; (3) material Ego; (4)
social Ego; (5) spiritual Ego; (6) objectivity; (7) art; (8) sensuality; (9)
imagination and subconscious mentality; (10) social sense; (11) family obliga-
tion or responsibility; (12) consciousness and the Ego. Although systems of
palmistry vary, they are alike in assuming that the hand reveals personality
traits.

298. Hand'lines of George Bernard Shaw.

Mediums and seances

299. Willy Schneider, a well-known medium. He is wearing tights with phospho-
rescent stripes, so that his movements may be watched in the dark. It is curi'
ous that mediums cannot perform in bright daylight.

300.-301. Heads "produced" by the medium Eva C. It was later found that these
heads were identical with pictures which had appeared in Le Miroir, a French
magazine.

302. Margery, a well'known medium, "producing" fingerprints during a seance.

303. One of the fingerprints "produced" by Margery.

304. A writing'board used in seances. The "spirits" spell out the answers to ques'
tions on this board.

305. Chevreurs pendulum. The holder thinks hard of a straight line or a circle, and
the pendulum swings in that direction. Occultists attribute the motions to
spirit influences.

306. A diagram representing an occult philosophy of the significance of bodily pro-
portions.

VII. APPLIED PSYCHOLOGY

Advertising
307 through 313. Examples of attempts to control behavior through advertisements.

Vocational tests

314. The sorting box. The pieces are to be sorted out and dropped through the
slots in the box'lid. Performance is graded for speed and accuracy.

315. A formboard. The pieces on the left are to be arranged in the space at the
right. The dotted lines do not appear in the test.

316. A test of visualization: (a) the designs are to be continued; (b) the other
sides of each figure are to be adorned with the design now on one side (without
turning the paper); (c) the cubes are to be counted.

317. A test of ability to visualize a complex motion. The direction of the lower
gear-rack and the cog-wheel are to be described when the upper gear-rack is
stationary, and the movements are to be described when the cog-wheel turns
either to right or left.

318. Movements of the cog-wheels are to be described when the motor is rotated
in either direction.

319. Rossolimo's test of concrete intelligence.
34

320. A cube-assembly test. The parts are to be fitted together to make a cube.

321. Giese's shunting test. The subject is required to shunt trains from one station
to the other, according to the examiner's instructions.

322. A test of practical judgment. The subject is asked to tell what is wrong in
this picture.

323. A test of scientific aptitude. The subject is required to describe what would
happen when water enters at the bottom.

324. A wire'bending test. A (bottom center) is the model, and 1-5 are the results
of attempts on the part of various persons to duplicate the design.

325. Blumenf eld's test for two-handed coordination. Crank handles, one held in
either hand, turn the table and move a marker at a 90 angle to the move-
ment of the table. The subject is asked to trace a series of curves.

326. A steadiness tester. The subject is given a stylus with which to trace various
paths. A demerit is given when either side of the slit is touched.

327. A test for automobile drivers. The subject sits before the wheel and looks at
a motion picture of traffic. He must steer the "car" through various situations,
and "collisions" are registered on the apparatus.

VIII. ANIMAL PSYCHOLOGY

Brains of animals

328. Phylogenetic development of the cerebrum. The cerebrum is represented by
the black areas. A is the brain of a shark; B, an amphibian; C, a reptile; and
D, a mammal. Maintenance functions are controlled by the midbrain of these
animals; in a general way, their capacity to profit from experience is indi'
cated by the relative amount of cerebral development.

Animal learning

329. Maze for the study of learning by the earthworm. The worm is placed at A,
and it makes either a right or left turn. If it turns right, it reaches the dark area
(B); but if it goes to the left, it gets a shock (OD). By a long process of
trial and error, it learns to turn right.

330. A study of fish learning. The food is placed in a container of a given color
and not in any of the other containers. Eventually, no matter what the order
of the containers, the fish goes directly to the one which contains the food. It
is believed that the fish discriminates among colors by their brightness.

