Between the vibrations of red, the first note, and yellow, the third note, there comes into being the second note. We might say that red is the father and yellow the mother, and orange is the child. And the child partakes of the qualities of both father and mother. It is the colour which establishes the equilibrium between the first and the third note, as, in a greater way, equilibrium is established by the mediant, or third note, between the first and the fifth. As yellow is related, on one side, to spirit, and on the other to matter, so orange is related to the physical and the mental, and in its uses for the healing of the sick, these two factors must be taken into consideration. With some people it has enough of red in it to stir them to physical activity and with others it has enough of the yellow to stir to mental activity.
I feel certain that means will be found to combine music and colour in a thoroughly scientific way, so that colour may work in harmony with music for the healing of every kind of sickness. But it will be essential to discover the effect of colour on the mind and the emotions of people just as it will be necessary to know the kind of music to give, according to the temperament and the needs of the patient.
People at different times have reached what seemed to them satisfactory conclusions concerning the beneficial action of colour on human life. Some thirty years ago we had what was known as the blue glass craze, when it was thought that all kinds of diseases were going to be healed through the use of the blue ray. Practical experience gave little, if any result. People may say this proves that colour is of little benefit, if any, in the healing of the sick, but I do not think it proves anything of the kind. We do not get music simply by sounding one note of a chord, but rather through a combination of notes, and healing will not come from any one colour, but rather from the combining of the colours. There are major and minor chords in colour just as much as there are in music, and these major and minor chords are going to affect people in different ways and degrees. That which will prove a real tonic for one person, may not have a beneficial effect upon another. In every case, there must be a thorough diagnosis of the patient's needs and the correspondence for these needs should be found both in music and in colour. If music and colour are to be used for the healing of the sick, then they will only accomplish a real good when they are used in thoroughly scientific ways. Many experiments may have to be tried before those scientific ways are discovered, but it is through experiment that, eventually, the truth is established.
Between the yellow and the blue we have green. The light green that lies close to the yellow in the spectrum, is the last of the luminous or warm colours. It takes its warmth very largely from the yellow. The dark green, which comes nearest to blue, is a light-absorbing colour. Perhaps, of all colours, green is the most soothing and quieting. If a person has been under great excitement or intense strain, the medium or the dark greens will produce a more restful and relaxing condition than any of the other colours.
Blue is the fifth, or dominant note in colour. It represents more of what may be called man's spiritual consciousness than any other of the preceding notes. In the spectroscope it shades from its lightest tint into indigo. It is called a non-luminous colour, and also a cold colour. Lord Rayleigh said that the blue colour of the sky is due to the scattering of light by small, suspended particles and air molecules which are most effective in the case of shorter waves. The green colour of sea-water near the shore is also due to a scattering of light. The scattering of light has its perfect correspondence in that blue represents such qualities as truth, faith, and hope. We might call it the colour that diffuses light, and, while we may call it a cold colour, it has in its nature the restfulness that tends to make one more receptive to the real inner life. It is cold in comparison with red and orange, but it is a real life-giving colour. We might say that it is the first real colour that brings man into closer relationship with the things that are not seen. Blue stands essentially for truth and it is the truth that makes for freedom. Sometimes we speak of a man as being "true blue," that is, a man who is to be thoroughly trusted.
Within the last few years we have heard much about the wonderful effects of ultra-violet rays, the colour not as yet seen by our organs of sight, yet apparently, possessing more chemical power than the whole octave of colour below it. Already it has been found that it can be put to use for destructive ends and purposes in a way in which no other colour can be used. It is a singular thing that man so often turns his discoveries in nature to destructive ends before he finds out their higher and better uses. Though the ultra-violet ray carries within itself the power to destroy, later it will be found that its energy can be used for thoroughly constructive purposes. If the opening note in a new octave of colour contains so much power, how much more power is the whole octave likely to reveal? And this only symbolises the power that is resident in the life of man when he is able to hear and to perceive that which at one time was thought to be unattainable; for the unattainable is only so to a partial consciousness. To the full consciousness, all things become possible. All things are ours when we know how to use them, for man will sooner or later lay hold of the fruits of the tree of life, and eat thereof, and live forever.
Bright violet is one of the most spiritual of colours. On one side it draws from the indigo, and on the other from the invisible red. The first note, as it were, in the new octave of colour. Indigo is considered one of the most enduring of colours, while violet fades more quickly than any other, and the reason for this is that violet, being the last note in the first octave of colour, draws quite as much from the invisible red as it does from the indigo. There is a new octave of colour that some people are beginning to perceive dimly. In one way, in this new octave, all the colours are the same, just as we have the same notes in each octave of music, but any given note of the next octave above requires twice the number of vibrations to produce it. So it will eventually be found that the colour red and all the succeeding colours of a new octave of colour will have their vibrations redoubled, and the intensity of the vibration in its new octave will add much to the life-giving power of colour.