love for luminous stuffs that spread themselves like sheets of flame. Velvets and silks abounded in his drawing-room in broad masses and flowing pleats, anywhere, without pretext of furniture, without other reason than their beauty of colour, to give him the enchantment of their glorious brilliancy. Wagner fully realized the influence of these colour surroundings on his genius and his music, for he wrote, in a letter to Frau Wille, 'Is it really such an outrageous demand if I claim a right to the little bit of luxury I like; I who am preparing enjoyment for the world, for thousands? I am differently organized from other men. I must have beauty, colour, light.'"
With this testimony to the influence of colour upon the mind of a great musical composer, it is surely not too much to hope, or even to expect, that colour-music with its endless variety and magnificence of colour effects may well be of use in the future as a stimulating influence to musicians. Wagner's operas, as we all know, when they were first performed were attacked with insensate fury
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