color to deep topaz. Then suddenly interweavings of strange green and peacock blue, with now and then a touch of pure white, make us seem to feel the tremulousness of the Mediterranean on a breezy day, and as the color deepens there are harmonies of violet and blue green which recall its waves under a Tramontana sky. More and more powerful they grow, and the eye revels in the depth and magnificence of the color as the executant strikes chord after chord among the bass notes of the instrument. “Then suddenly the screen is again dark and there is only a rhythmic and echoing beat of the dying color upon it. At last this disappears also, and there is another silent pause, then one hesitating tint of faded rose as at the opening of the composition. “Upon this follows a stronger return of the color, and as the screen once more begins to glow with note after note of red and scarlet, we are prepared for the rapid crescendo which finally leads up to a series of staccato and forte chords of pure crimson which almost startle us with the force of their color before they die away into blackness! “This,” says Mr. Rimington, “is an extremely simple example, but it may suffice to show the kind of effect produced by an unadorned form of mobile color not accompanied by music. In some cases a musical accompaniment was found to add greatly to the interest of a color composition. The nearest approach to color music in nature is to be found in certain sunsets.” Of the emotional and aesthetic effect of color music on various beholders we read: The amount of pleasure and interest derived from color compositions varies immensely with individuals. An interesting instance of this was the case of a well-known London doctor, who told the author, after first seeing a recital of color-music, that he was absolutely unappreciative of any form of “sound music;” that it was, in fact, a pain to him, and that he had always detested it. “But,” he said, “from the moment that I first saw a display of mobile color, I realized what I had missed all my life through my inability to appreciate music. It opened up a new world of sensations to me and gave me the greatest mental pleasure I have ever experienced.” This clearly shows that to some persons mobile color would, or does, fill the place which music can not occupy in their lives. On the other hand, there can be little doubt that to some, though they would hardly own it, color of any kind is more or less unpleasant, and they would prefer to live in a monotonic world. One must therefore be prepared for a great variety of opinions with regard to any such art as that of mobile color. The majority of people will probably derive a moderate but increasing pleasure from it.