331. A problem box for the study of animal learning. This type of experiment is
frequently reported by American psychologists as a measure of learning capac-
ity among animals. The hungry animal is placed in the box and food is put
outside. By trial and error the animal releases the catch holding the door.
After repeated trials, the animal opens the door right away.

332. A hen maze. The food is placed in one compartment and the hungry hen in
another, with a glass plate blocking the direct route to the food. After repeated
trials, the hen learns the maze. Then, even after the glass plate has been re'
moved, the hen always goes to the food by the indirect route.

333. Diagram of a maze used in studies of animal learning by American psychol- '
ogists. The animal learns the maze by trial and error.

334. Apparatus for studying the "homing instinct" of bees. The hive is mounted on
wheels, so that it may be moved to various distances from its accustomed posi-
tion. When the hive is moved, the bees fly directly to the spot where it for-
merly stood, and it takes them some time to discover its new location.

335. A plan for studying the auditory sensitivity of a dog. The animal is able to
identify the source of sounds with amazing accuracy. Under favorable circum-
stances, the time difference between stimulation of both ears, followed by cor-
rect response, goes down to l/30,000th of a second.

336. Clever Hans, a famous animal that could perform many amazing tricks.

337. One of the famous horses of Eberfeld. These horses were supposed to be able
to read and to work problems in arithmetic. As a matter of fact, they res-
ponded to slight cues given by their trainer.

. 338. A blind horse that, allegedly, was able to answer questions traced on its skin.
The horse answered by nods and pa wings.

Expressive behavior

339. Expressions of a chimpanzee: (a) contentment; (b) grief; (c) laughter; (d)
worry; (e) anger; and (f) excitement. Of course, there is a strong likelihood

that the observer reads into these expressions his own interpretations.

340. Contrast between a young and an adult chimpanzee. The young animal looks
more human than the older one.

341. The use of a tool by a chimpanzee. To get the bananas, the animal uses a twig.

342. An example of insight. The animal has piled up two boxes in an effort to reach
the fruit. Not succeeding by this means, he has taken a stick with which to
knock the fruit down. Kohler's famous experiments with chimpanzees are
illustrated by 341 and 342.

Conditioned reflexes

343. Pavlov's technique for establishing a conditioned reflex. The hungry dog sees
a red light flash behind the screen just before food is presented. The sight of
food is the adequate stimulus to activate the salivary glands of the dog, and
the red light is merely an attendant condition in the situation. Eventually, the
flashing of the light will elicit a salivary response. The amount of salivary sec-
retion is measured by means of a tube connecting a portion of the parotid
gland to a recording device. Distractions interfere with the establishment of
conditioned reflexes; hence the dog is fastened gently but firmly into position
before the screen.

344. Sham'feeding. Pavlov's studies of the digestive functions were rewarded with
the Nobel prize in medicine. Here is a picture of a hungry dog feeding. Al'
though the food drops through a fistula in the dog's neck, the gastric secre-
tions flow.

345. Yerkes, an American psychologist, utilized the conditioning technique in an
experiment on the auditory sensations of the frog. As a rule, this animal does
not respond to loud noises; hence some students had conjectured that the frog
is indifferent to all sounds other than croakings. The pressure stimulus caused
the frog's leg to twitch; but at the same time a bell was sounded. After re-
peated pressure-bell sequences, the experimenter was able to elicit a leg'twitch
when the bell alone was the stimulus.

Drives

346. An ephialtes wasp plunges its stinger into the larva of a woodwasp.

347. An ant "milking" an aphid. According to older naturalists, ants "domesticate"
the aphid, just as human beings keep cows, for their milk.

348. Nest-building behavior by an ant. Naturalists are not certain about the nature
of such activities on the part of lower animals, but they no longer feel certain
that the instinct-hypothesis is the answer to questions about this sort of activity.

349. Map showing the migratory behavior of the polar sea-swallow. Its breeding
place (A) is about twenty thousand miles from its winter habitat (B).

