instrument—which it is to be hoped will some day take such a simplified form that it will be within the reach of everyone—can at any time sit down and obtain thousands of suggestions, almost at haphazard.
This is one of the uses of the colour-organ for the artist. But what is of more importance to us for the moment is the emotional effect of mobile colour. Less sensitive as a rule than the musician to rhythm and all the complexities of time and counter-point, he is, by his training, much more open to receive emotional influences from the colour itself. It is, however, interesting to note that owing, as a rule, to this training, or perhaps to the very constitution of his mind and feeling, he will have an instinctive preference for certain schemes and combinations of colour rather than others. As the music of colour floods the screen, his preference for certain arrangements, or symphonies of colour, will be very marked, and it is curious to note the great divergencies of opinion amongst artists with regard to the preferability of some arrangements over others. The pleasure or
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