of a number of successive notes blended into one,
but to keep distinct the effect of the four simultaneous parts by using
a differently-coloured line for each. In G we attempt exactly the
reverse, for we combine vertically, and blend, not the successive notes
of one part, but the chords, each probably containing six or eight
notes. The true appearance combines these two effects with an
inexpressible wealth of detail.

_Wagner._--No one who has devoted any study to these musical forms would
hesitate in ascribing the marvellous mountain-range depicted in Plate W
to the genius of Richard Wagner, for no other composer has yet built
sound edifices with such power and decision. In this case we have a vast
bell-shaped erection, fully nine hundred feet in height, and but little
less in diameter at the bottom, floating in the air above the church out
of which it has arisen. It is hollow, like Gounod's form, but, unlike
that, it is open at the bottom. The resemblance to the successively
retreating ramparts of a mountain is almost perfect, and it is
heightened by the billowy masses of cloud which roll between the crags
and give the effect of perspective. No attempt has been made in this
drawing to show the effect of single notes or single chords; each range
of mimic rocks represents in size, shape, and colour only the general
effect of one of the sections of the piece of music as seen from a
distance. But it must be understood that in reality both this and the
form given in Plate G are as full of minute details as that depicted in
Plate M, and that all these magnificent masses of colour are built up of
many comparatively small bands which would not be separately visible
upon the scale on which this is drawn. The broad result is that each
mountain-peak has its own brilliant hue, just as it is seen in the
illustration--a splendid splash of vivid colour, glowing with the glory
of its own living light, spreading its resplendent radiance over all
the country round. Yet in each of these masses of colour other colours
are constantly flickering, as they do over the surface of molten metal,
so that the coruscations and scintillations of these wondrous astral
edifices are far beyond the power of any physical words to describe.

[Illustration: PLATE W. MUSIC OF WAGNER]

A striking feature in this form is the radical difference between the
two types of music which occur in it, one producing the angular rocky
masses, and the other the rounde