PROCEEDINGS OF THE SOCIETY. 
715 
thought depended upon the colour used being the same as that of the 
object photographed — e. g. the photograph of a red object not looking 
well if coloured blue. He could not offer any explanation of this 
effect. 
Mr. E. M. Nelson thought Mr. Ingpen’s observation might be to 
some extent explained by the “ key ” in which the photograph was 
pitched. In other words, in what order of luminosity did the colours 
come ? Was yellow or green the brighter colour ? Different individuals 
would probably answer this question differently, because all had not the 
same visual “ gamut,” and therefore any given photograph of this coloured 
design might not be equally pleasing to all. 
Mr. Ingpen thought that “ yellow cornea ” was one of the physical 
causes affecting the appreciation of colour. He had noticed this when 
suffering from approaching blindness, due to cataract. After a success- 
ful removal of the orange-coloured crystalline lens, he had for some 
months an abnormal appreciation of colour at the blue end of the spec- 
trum, which gradually subsided into what he believed to be probably a 
fairly normal colour-vision.* 
Mr. Beck said that an interesting experiment on colour vision, 
whereby a uniform tint was produced by the combination of varying 
amounts of two different colours on a spinning top — showed that even in 
normal eyes scarcely two people agreed in requiring the same relative 
amounts of the two compound colours to obtain the same resultant tint, 
showing that the relative brilliancy of colours varied largely in even 
normal eyes. 
Mr. G. C. Karop said it seemed to be taken for granted that all men, 
not known to be colour-blind, were endowed with a perfect chromatic 
perception, and while all the other senses required to be educated, the 
eye did not need training, in this direction at least, which of course was 
quite a mistake. No untrained person would presume to analyse musical 
tones, but nearly every one thought himself qualified to decide as to 
shades and tints. So far as he was aware, there was no systematic edu- 
cation in colour, which was possibly due to there being no universally 
accepted scale or standard. 
The President said there was a class of men who were supposed to 
have a special training in appreciating colours, these were the artists • 
but he ventured to say, that, though in the case of a broad strong colour 
they might not differ, yet when it came to a delicate tint, such as the 
shade upon a tree trunk, it would be found that scarcely two of them 
would agree. This would not be merely a question of name, because 
they would mix different colours to match the tint required ; and so it 
would be also found amongst people generally, that where strong colours 
were concerned there would be a pretty general agreement, but when it 
came to a discrimination between delicate shades, they would find there 
was a very wide amount of divergence. 
* Professor Liebreich, in a magazine article on ‘ Turner and Mulready,’ pub- 
lished many years ago, attributed certain peculiarities in the paintings of the former 
artist to astigmatism, and in those of the latter to yellow cornea. 
