Alexander Wallace Rimington, a London painting professor, patented his Colour-Organ in 1893: a console of stops and keys driving arc-lamp projections through colored filters, painting washes of light while music played. He toured demonstrations, published Colour-Music: The Art of Mobile Colour in 1912, and corresponded with the Scriabin circle as Prometheus took shape.
Rimington’s mapping compressed the spectrum onto the octave, red rising to violet, transposed across registers. Critics argued the results proved color needed its own art rather than borrowed scores, a conclusion Thomas Wilfred’s lumia later embraced.
The instrument itself is lost; the name it coined swallowed the whole genre.