COLOR
this is the test of the highest form of art—that it should stimulate the imagination and suggest more than it expresses. This emotional attribute of color is keenly felt even in a work of art as devoid of any intellectual appeal, as a Turkish rug or a Japanese ceramic; but when color is used purposely to enhance and offset some poetic mood of nature, as in a Venetian sunset by Gedney Bunce, or a spring morning by Corot, its poignant charm is overpowering and irresistible. It is hardly necessary to say, however, that it requires the intuitive genius of the master to accomplish this result with certainty.
Those of us who are gifted only with the average, normal color-sense, cannot hope to rise to similar heights; but we can nevertheless learn something from the great ones—if not how to climb the heights, at least how to avoid the pit-
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