pain produced by colour are much more pronounced, in most cases, with the artist than with the ordinary spectator, and it is therefore to the artist that the new art must look in the future, as it has up to the present time, for the greatest assistance in its development. Experience has shown that once having overcome the disconcerting realization of the fact that colour does not require form to make it beautiful or interesting; the eye of the artist becomes rapidly educated to appreciate the subtleties of colour-music.
A point that strikes most artists is that already alluded to, that however many colours are mixed upon the screen, there is no tendency towards deadness or impurity of colour as in the case of pigments. The greater the number of colours projected upon the screen, the greater the tendency towards white light; whereas in pigments, the greater the number of colours mixed upon the canvas, the greater the tendency towards blackness.
Vast numbers of combinations appear in colour-music which are seldom or never seen in art and very rarely in nature, and these are
113
