which, he feels sure, would have reduced his opponent to impotent
silence. Sometimes the partings are stormy. The question of the
introduction of the complementary colours into the frames of the
pictures is always a matter of strife, and results in much
nonconformity. Several are strongly in favour of carrying the
complementary colours into the picture-frames. "If you admit," says
one, "that to paint a blue roof with an orange sky shining on it you
must introduce the complementary colour green--which the spectator
does not see, but imagines--there is excellent reason why you should
dot the frame all over with green, for the picture and its frame are
not two things, but one thing." "But," cries his opponent, "there is a
finality in all things; if you carry your principle out to the bitter
end, the walls as well as the frame should be dotted with the
complementary colours, the staircases too, the streets likewise; and
if we pursue the complementaries into the street, who shall say where
we are to stop? Why stop at all, unless the neighbours protest that we
are interfering with their complementaries?"

The schools headed by Signac and Anquetin comprise numerous disciples
and adherents. They do not exhibit in the Salon or in the Champ de
Mars; but that is because they disdain to do so. They hold exhibitions
of their own, and their picture-dealers trade only in their works and
in those belonging to or legitimately connected with the new schools.

If I have succeeded in explaining the principle of coloration employed
by these painters, I must have excited some curiosity in the reader to
see these scientifically-painted pictures. To say that they are
strange, absurd, ridiculous, conveys no sensation of their
extravagances; and I think that even an elaborate description would
miss its mark. For, in truth, the pictures merit no such attention. It