A number of attempts have been made to utilize light as an accompaniment of music and some of them on a small scale have been sincere and creditable, but a much-heralded exhibition on a large scale a few years ago was not the product of deep thought and sincere effort. For example, colored lights thrown upon a screen having an area of perhaps twenty square feet were expected to compete with a symphony orchestra in Carnegie Hall. The music reached the most distant auditor in sufficient volume, but the lighting effect dwindled to insignificance. Without entering into certain details which condemned the exhibition in advance, the method of rendition of the light-accompaniment revealed a lack of appreciation of the problems involved on the part of those responsible. Incidentally, it has been shown that the composer of this particular musical selection with its light accompaniment was psychologically abnormal; that is, he was affected with colored audition. It is not yet established to what extent normal persons are similarly affected by light and color. Certainly there is no similarity among the abnormal and none between the abnormal and normal. If light is to be used as an accompaniment to music, it must be given an opportunity to supply "atmosphere." This it cannot do if confined to an insignificant spot; it must be given extensity. Furthermore, by the use of diaphanous hangings, form will be minimized and the evanescent effects surely can be charming. But finally the lighting effects must fill the field of vision just as the music "fills the field of audition" in order to be effective. There are fundamental objections to the use of mobile light as an accompaniment to music and therefore the future of the art of mobile light must not be allowed to rest upon its success with music. If it progresses through its relation with music, so much is gained; if not, the relation may be broken for music is quite capable of standing alone.