Afterwards the singing birds and then all the animals emitted their various sounds. Harmony was there; man, classifying and arranging the sounds, created music. We all know what man has been able to get from it since then. Man, past master of the musical realm, is to-day still in the infancy of art, from the standpoint of control of light. If I have been the first to employ coloured light, I deserve no special praise for that. I cannot explain the circumstance; I do not know how I do it. I can only reply, like Hippocrates when he was asked what time was: “Ask it of me,” he said; “and I cannot tell you; ask it not and I know it well.” It is a matter of intuition, of instinct, and nothing else. Sight is perhaps the first, the most acute, of our senses. But as we are born with this sense sufficiently well developed to enable us to make good use of it, it is afterward the last that we try to perfect. For we concern ourselves with everything sooner than with beauty. So there is no reason for surprise that the colour sense is the last to be developed. Yet, notwithstanding, colour so pervades everything that the whole universe is busy producing it, everywhere and in everything. It is a continued recurrence, caused by processes of chemical composition and decomposition. The day will come when man will know how to employ them so delightfully that it will be hard to conceive how he could have lived so long in the darkness in which he dwells to-day. Our knowledge of motion is nearly as primitive as our knowledge of colour. We say “prostrated by grief,” but, in reality, we pay attention only to the grief; “transported with joy,” but we observe only the joy; “weighed down by chagrin,” but we consider only the chagrin. Throughout we place no value on the movement that expresses the thought. We are not taught to do so, and we never think of it. Who of us has not been pained by a movement of impatience, a lifting of the eyebrows, a shaking of the head, the sudden withdrawal of a hand? We are far from knowing that there is as much harmony in motion as in music and colour. We do not grasp the facts of motion. How often we have heard it said: “I cannot bear this colour.” But have we ever reflected that a given motion is produced by such and such music? A polka or a waltz to which we listen informs us as to the motions of the dance and blends its variations. A clear sparkling day produces upon us quite a different effect from a dull sad day, and by pushing these observations further we should begin to comprehend some more delicate effects which influence our organism. In the quiet atmosphere of a conservatory with green glass, our actions are different from those in a compartment with red or blue glass. But usually we pay no attention to this relationship of actions and their causes. These are, however, things that must be observed when one dances to an accompaniment of light and music properly harmonised. Light, colour, motion and music.