scene we are really attentive to the shaded objects alone, and
what becomes of the others does not so much matter. This effect
was made still more possible by the so-called dissociation of
colors,--i.e. the juxtaposing of tints, the blending of which
by the eye gives the desired color, without the loss of
brightness which a mixing of pigments would involve. Thus by
putting touches of black and white side by side, for instance,
a gray results much brighter than could have been otherwise
reached by mixing; or blue and red spots are blended by the
eye to an extraordinarily vivid purple. Thus, by these
methods, using the truth of color in the sense of following
the nature of retinal functioning, Monet and his followers
raised the color scale many degrees in brightness. Now we
have seen that the eye loves light, warmth, strong color-effects,
related to each other in the way that the eye must see them.
Impressionism, as the name of the method just described, makes
it more possible than it had been before to meet the demands
of the eye for light and color, to recover "the innocence of
the eye," in Ruskin's phrase. Truth to the local color of
objects is relatively indifferent, unless that color is
beautiful in itself; truth to the reciprocal relations and
changes of hue is beauty, because it allows for the eye's own
adaptations of its surroundings in the interest of its own
functioning. Thus in this case, and to sum up, truth is
synonymous with beauty, in so far as beauty is constituted by
favorable stimulation of an organ. The further question, how
far this vivid treatment of light is of importance for the
realization of depth and distance, is not here entered on.

<1> Kirschmann, _Univ. of Toronto Studies, Psychol. Series_ No.