350. The charadrius dominicus migrates regularly from the Sandwich Islands to
Alaska, passing over about two thousand miles of ocean.

351. A map showing the distances to which trapped birds flew to get back home.
After being trapped and marked, they were released in Berlin. The expert
menter wished to learn how quickly they would fly back to their accustomed
habitat.

352. Map showing the distance traversed by a dog to get back to its home. Twice
the dog was transported about four hours flying-time from its home in Punch-
heim to the place marked A. Each time the dog found its way home, using
the routes indicated on the map.

353. A map showing the pathways traveled by a dog in Munich to return home.
Note that the second time it was taken to the area indicated in the upper right'
hand corner of the map the dog came home by a more direct route. The as-
sumption is that in some unexplained manner the dog benefited by experience.

PART TWO

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Experimental- Vortrag :

Dr. phil. G. Riickle

der unerreichte Meister der Rechenkunst

Alle Aufgaben werden im Kopfe ohne Niederschreiben der
== Zahlen gelost. ^^=

Das geehrte Pubhkum wird hoflichst gebeten, eine moglichst groGe Anzahl
vorher berechneter Auigaben stellen und die Losungen auf die Richtigkeit
prufen zu wollen.

PROGRAMM :

II.

1. Gedachtnisversuch mil emem
Kartee von 49 Ziffern, die einmal vom
Publikum genannt werden.

2. Erheben von Zahlen unter 100
zur 3. und 4. Potenz. Beispiele:

87' = 87 x 87 x 87 =- *
7 = TO x 70 x 79 x 79 - V

3. 'Quadrate 3- und 4stell. Zahlen,
Beisp. : 437 X 437 ? 7642 X 7642 ?

4. Ausziehen der Quadratwurzel
aus 6- bis 8stelligen Zahlen mit An-
gabe des Restes.

5. Multiplikation verschiedenei

3 stell. Zahlen. Be.sp.: 683 X 869 ?

6. Ausziehen der Kubikwurzel aus
6 stell. Zahlen mit Angabe des Restes.

7. Zerlegung 5- bis oder 6stelhger
Zahlen in die Summe von 3 bis

4 Quadr'atzahlen. Beispiel :

57 2 + If.-' + 14- 324'J

I'M

8. Multiplikation 5 stell. mit 3 stell.
Zahlen. Be.spiel : 58327 X 674 ?

9. Multiplikation beliebiger 4 stell.
Zahlen. Be.sp.el : 5238 X 7387 ?

10. Fiinfte und sechste Potenz
2 stell. Zahlen. Beispiele:

97= 97X97X97X97V97 = >
82* - 2X X82X82X82X82 =

1. Gedachtnisversuche mit einer
72 stell. Zahl, die in 6 stell. Zahlen
vom Publikum genannt wird.

2. Dritle und vierte Potenz 3 itell.

Zahlen. Beispiele:

r41 3 = 541X541X541 =?
7S = 768X768X768 X76 = f

3. Quadrate 5- und 6 stelliger
Zahlen. Beispiele:

S37tt 2 = 89376 89376 = ?
2f)7o 2 = 257895 x 257895 = ?

4. Dritte Wurzel aus aufgehenden
6- bis I2stelligen Zahlen.

5. Fiinfte, sechste und hohere
Wurzel aus 6- bis I8stelligen Zahlen.

6. Gleichzeitiges Rechnen und
Auswendiglernen. Eine 4tell. Zahl
wird quadnert (mit sich telbst multi-
pliziert), wahrend eine 24 stellige,
wahrend des Rechnens vorgelesene
Zahl auswendig gelernt wird.

7. Berechnen von Numerus und
Logarithmus beliebiger Zahlen im
Kopf.

8. Ausziehen von 10. bis 20.
Wurzel aus 20- bis 40 stell. Zahlen.

9. Zinseszins- und Rentenrechnung.

10. Berechnung von Kreisumfang
und Kreisflache, von Kugeloberflache
und Kugelinhalt.

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IX. EMINENT PSYCHOLOGISTS

355.

