discover that painters continually are speaking of hot and cold colour: red, yellow, orange being generally hot, and green, blue, and violet cold—mixed colours being classed hot and cold according to the proportions they contain of the hot and cold colours. We also discover that certain colours will not fit certain forms, but rebel at the combination. This is so far true that scarcely any landscape painter finishes his pictures from nature, but in the studio: and almost any art student, painting a landscape, will disregard the colour before him and employ the colour-scheme of his master or of some painter he admires. As Delacroix noted in his journal: "A conception having become a composition must move in the milieu of a colour peculiar to it. There seems to be a particular tone belonging to some part of every picture which is a key that governs all the other tones."

Therefore, we must admit that there is an intimate relation between colour and form. It is the same with colour and sounds. Many musicians have observed the phenomenon, that when certain notes, or combinations of them, are sounded, certain colours are also suggested to the eye. A Russian composer, Scriabine, went so far as to construct colour-scales, and an English scientist, Professor Wallace Rimington, has built an organ which plays in colours, instead of notes. Unfortunately, the musicians have given this subject less attention than the painters, and therefore our knowledge concerning the relations of colour and sound is more fragmentary and incomplete. Nevertheless, these relations exist, and it is for the future to develop them more fully.

Literature, and especially poetry, as I have already pointed out, partakes of the character of both painting and music. The impressionist method is quite as applicable to writing as it is to landscape. Poems can be written in major or minor keys, can be as full of dominant motif as a Wagner music-drama, and even susceptible of fugal treatment. Literature is the common ground of many arts, and in its highest development, such as the drama as practised in fifth-century Athens, is found allied to music, dancing, and colour. Hence, I have called my works "Symphonies," when they are really dramas of the soul, and hence, in them I have used colour for verity, for ornament, for drama, for its inherent beauty, and for intensifying the form of the emotion that each of these poems is intended to evoke.

VII

Let us take an artist, a young man at the outset of his career. His years of searching, of fumbling, of other men's influence, are coming to an end. Sure of 

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