What can be said of so amazing a declaration? The arts of painting and music do not, and cannot, have any connection with each other. They are concerned with different senses and different signs, and by no stretch of the imagination can they be combined. Seeing that musical terms when used in respect of painting by modern critics are almost invariably made to apply to colour harmonies, we may infer that a confusion of thought arises in the minds of the writers from the similar physical means by which colour and sound are conveyed to the senses concerned. But this similarity has nothing to do with the appreciation of art. The æsthetic value of a work is determined when it is conveyed to the mind, irrespective of the means by which it is so conveyed. According to La Touche it was Fantin Latour who invented modern impressionism. Braquemond relates that La Touche told him the following story.[d] He (La Touche) was one day at the Louvre with Manet, when they saw Latour copying Paolo Veronese's Marriage at Cana in a novel manner, for instead of blending his colours in the usual way, he laid them on in small touches of separate tones. The result was an unexpected brilliancy ("papillotage imprevu") which amazed but charmed the visitors. Nevertheless when Manet left the Louvre with La Touche, he appeared anything but satisfied with what he had seen, and pronounced it humbug. But Latour's method evidently sunk into his mind, for a few days later he commenced to use it himself. Thus, added La Touche, was modern impressionism unchained. The date of this visit was not given by La Touche, but 1874 was subsequently suggested. This account does not fit in with the statement of MacColl that when Monet and Pissarro were in London during the siege of Paris, the study of Turner's pictures gave them the suggestion of these broken patches of colour.[e] If this be true Monet must have antedated Manet in the application of isolated tones. D. S. Eaton asserts that in the Salon of 1867, there was exhibited a picture by Monet which was entitled Impressions,[f] and from this arose the word "Impressionist"; but Phythian says that the word resulted from Monet's "Impression, soleil levant," exhibited in 1874 at the Nadar Gallery in Paris with other works from Le Société Anonyme des Artistes, Peintres, Sculpteurs, et Graveurs. Phythian adds[g]: Thus, unwittingly led by one of the exhibitors, visitors to the exhibition came to use the word "impressioniste," and within a few days a contemptuously unfavourable notice of the exhibition appeared in _Le Charivari_ under the heading "Exposition des Impressionistes." It was not until the lapse of several years that the name came into general use. The painters to whom it was applied disowned it because it was used in a depreciatory sense. Eventually however, unable to find a better one, they adopted it. Another origin of Impressionism is given by Muther. He says[h]: