the third the literary, and so on. There reside, therefore, in
arts which are outwardly different, hidden forces equally
different, so that they may all work in one man towards a single
result, even though each art may be working in isolation.

This sharply defined working of individual colours is the basis
on which various values can be built up in harmony. Pictures will
come to be painted--veritable artistic arrangements, planned in
shades of one colour chosen according to artistic feeling. The
carrying out of one colour, the binding together and admixture of
two related colours, are the foundations of most coloured
harmonies. From what has been said above about colour working,
from the fact that we live in a time of questioning, experiment
and contradiction, we can draw the easy conclusion that for a
harmonization on the basis of individual colours our age is
especially unsuitable. Perhaps with envy and with a mournful
sympathy we listen to the music of Mozart. It acts as a welcome
pause in the turmoil of our inner life, as a consolation and as a
hope, but we hear it as the echo of something from another age
long past and fundamentally strange to us. The strife of colours,
the sense of balance we have lost, tottering principles,
unexpected assaults, great questions, apparently useless
striving, storm and tempest, broken chains, antitheses and
contradictions, these make up our harmony. The composition
arising from this harmony is a mingling of colour and form each
with its separate existence, but each blended into a common life
which is called a picture by the force of the inner need. Only
these individual parts are vital. Everything else (such as
surrounding conditions) is subsidiary. The combination of two
colours is a logical outcome of modern conditions. The