sky, although they may have seen it a hundred times. And they will complain bitterly of the gross inaccuracy of a picture which faithfully reproduces what is actually before them. We may not dwell on the pleasure that is derived from colour in natural scenery, in ornament and in clothing, in the arts and industries, for the theme is practically inexhaustible, and we would hardly have space for even the baldest enumeration of its leading divisions. It would, for example, be well worth while to trace the historical development of the various standards of taste in such matters, to which this pleasure has at different times conformed. The special emphasis given to colour in the last decade has deeply influenced our poetry, and is characteristically illustrated in the writings of Jacobsen and G. Keller. The following passage from Martin Salander could hardly have been written in any century before the present one: “The setting sun, whose level rays shone through the handsome dining room, glittered on the golden lining of a large beaker, which stood before him, freshly filled with ruddy wine. The yellow gleam shot with indescribable beauty through the heart of the rich red transparent fluid. Martin raised his eyes from the glowing colour picture, which, coming direct from the open sky, was like a flaming seal for his thoughts. A sprightly lady sitting opposite him noticed that a rosy shimmer from the cup spread over his animated face, and begged him to sit still, for he looked beautiful. Flattered, he kept his face unmoved while the reflection vibrated with the wine in the cup, for a slight tremor ran along the table and disturbed the contents of the cups.” It is interesting, too, to note that boys concern themselves much less about colour than girls do, and yet the history of painting seems to show that the masculine sex has a finer colour sense than the feminine. This is probably explained by the fact that boys early develop the fighting instinct, and the active motor side of their nature keeping perceptive play activities more in the background, without necessarily depreciating their inborn capacity for enjoyment of colour.