question. People have sought to paint in counterpoint. Also
unmusical children have been successfully helped to play the
piano by quoting a parallel in colour (e.g., of flowers). On
these lines Frau A. Sacharjin-Unkowsky has worked for several
years and has evolved a method of "so describing sounds by
natural colours, and colours by natural sounds, that colour could
be heard and sound seen." The system has proved successful for
several years both in the inventor's own school and the
Conservatoire at St. Petersburg. Finally Scriabin, on more
spiritual lines, has paralleled sound and colours in a chart not
unlike that of Frau Unkowsky. In "Prometheus" he has given
convincing proof of his theories. (His chart appeared in "Musik,"
Moscow, 1911, No. 9.)]

[Footnote: The converse question, i.e. the colour of sound, was
touched upon by Mallarme and systematized by his disciple Rene
Ghil, whose book, Traite du Verbe, gives the rules for
"l'instrumentation verbale."--M.T.H.S.]

The explanation by association will not suffice us in many, and
the most important cases. Those who have heard of chromotherapy
will know that coloured light can exercise very definite
influences on the whole body. Attempts have been made with
different colours in the treatment of various nervous ailments.
They have shown that red light stimulates and excites the heart,
while blue light can cause temporary paralysis. But when the
experiments come to be tried on animals and even plants, the
association theory falls to the ground. So one is bound to admit
that the question is at present unexplored, but that colour can
exercise enormous influence over the body as a physical organism.