As to vibration in colour, a whole school of painters endeavour to express their sense of the vibratory origin of colour by technical processes which emphasize it, so much so that some few have even called themselves Vibrationists.
A certain number of criticisms resolve themselves into various forms of expressed doubt as to whether the asserted analogy between colour and music holds good at all points. In the previous chapters of this book I have entered somewhat fully into this question; but it may be here restated once more that I do not consider the analogy to be a close one in every respect, however certain and important it may be in others. If it were precisely similar at all points, there would, in fact, be less to be said for the development of this new form of art. If colour were completely analogous or identical in its effects upon our minds to those produced by music, there would be little advantage in using it for such an art. But it appeals to another sense capable of stimulating similar emotions upon which an art somewhat resembling music can be built
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