nearer to the eye than one from the violet end, even though the colors are all placed equally distant from the eye.
Now we shall see that, although these effects of color are useful in a painting, they may be harmful in a motion picture. When we behold a painting in which colors ranging from red to yellow are contrasted with colors ranging from violet to blue, we may, indeed, get a pleasant sensation of the eye because of the stimulating activity in the work of accommodation. There is to most people a distinct pleasure, for example, in shifting the gaze from orange-yellow to blue, because those colors are felt to be "complementary." But it must be remembered that the circumstances of looking at a painting are entirely different from those of looking at a motion picture.
Two differences are especially notable. The first difference is that when we look at a painting we ourselves are practically the choosers of when and how long to look at any spot, line, shape, or color. In other words, we ourselves practically decide on how much and what kind of work our eyes shall do; but when we look at a motion picture we never know at any instant what we may be called upon to do the next instant. That makes us nervous. We need to be constantly braced for the shock and, if we are not so braced, we must suffer when the shock comes.
The second difference is that everything in a painting is always actually at rest, while nearly everything in a motion picture is always in motion. If a painting, which does not move in any of its parts, can suggest movement to our imagination, or can make our eyes perform actual movements of vision, such move-
