The term color organ refers to a tradition of mechanical devices built to represent sound and accompany music in a visual medium. The earliest created color organs were manual instruments based on the harpsichord design. By the 1900s they were electromechanical. In the early 20th century, a silent color organ tradition (Lumia) developed. In the 1960s and 1970s, the term "color organ" became popularly associated with electronic devices that responded to their music inputs with light shows. The term "light organ" is increasingly being used for these devices; allowing "color organ" to reassume its original meaning. History of the concept In 1590, Gregorio Comanini described an invention by the Mannerist painter Arcimboldo of a system for creating color-music, based on apparent luminosity (light-dark contrast) instead of hue. In 1725, French Jesuit monk Louis Bertrand Castel proposed the idea of Clavecin pour les yeux (Ocular Harpsichord). In the 1740s, German composer Telemann went to France to see it, composed some pieces for it and wrote a book about it. It had 60 small colored glass panes, each with a curtain that opened when a key was struck. In about 1742, Castel proposed the clavecin oculaire (a light organ) as an instrument to produce both sound and the "proper" light colors. In 1743, Johann Gottlob Krüger, a professor at the University of Hall, proposed his own version of the ocular harpsichord. In 1816, Sir David Brewster proposed the Kaleidoscope as a form of visual-music that became immediately popular. In 1877, US artist, inventor Bainbridge Bishop gets a patent for his first Color Organ. The instruments were lighted attachments designed for pipe organs that could project colored lights onto a screen in synchronization with musical performance. Bishop built three of the instruments; each was destroyed in a fire, including one in the home of P. T. Barnum. In 1893, British painter Alexander Wallace Rimington invented the Clavier à lumières. Rimington's Colour Organ attracted much attention, including that of Richard Wagner and Sir George Grove. It has been incorrectly claimed that his device formed the basis of the moving lights that accompanied the New York City premiere of Alexander Scriabin's synaesthetic symphony Prometheus: The Poem of Fire in 1915. The instrument that accompanied that premiere was lighting engineer Preston S. Millar's chromola, which was similar to Rimington's instrument. In a 1916 art manifesto, the Italian Futurists Arnaldo Ginna and Bruno Corra described their experiments