“It is only the most superficial of psychologists and æstheticians who can regard any human faculty as wholly cut off from the rest. Our perceptions of sight, of taste, of touch, of hearing are inextricably interblended as is shown by our constantly expressing one set of sensations in terms of another, as when we speak of the colour of music, the height or depth or thickness or clarity or muddiness of musical tone. In every poet there is something of the painter and the musician; in every musician something of the poet and the painter; in every painter something of the musician and the poet. The character of the man’s work will depend upon the strength or weakness of the tinge that is given to his own special art by the relative strength or weakness of the infusion of one or more of the other arts.” Thus we can explain the sensuous individuality of an artist as being a result of the special and peculiar bias and intermixture of his senses. But this is only a part of his character or personality, and it is my argument that it is the minor (though essential and indispensable) and not the major or most important part. For besides this physical individuality he has a spiritual individuality. The former is the instrument, the latter is the “life,” and, in the case of music, the physical expression, the communication, the tangible (eye and ear are “touch” at a distance) _death-shape_ is the musical creation or form--a Bach fugue, a Beethoven symphony, a Mozart or Wagner opera, a Schubert song.