"White knowledge, if we win it,

Is granted from One Source - for joy and dolour -

To whomso hath it, Prince, or Man, or Beast,

Yet, as each crystal by its inner colour

Stains the pure beam enkindled from the East,

So shall the nation of each soul, endoubled

By will on mind, dye fair or dark that ray."

- Sir Edwin Arnold. "A thing of beauty is a joy forever:

Its loveliness increases; it will never

Pass into nothingness; but still will keep

A bower quiet for us, and a sleep

Full of sweet dreams and health and quiet breathing."

- Keats.

As music has its tonic, mediant, and dominant notes represented in their order by the first, third, and fifth notes of the octave, so colour has its fundamental or tonic in the red, its mediant in the yellow, and its dominant in the blue; all the secondary colours being but reflections and refractions of the three primaries. Very few people who have investigated the subjects of sound and colour will take other than the position that there must be a very intimate relationship between the two. While there are many things that have not been made satisfactorily clear to the minds of investigators, nevertheless, we know, that after sound vibration ceases; as far as the human ear is concerned, vibration still continues, and that thirty-four octaves from the ending of what we are pleased to call sound vibrations, we find the beginning of the first note in the octave of colour. The interesting fact that there is an instrument used by the blind to hear light, to which I have referred in another chapter, would seem to establish beyond all doubt that the principal difference between light and sound colour is simply a question of vibration.

Some years ago I knew a little girl who, whenever she heard a selection played on the piano or other musical instrument, would designate it by some colour, calling one piece blue, another red, and still another yellow; in fact, using all the colours to designate the different compositions. It was a peculiar fact that she never made a mistake in referring to the colours of the various selections. A piece once red was always red, and this was accounted for by her statement that as she listened to each one she saw its colour. Many times she was tested to see whether she would not make some mistake, but she never did. Each had its own particular colour, and no other. Even after she had grown to womanhood, she still declared she saw colour connected with all the music to which she listened.

This question of colour in its relation to sound might prove one of great interest to the student, but my object in dealing with it in this case is to bring out something of practical value. In the healing of the sick, I give music the chief place of importance, but I look upon colour as a necessary adjunct to it, and believe that its use may greatly enhance the value of music.

Just as I write this chapter, I have, before my vision, a beautiful green lawn, and at the end of the lawn a great clump of rose-bushes, covered with a profusion of beautiful red roses. As I sit on the ground, I notice two things: that the green lawn brings to me something of a very restful state of mind, but if I look at the roses for any length of time I find that the mind becomes more active, because red is a real tonic to both mental and physical activity. It is the colour red that corresponds to blood, to life; and red really symbolises life. On its lowest octave red represents, first of all, physical life with all its activities. We have every reason to believe that it was the first colour caught by the eye of man, or, rather, it was the first colour to which man became attuned, and all colour which the eye has since been able to see has been gradual in its unfolding. There is a necessary state, or condition, in the life of man, that must come into being before he can respond to all the notes in the first great octave of colour. For colour has its octaves in the same way that sound has octaves. But we have at present more than ten octaves of sound, and only one of colour. We have certain colours which we call warm or luminous: red, orange, yellow, and light green; but in the new octave of colour, we shall find much more of the luminous than we are able to perceive at the present. Higher rates of vibration will add very greatly to the wonder of the spectrum. I am inclined to think that the lover of colour gradually comes to see more and more in every tint and hue, more tone and more of the harmony that Nature produces in her marvellous combinations of colour.

People who need to have their physical activities awakened will find much that will be helpful in the varying degrees and the tones of the colour red, more or less modified by combination with certain other colours, for to many people, red would serve only to excite, without benefiting. We know that red produces a very distinct antagonism in some animals. It stirs them to destructive effort and, to some degree, this holds good in regard to some people. It so works upon the emotional nature, that only superficial emotions are awakened. Undoubtedly, red serves to awaken more of the subconsciousness of man's purely physical or elemental life than any other single colour. The colour red, like certain kinds of music, inspires men to battle. The people who wish to overthrow the existing order of things choose a red flag in preference to one of any other colour. Red, being the fundamental colour, should, when people are rightly adjusted to it, be constructive, but, through failure to adjust, red represents, to a very marked degree, the destructive side of life. With the beginning of a new octave, in which red will again be the tonic or fundamental note, there will come with it in human life greater vitality and a far greater degree of construc-tiveness. Red represents, in a very decided way, energy in motion, but it is well to remember that energy in motion should be of an orderly action, and red can only get its balance in connection with yellow, the mediant note in colour, and blue, the dominant note. What is needed is balance. Yellow, standing between red and blue, produces the balance that should of necessity exist. Yellow stands, in this relation, representative of thought and reason. We might say that it relates man on one side to that which is of the earth, earthy, and on the other side to that which is of the heavens, heavenly. It represents thought and reason; it may be truly said to be representative of the mind of man. The colour yellow inspires thought, therefore it is not so restful to the mind as green or blue. It plays practically the same part in the mental that red does in the physical life. It stirs to a new condition of activity - the activity of the mental plane.