deal to be said for a similar co-partnership between colour and musical sound.
Another of the writers referred to made a curious criticism. He said: "Music is absolutely an art of proportion, the charm of a chord consisting of the proportions to one another of vibration of its component notes. A quick ear always feels a note as a vibrating tone and can soon be trained to detect the different components of simple chords. Does any painter, even the most competent, recognize vibration as part of colour? Could he resolve a compound colour with certainty into its components, saying at once which of these components was quickest in vibration? Can our enjoyment of colour be shown in any way to be due to a sense of vibration?" To this it may be replied that in every picture, in every decorative design, in every colour pattern, the question of proportion of the colour tints and the colour masses enters, and also that any artist can determine almost at a glance what are the tints and what are the pigments, and the degrees of strength which build up any given space of colour in a picture.
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