My contribution to this conference is both autobiographical and, at the same time, very practical. Taken together, these considerations probably disqualify it from any claim to be called philosophy. Nevertheless, there is much to be gained from real-life observation in a field that is frequently given to abstract speculation, remote from everyday reality. My topic is the way in which colour relationships are perceived in works of art as a "harmonic" unity and the way in which this unity is felt to carry a complex of feelings. I shall discuss this from the point of view of a practising painter who has also been forced to try to understand what is going on in a work of art since, for much of my life, I have been a teacher — latterly of design. Design is a discipline which is somewhat more explicit than Fine Art, not least because it is invariably carried on in teams which need to communicate with each other in words.