of the new art and more open to see its present and future possibilities than the musicians. Sir Hubert von Herkomer's remarks as to mobile colour will have been read with interest as bearing upon this point—all the more so, perhaps, from the fact that he is an able musical composer as well as a great painter.
An artist thinks little of undertaking a long and tedious journey in order to be able to watch and study the magnificent colour harmonies of southern seas; the brilliant effects of sunlight upon the white buildings and costumes of Tunis or Tangier; or to give himself the opportunity of making a few rapid transcriptions of sunsets only to be seen in the sierras of Spain or the deserts of Egypt. When, therefore, he is provided with an instrument by means of which he can study and analyse somewhat similar effects of colour at a moment's notice, he feels that a new power is placed within his grasp and appreciates its acquisition. It is first the technical qualities of colour that will most appeal to him. He is principally interested in the impressions produced by the
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