espectively, though they do not necessarily appear
in that order in this astral form. Here it is necessary to interpolate a
still further explanation. Even with a melody so comparatively simple as
this there are tints and shades far too finely modulated to be
reproduced on any scale at all within our reach; therefore it must be
said that each of the short lines expressing a note has a colour of its
own, so that although as a whole that outer line gives an impression of
blueness, and the one next within it of carmine, each yet varies in
every inch of its length; so that what is shown is not a correct
reproduction of every tint, but only the general impression.

The two sets of four lines which seem to cross one another are caused by
two sections of the melody; the scalloped edging surrounding the whole
is the result of various flourishes and arpeggios, and the floating
crescents in the centre represent isolated or staccato chords. Naturally
the arpeggios are not wholly violet, for each loop has a different hue,
but on the whole they approach more nearly to that colour than to any
other. The height of this form above the tower of the church is probably
a little over a hundred feet; but since it also extends downwards
through the roof of the church its total perpendicular diameter may well
be about a hundred and fifty feet. It is produced by one of
Mendelssohn's "Lieder ohne Woerte," and is characteristic of the delicate
filigree-work which so often appears as the result of his compositions.

The whole form is seen projected against a coruscating background of
many colours, which is in reality a cloud surrounding it upon every
side, caused by the vibrations which are pouring out from it in all
directions.

_Gounod._--In Plate G we have an entirely different piece--a ringing
chorus by Gounod. Since the church in the illustration is the same, it
is easy to calculate that in this case the highest point of the form
must rise fully six hundred feet above the tower, though the
perpendicular diameter of the form is somewhat less than that, for the
organist has evidently finished some minutes ago, and the perfected
shape floats high in the air, clearly defined and roughly spherical,
though rather an oblate spheroid. This spheroid is hollow, as are all
such forms, for it is slowly increasing in size--gradually radiating
outward from its centre, but growing proportionately less vivid and more
ethereal in appearance as it does so,