357.

359.

361.

363.

364.

367.

A. Adler (18701937). Austria and the
United States. Founder of Individual Psy-
chology.

F. C. Bartlett (1886 ). England. Ex-
permenlal and social psychology.

\V. M. Bechterew (18571925). Russia.
Refiexology.

A. Binct (18571911). France. Intelli-
gence measurement.

E. G. Boring (1886 ). United States.
Experimental psychology.

B. Bourdon (1860 ). France. Experi-
mental psychology.

C. Burt (1883 ). England. Education-
al and experimental psychology.

E. Claparedc (18731940). Switzerland.
Child and educational psychology.

J. Drever (1873 ). Scotland. Experi-
mental psychology.

G. T. Fcchner (1801 1887). Germany.
Founder of psychophysics.

J. C. Flugel (1884 ). England. Ex-
perimental psychology and psychoanalysis.

S. Freud (18561939). Austria and En-
gland. Founder of Psychoanalysis.

F. Gallon (1882 1911). England. Ex-
perimenlal psychology and individual dif-
ferences.

A. L. Gesell (1880 ). United States.
Child psychology.

A. E. Gemelli (187S ) Italy. Experi-
mental psychology.

369.

370.

371.

374.

375.

376.

377.

378.

379.

380.

381.

H. von Helmholtz (18211894). Germa-
ny. Physics, physiological psychology, and
psychophysics.

E. Hering (1834-1918). Germany. Phy-
siological psychology.

G. Heymans (18571930). Netherlands.
Philosophical and experimental psychology.

W. S. Hunter (1889 ). United States.
Experimental and animal psychology.

H. Hoffding (1843^1931). Denmark.
Philosophical psychology.

P. Janet (18581947). France. Psychiatry
and psychology.

C. G. Jung (18751947). Switzerland.
Founder of Analytic Psychology.

K. Koffka (18861940). Germany and
United States. Leader in Gestaltpsychologie.

W. Kohler (1887-- ). Germany and
United States. Leader in Gestaltpsycho-
logie.

L. Lcvy-Bruhl (18601940). France. So-
cial psychology.

W. McDougall (1871 1938). England
and United States. Experimental and social
psychology.

A. Michotte (1881 ). Belgan. Experi-
mental Psychology.

G. E. Mulk-r (18501934). Germany.
Pioneer in experimental psychology.

I. P. Pavlov (18491939). Russia. Con-
ditioned reflex.

129

383. T. H. Pear (1884- ). England. Experi-
mental psychology.

384. J. Piaget (1896 ). Switzerland. Child
Psychology.

385. H. Pieron (1881- ). France. Experi-
mental psychology.

387. E. Rubin (1886 ). Denmark. Experi-
mental psychology.

388. C. Spearman (18631945). England. Ex-
perimental psychology.

389. W. Stern (18711938). Germany and
the United States. Experimental psychol-
ogy and leader in personalistic psychology.

390. L. M. Terman (1887 ). United States.
Intelligence tests.

391. E. L. Thorndike (1874 ). United States.
Animal and educational psychology.

392. J. B. Watson (1878 ). United States.
Founder of Behaviorism.

393. R. S. Woodworth (1869 ). United
States. Experimental psychology.

394. W. Wundt (18321920). Germany.
Founder of experimental psychology.

395. R. M. Yerkes (1876 ). United States.
Animal psychology.

130

354 A. ADI.KU

355 F. C. BARTLETT

\V. M. BECHTEREW

357 A. HI NET

358 E. C,. BORING

131

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363 C. Til. I'KC'II Nl.K

364 J. C. FLUGEL

365 S. KKKl'M

132

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369 H. VOX I1E1.MIIOLTZ

370 K. IIKRIXG

371 C. II KVM \\>

133

37 2 xv - s - HUNTER

374 I'. JANET

376 K. KOFFKA

373

IIOFFDIXC;

