208 
large repertory of procedures, and be 
skilled in gathering information from all 
sorts of expected and unexpected sources 
during the experimental control. In this 
art he progressively simplifies procedure, 
divests himself of mechanical contrivances 
wherever possible, and takes the singer 
under more and more natural conditions. 
The expert in mental measurement al- 
ways remembers that the human individual 
is a psycho-physical organism. He must 
have records for the physical as well as 
the mental, and especially for their rela- 
tionships; and he must interpret each fact, 
physical or mental, as a feature of an or- 
ganism, bearing in mind that there is or- 
ganization in the mental, just as truly as 
in the physical. With a clear grasp, on the 
one hand, of the fundamental attributes of 
objective music, and, on the other hand, of 
the fundamental capacities of the human 
organism for appreciating and rendering 
music, he must select that group of meas- 
urements which will answer his purpose: 
it may be a problem of learning; it may 
be an attempt to trace the nature of a dis- 
covered fault; it may be the proving-up of 
progress made under a given mode of train- 
ing. Our present schedule of measure- 
ments is merely a sort of relief map for 
first orientation. The unity of the whole, 
or of any section, of such measurements 
lies in the effectiveness with which they 
serve one purpose. 
In this work, systematic observation and 
description is supplemented by the con- 
erete objective measurements. One of the 
main purposes of measurement is to secure 
experimental control of conditions in which 
systematic observation of factors under 
control may be recorded, though not a part 
of the numerical record. 
Instead of neglecting what can be known 
by ‘‘common sense,’’ as is often charged, 
the expert starts with this at its best, grad- 
SCIENCE 
[N.S. Vou. XXXV. No. 893 
ually culls and sifts his facts in systematic 
observation, and finally clinches a few of 
the representative features in objective 
measurements. The charge that the so- 
ealled ‘‘practical man’’ knows more 
through direct impression, or common 
sense, than the expert can discover scien- 
tifically is a flagrant expression of igno- 
rance. The effect of the scientific point of 
view is not to belittle the magnitude of 
music or man. But, as the astronomer sees 
more in the starry heavens than does the 
average man on a moonlight stroll, so the 
expert beholds in music and in the human 
individual vastly more than the so-called 
“fordinary man,’’ in this case the mere 
musician, observes; for his vision is closer, 
more detailed, more keenly discriminating, 
recordable, repeatable and more penetra- 
ting. 
In the Gibson girl we see a most realistic 
representation of form, face, hand, heart 
and mind. No stroke by itself has any 
meaning; no feature is really drawn; no 
mental faculty is actually represented in 
the cold, black lines. Yet, of a few rough 
strokes, the master mind has made such an 
ensemble that we have a true picture of 
beauty in the expression of physical and 
mental life. Just so our master of mental 
measurements will bring together facts, 
which in themselves may seem meaningless, 
into an ensemble, which adequately repre- 
sents the individual singer, or some feature 
of her, for our purpose. 
Turning to the second question, as to 
whether such a measure can be said in any 
sense to be adequate, let us take an illustra- 
tion. A man has a richly varied and well- 
cultivated garden. He is an horticulturist 
and cultivates the garden for scientific ob- 
servation, pleasure and table use. Now 
what would constitute an adequate meas- 
ure of that garden? It is possible to de- 
termine to a high degree of accuracy the 
