in France, and abused by the musical critics in England. If, therefore, colour-music should have aroused some slight opposition in the musical world, as well as have received some tributes of warm appreciation, there is no cause for surprise or discouragement. Wagner did not disdain to call in the assistance of colour both in his operas and in his surroundings, and were he alive now the writer believes that he would have found in him a warm supporter of some of the claims put forward on behalf of a mobile colour art. The educational effects of such an art are probably not confined to its action upon those into whose work or interests colour largely enters, but may well exercise an indirect psychological influence upon other arts of quite a different kind.
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