375 c. j. JUNG

377 \V. KOBLER

134

378 L. LEVY BRUHL

379 W. MC DOUGALI

380 A. MICHOTTE

381 G. E. MULI.EK

382 I. P. PAVLOV

383 T. H. PEAK

135

384 J. 1'IACK

11. IMK.KOX

387 K. iU'HIX

C. Sl'KAKMAN

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APPENDIX

The author acknowledges his indebtedness to many publishers "and psychologists
who have generously accorded him permission to include rare photographs and dia-
grams. Some of the material in this volume is the common property of all psychol-
ogists; consequently, acknowledgements are not in order. Unfortunately, the sources
of certain of the graphic materials could not be located.

Acknowledgements :

1. and 2. Rauber-Kopsch, Lehrbuch und At-
las der Anatomic des Menschen, Vol. 3,
15th Edition. Leipzig, 1939.

3. R. Brun, Allgemeine J^eurosenlehre. Basle,
1942.

4. R. Hober, Lehrbuch der Physiologic des
Menschen, 5th Edition. Berlin, 1930.

5. and 6. H. Rohracher, Die gehirnelektri-
schen Erscheinungen bei verschiedenen psy-
chischen Vorgdngen. Commentationes, Vol.
1, 1937. Pontifica academia scientiarum

7. W. Nagel, Handbuch der Physiologic des
Menschen. Braunschweig, 1905.

8. H. Henning, Der Geruch. Leipzig, 1916.

9. W. von Buddenbrock, Die Welt der Sinne.
Berlin, 1932.

10. See No. 7.

11. See No. 7.

12. and 13. W. B. Cannon, "Hunger and
Thirst" in A Handboo\ of General Ex-
perimental Psychology. Worcester, Mass.,
U. S. A., 1934.

14. and 15. Luciani, Das Hungern. Hamburg
and Leipzig, 1890.

16. D. Katz, Animals and Men. London, 1937.

17. H. Strughold and R. Porz, Die Dichte der
Kaltpunkte auf der Hand des menschlichen
Kdrpers. Zeitschrift fur Biologic, Vol. 91,
1931.

18. See No. 7.

19. G. von Bekesy, Ober die Vibratiomemp-
findung. A\ustische Zeitschrift, 4, 1939.

20. To appear in D. Katz, Psychologische
Vbungen.

21. See No. 20.

22. See No. 7.

23. W. Stern, Allgemeine Psychologic. The
Hague, 1935.

24. See No. 9.

25. Zimmermann' s Equipment Collection, Leip-
Zig.

26. See No. 7.

27. H. Kafka, Handbuch der vergleichenderi
Physiologic. Munich, 1922.

28. W. Wundt, Grundzuge der physiologischen
Psychologic. Vol. 2, Leipzig, 1912.

29. See No. 20.

31. See No. 20.

32. See No. 20.

33. See No. 7.

34. E. Hering, Grundzuge der Lehre vom
Lichtsinn. Leipzig, 1905.

35. See No. 34.

36. See No. 34.

37. H. v. Helmholtz. Handbuch der physiolo-
gischen Optil{. Hamburg and Leipzig, 1896.

138

38
40.

41.

42.
44.
46.
47.
48.
49.

53.

54.
55.
56.
57.
58.
59.
60.
61.
62.

64.
65.
66.
67.

68.

69.

70.
73.

74.
75.

- 39. David Katz, War Greco astigmatisch?
Leipzig, 1914.

H. Ebbinghaus, Grundziige der Psycholo-
gic, Vol. 2. Leipzig, 1913.

See No. 40.
See No. 40.
See No. 40.
See No. 20.
See No. 40.
See No. 40.

David Katz, Gestaltpsychologie. Basle.
1944.

R. Pauli, Em/uhrung in die experiraentelle
Psychologic. Leipzig, 1927.

See No. 20.
See No. 7.
See No. 20.
See No. 20.
See No. 28.
See No. 20.
See No. 7.
See No. 20.

P. J. Young, Reversal of Auditory Local-
ization. Psychological Review.

See No. 20.

