time displays of mobile colour awaken a rapidly increased desire to see more of it. There is no colour either in nature or elsewhere of quite the same kind either as to its variety, strength, or delicacy, and to those who love colour—or perhaps even still more, to those who have a latent sensitiveness to colour of which they are almost unconscious—the new art opens up an entirely new field of pleasure and interest.
The first impressions received being, as already noted, those of the beauty of the colour and of its variety, there usually follows after this the demand, as in music, for a kind of rhythm in the colour composition. The player, for instance, gives us a passage of warm tints, of orange and rose colour, succeeded by cooler contrasts. The eye and mind then seem to demand a return to, or echo of, warmer colours. Or, if we translate this into time, if a composition opens with several long-drawn chords of colour succeeded by rapid phrases, there is a tendency in most people to desire to return to the balancing of effect of further slow and single chords.
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