One must not suppose that these beautiful forms exist only in the laboratory. Every time we speak, spherical waves bounce off the floor, ceiling and walls of the room, while in any ordinary bowl or basin the curious crater-shaped echoes are formed. Glance once more at the wave surfaces produced within a hollow sphere, and try to imagine the complexity of the aerial vibrations caused by a fly buzzing around in an empty water-caraffe! The photographs enable us to realize what is going on around us all the time--this our perceptions are fortunately too dull to perceive. Life would be a nightmare if we were obliged to see the myriads of flying sound waves bounding and rebounding about us in every direction, and combining into grotesque and ever-changing forms. It is just as well, on the whole, that the light of the electric spark and the delicate optical device of Toepler are necessary to bring them into view. THE PSYCHOLOGY OF RED. BY HAVELOCK ELLIS. Among all colors, the most poignantly emotional tone undoubtedly belongs to red. The ancient observation concerning the resemblance of scarlet to the notes of a trumpet has often been repeated, though it was probably unknown to the young Japanese lady who, on hearing a boy sing in a fine contralto voice, exclaimed: “That boy’s voice is red.” On the one hand, red is the color that idiots most easily learn to recognize; on the other hand, Kirchhoff, the chemist, called it the most aristocratic of colors; Pouchet, the zoölogist, was inclined to think that it was a color apart, not to be paralleled with any other chromatic sensation, and recalled that the retinal pigment is red; Laycock, the physician, confessed that he preferred the gorgeous red tints of an autumn sunset to either musical sounds or gustatory flavors. Artists more cautious than men of science in expressing such a preference--knowing that a color possesses its special virtue in relation to other colors, and that all are of infinite variety--yet easily reveal, one may often note, a predilection for red by introducing it into scenes where it is not naturally obvious, whether we turn to a great landscape painter like Constable or to a great figure painter like Rubens, who, with the development of his genius, displayed even greater daring in the introduction of red pigments into his work.