See Nos. 20 and 49.

See No. 49.

R. S. Woodworth, Experimental Psychol-
ogy. New York, 1938.

E. Rubin, Visuell wahrgenommene Figu-
ren. Copenhagen, 1921.

See No. 20.
See No. 49.
See No. 49.
P. Guilleaume, Psychologic. Paris, 1931.

Kai von Fieandt; Uber Sehen von Tiefen-
gebilden bei wechselnder Beleuchtung. Hel-
sinki, 1938.

76.

78.
79

81.

82.
83.
84.

85.

86.
87.
90.
93.
94.

95.

96.

97.

98.

99.
100.
102.

103.
104.
105.
106

108-
112

E. Brunswick, Experimented Psychologic
in Demonstrationen. Vienna, 1935.

See No. 76.

- 80. E. Weigl, Untersuchungen zur psy-
chischen Umstellbar^eit auf Grund nor-
malpsychologischer und ^linischer Be/unde.
A report on the 12th Psychological Con-
gress. Jena, 1932.

G. Revesz, Die Formenu>elt des Tastsinnes.
The Hague, 1938.

See No. 16.
See No. 16.

Fr. Giese, Die Psychologic der Arbeits-
hand. Berlin and Vienna, 1928.

<3. Revesz. De mensch\ij\e Hand, 2nd edi-
tion. Amsterdam, 1942.

. See No. 20.

. Mosso, Die Ermtidung. Leipzig, 1922.

. See No. 20.

. R. Schulze, Aus der Wer^statt der experi-
mentellen Psychologic und P a d a g o g i \.
Leipzig, 1909.

. See No. 94.

. See No. 74.

, See No. 74.

See No. 74.

J. Obst, Ober gntphischen Ausdruc^ und
graphische Sprache. Rostock, 193S.

See No. 67.
See No. 67.
See No. 67.

107. Zeitschri/t fur Anatomic und Physio-
logic. Berlin, 1908.

111. Th. Piderit, Mimit{ und PhysiognomiJ(.
Detmold, 1886.

See No. 74.

13Q

113-116. Joh. Baptist della Porta, Physiogno-
minia.

117-118. K ii t h e Olshausen - Schonberger, Im
Spiegel der Tierwelt. Braun & Schneider,
Munich.

119-120. F. K. Walter, Jahrbuch der Chara\-
terdogie, Vol 4. Berlin, 1927.

121-124. See No. 16.
125-132. See Nos. 121-124.

133-140. Photographs of H. Friesenhahn, a
pupil of the author.

141-144. Encyclopedic franchise VIII, "La vie
mentale." Paris. 1938.

145-148. E. Kretschmer, Korperbau und Cha-
raster, 10th edition. Berlin, 1931. *

149. See No. 145.

150-156. Clauss, Von Seek und Antlitz der
Rassen und Voider, J. F. Lehmanns Ver-
lag, Munich.

157-160. H. Rorschach, Psychodiagnosti\. Bern,
1937.

161. Lipot Szondi, Experimentelle Untersuchun-
gen uber J^eigungen bei Zwillingen. Buda-
pest, 1940.

162-163. K. Biihler, Die geistige Entwic){lung
des Kindes. Jena, 1924.

164. F. A. Schmidt, Unser Korper. Leipzig,
1909.

165. Photograph by med. lie. Ingvar Aim,
Stockholm.

166. Ch. Biihler, Kindheit und ]ugend. Leipzig,
1931

167. H. Volkelt, Fortschritte der experimented
len Kinderpsychologie. Jena, 1926.

168. Harald K. Schjelderup, Mein Kind istner-
vos. Stockholm, 1938.

169. Arnold Gesell, Infancy and Human
Growth. New York, 1928.

170. See No. 169.

171-172. H. Lottig, Hamburger Ztfillingsstudi-
en. Leipzig, 1931.

