I have an idea that violet will prove one of the most efficacious of all colours for the healing of the sick, but it will demand better judgment in its use than possibly all the rest of the colours combined; because into this our seventh colour there enters not only all the vibration which has preceded it, but it is united with an invisible colour, red, that gives it chemical properties only as yet partially understood. I find, too, that comparatively few people in the world have as yet any keen appreciation of this most wonderful of all colours of the spectrum.
There is such a profound psychology of colour that I think if people were left free to choose their own colours, the healer could determine their degree of soul development by the very choice and use of colours, and music might be used for the same end in the same way. The soul and mind if left entirely to themselves will give an exact impression outwardly of that to which they have unfolded inwardly. While violet is considered one of the cold colours, just the reverse of this is true. It takes a certain amount of coldness from indigo, but it takes again from the invisible red (or what is now called ultra violet) a warmth that none of the other colours know, not even red, the first note in the first octave of colour; but it is not a warmth that excites either the physical or the mental qualities, but one that excites man's highest emotional nature. The colour is essentially a spiritual one; on one side it is the ending of the old order, and on the other it is the beginning of the new. We are certainly at the beginning of a new order in life that will receive its supreme direction from the indwelling Spirit, but will manifest itself in the diversity of new musical tones and melodies of new visible colours and hues. There is a new world that is almost here; a world that will be apprehended through a new consciousness. It is only within comparatively recent times that we have heard of what composers and musicians call "colour music." There is much of Wagner's music that would come under this heading. Undoubtedly it came from Wagner's love of colour; for, in a letter he wrote we read: "Is it really such an outrageous demand if I claim a right to the little bit of luxury I like? I, who am preparing enjoyment for thousands! I am differently organised from other men. I must have beauty, colour, light." This love of beauty, colour, and light produced later the wonder of beauty, colour, and light in his compositions. For whatever we love, that we all come to express in one way or another. Undoubtedly, the love of colour on the part of the composer affected his music, and if the inner eye were opened for seeing emotion as the inner ear hears it, in all music we should see the beauty of colour as well as hear the melody of sound. The composer of music who has no love of colour will-never be able to put colour into his music. The music of the future will not only contain all the rhythm, melody, and harmony of sound, but all the hues, shades, and tints of colour as well; for colour is sound made visible and sound is colour made audible.
Through the perfect union of the two will come music far more beautiful than the world has ever known. Colour music is therefore no misnomer. All the colours may be felt and afterward' written into music. I have heard of a blind boy describing the touch of scarlet geraniums as the sound of a trumpet. That description is really an accurate one. And I believe colour, in turn, may be so felt and understood that it may be translated into music. In fact, colour music exists as a reality. A Wallace Riming-ton, professor of fine arts at Queen's College, London, has not only written a book on colour music, but has invented a colour organ and other colour instruments to give expression to colour in a musical way. And the late Sir Hubert von Herkomer, R.A., who wrote an introduction to the book, ends it in this way: "But to sum up briefly, Mr. Rimington's mobile colour system seems to me a method to enable one to see sound and hear colour;" and in another part of his introduction he says, referring to the colour organ: "To sit at this instrument and improvise for half an hour, whilst watching the ever-varying combinations of colours on the screen produced by the playing, is not only an unspeakable delight, but of real health-giving effect on the sense of colour. How much more valuable, as a stimulant, is mobile colour than the fixed colours of a rug which the eye gets accustomed to and which thereby acts no longer as a tonic" To those interested in colour music, this book will prove of much interest. A recent writer on colour has said: "Colour is indispensable to man's well-being and happiness. Deprivation of colour might render him liable to physical and even mental deterioration." It is said to be a recognized pathological fact that some sort of colour is indispensable to the healthy condition of the eye. I have been told that more colour-blind men and women exist among the Quakers than among any other body of people, and it has been accounted for by their abstinence from the use of colour. The Quakers of the past have clothed themselves almost entirely in what might be called neutral colours, and it is necessary to like colour in order to see it. I do not think that anyone should dislike any colour; that very dislike will gradually obliterate their sense of that particular colour. What we all need to do is to try to see more and more of the beauty, wonder and harmonies in colour, and in this way have an ever-expanding field of colour open to our vision. Sooner or later a new octave of colour will be opened up to the vision of those who have prepared themselves to receive it. But before that can come, there must be the thorough appreciation of the spectrum of colour we already possess. We have seven colours, but from those seven there can be produced a million hues, shades, and tints, and when we are able to see these through the use of our eyes, then the beauty of colour will have been multiplied in us to such a degree as is almost inconceivable now. What the world needs to-day is a greater love of the beautiful, a keener appreciation of true and beautiful ideals; a stronger desire to enter into and enjoy all those things, which, while not making for worldly possessions, nevertheless make for the real riches of life. Why should material riches so engross the mind that the joy and the happiness of life is lost in the quest for worldly possessions? It seems to me that men and women place all their hopes of happiness in material things, and lose sight of the supreme fact that everything necessary for a bright, joyous, happy life is resident in the self. We cannot purchase the love of other people with anything that we may give to them. Only love will call out love. Love is an attribute in each person's life. One may use it, or refrain from using it; but only through its use need one hope to call it out in other lives. The love of beauty lives in us; through its use, day by day or hour by hour, we are constantly seeing new beauties in nature, and beauty of qualities and character in individuals. If beauty is to grow more and more a state of consciousness in life, it will be because of our use of it. Harmonious living is brought to pass through the use of control of mind. The one who seeks to replace discordant thoughts with true ones eventually gains that peace and that poise of mind which is so necessary to all true living. No, the real riches of life, its joy, and its happiness, are not wrapped up in our material possessions, but in the rhythm, melody, and harmony of our own consciousness. Each person has the power within himself to make his life what he wills it to be. He can establish for himself a relationship to everything that is necessary to his happiness or well-being. To the degree that he uses his innate powers and possibilities, to that degree will he express the pure tone and beauty of music and colour in his own life.