173. See No. 168.

174. See No. 168.

175. H. Brunning, Zum ZOOjdfmgew Geburts-
tag eines Wtmder^mdes. Monatsschr'ft fur
Kmderheii^unde, Vol. 22. 1921.

176. From a drawing by Chodowiecki.

177. James Sully, Untersuchungen uber die
Kmdhe'.t. Leipzig 1904. - - Cf. also No.
162.

178. F. L. Goodenough, Measurement of Intel-
Igence by Drawing. World Book Com-
pany, Yonkers, N. Y.

179-182. See No. 177.

183. See No. 177

184. See No. 177.

185. See No. 178.

186. See No. 178.

187. See No. 162.
191. See No. 169.

193. Kik: Die ubernormale Zeichenbegabung
bei Kindern, Zeitschrift fur angewandte
Psychologic, Vol. 2, 109.

194. Sec No. 193.

195-196 David Kat;: E'.n Beitrag zur Kenntnis
der Kmderzeichnungen, Zeitschrift fur Psy
cholog.e, Vol. 41. 1906.

197. H. Werner, Einfuhrung in die Entwic\-
lungspsychologie. Leipzig, 1926.

198. See No. 167.

199. Sec No. 167.

200. Sec No. 167.

201. See No. 162.

203. Sec No. 162.

204. M. Verworn, Zur Psychologie der primiti-
ven Kunst. Jena, 1908.

205. See No. 204.

206. See No. 204.

210. O. Wulff, Die Kunst des Kindes. Stutt-
gart, 1927.

140

211. See No. 167.

212-215. Rosa Katz, Das Erziehungssystem der
Maria Montessori. Rostock, 1932.

216-218. Bobertag. Uber Intel ligenzprtifungeri,
Zeitschri/t fur angewandte Psychologic,
Vol. 5. 1911.

219-220. See No. 20.

221. Van der Torren, Zeitschri/t fur ange-
wandte Psychologic, Vol. 1.

222
228

230
232
235

236

237

240
241

242
244

. Report on the 7th Congress for Experi-
mental Psychology. Jena, 1922.

. Rosa Katz, Kinderpsychologische Studien.
Stockholm, 1942.

-231. See No. 223.
234. See No. 223.

D. Katz, . Psychologic und mathematischer
Unterricht. Leipzig, 1912.

. See No. 141.

Fr. C. Thiel, Experimentelle Beitrdge zur
Lehre vom Vibrationssinn, Zeitschri/t fur
Psychologic. Vol. 121.

239. Richard Paget, Sign Language as a
Form of Speech. Royal Institution, 1935.

See No. 141.
See No. 141.
See No. 85.

From the Home for Blind Deaf-Mutes in
Berlin Nowawes.

246-249. See No. 81.

250-253. Ludwig Miintz and Viktor Lowen-
feld, Platische Arbeiten Blinder. Briinn,
1934.

254-256. C. H. Unthan, Das Pedisf(ript. Stutt-
gart, 1925.

257. Zeitschri/t fur orthopadische Chirurgie,
Vol. 50.

258. See No. 257.

259. Photograph hy J. Alhrecht-Rostock.

260. See No. 20.

261. D. Katz and K. v. Gotzen, Uber em Per-
kussionjphantom. Zeitschri/t fur Psycho-
logic, Vol. 108.

262. See No. 49.

263-264. David Katz, Zur Psychologic des Am-
putierten und seiner Prothese. Leipzig,
1921.

265. A. Bethe, Plastizita't und Zentrallehre.
Handbuch der normalen und pathologi-
schen Physiologic, Vol. 15. Berlin, 1931.

266-269. St. Szuman, Ober die im Mes^alin-
rausch bei geschlossenen Augen erscheinen-
den Visionen. Ku>artalni^ Psychologiezny,
1930.

270-273. W. Mayer -Gross, Psychopathologte
und Kl inil{ der Trugwahrnehmungen.
Handbuch der Geistes^ran^heiten, Vol. 1.
Berlin, 1929.

274. See No. 168.

276. E. Kretschmer, Medizinische Psychologic,
6th edition, 1941.

277. Prinzhorn, Bildnerei der Geistes^ran^en.
Berlin, 1922.

278. See No. 277.

279. Federn-Meng, Das psychoarwlytische
Vol^sbuch, 3rd edition. Berlin, 1939.

280. Gustav R. Heyer, Der Organismus der
Seele. Munich, 1932.

281. See No. 280.

282-283. David Katz, Animals and Men. Lon-
don, 1937.

284. See No. 283.

285. See No. 283.

286. See No. 283.

'290-291 A. Sokolowski, Menschen^unde. Berlin.
Weigandt, Atlas und Grundriss der Psy-
chiatric. Munich 1902.

292. Levy-Bruhl, T^eue Wege m der Psychic-
trie. Stuttgart, 1925.

293. See No. 292.

294. See No. 292.

295. See No. 292.

297. Ch. Wolff, Studies in Hand-reading. Lon-
don, 1936.

298. See No. 297.

299. D. Katz, Psychologische Streifzuge. Stock-
holm, 1940.

300-301. See No. 299.

302. See No. 299.

303. See No. 299.

304. See No. 299.

305. See No. 299.

306. A. Lehmann, Aberglaube und Zauberet.
Stuttgart, 1925.

314. W. Moede, Lehrbuch der Psychotechni\.
Berlin, 1930.

316. See No. 20.

319. Lipmann und Bogen, l^aive Physic, Leip-
zig, 1923.

320. W. Blumenfeld, Eine neue Anstellig\eits-
probe. Zeitschrift fur industrielle Psycho-
techni\. 1925.

321. Zeitschri/t fur 7\(eurologie und Psychiatric,
Vol. 58, 1920.

325. W. Blumenfeld, Eignungsprii/ung an
Lehrlingen der Metallindustrie. Maschmen-
Betrieb, 1923.

326. See No. 314.

327. Psychotechnical Apparatus. Zimmermann,
Leipzig.

328. L. Edinger, Ober Tierpsychologie. Leipzig,

1908.

329. Robert M. Yerkes, "The Intelligence of
Earthworms." The Journal of An.mal Be-
havior, Vol. 2, 1912.

330. W. Fischel, Tierseelen)(unde in Bildern.
Berlin-Lichterfelde, 1932.

331. E. Claparede," Ober Tierpsychologie. Leip-
zig, 1908.

332. See No. 16.

333. See No. 331.

334. See No. 16.

335. See No. 16.

336. See No. 16.

337. See No. 16.

338. See No. 16.

339. See No. 16.

341-342. W. Kohler, Intelligenzprufimgen an
Menschenajfen. Berlin, 1924.

343. E. Claparede, Tierpsvchologie. Handbuch
der T^aturunssenschaften, Vol. 9. Jena,
1913.

344. See No. 4.

345. Robert M. Yerkes, Bahnung und Hem-
mung der Rea^tionen auf tactile Reiz.e
durch a\ustische Reize beim Frosche. Ar-
chiv fur die gesamte Physiologie, Vol. 107.
1905.

347. See No. 332.

349. See No. 16.

350. See No. 16.
351-353. See No. 16.

The New Dictionary
of Psychology

P. L HARRIMAN

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THE NEW DICTIONARY
OF PSYCHOLOGY Is de-
signed to familiarize the
student of psychology
with the principal con-
cepts and the technical
vocabulary of the science.
The great contributors to
the field, together with
brief notes on their im-
portance, have been in-
cluded for the conveni-
ence of the reader. Im-
portant dates are in-
cluded wherever these
have particular signifi-
cance. The dictionary was
compiled by a careful an-
alysis of the most widely
used textbooks, psycho-
logical journals, and
standard references in
psychology. It has been
designed as a serviceable
and convenient addition
to the reference shelves
of libraries as well as an
addition to the personal
library of the intelligent
layman. The volume is not
only a dictionary, but also
a handbook of useful in-
formation in the field of
psychology.

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