e they are radiating forth
their characteristic vibrations in every direction, just as our
thought-forms do; and if the music be good, the effect of those
vibrations cannot but be uplifting to every man upon whose vehicles they
play. Thus the community owes a very real debt of gratitude to the
musician who pours forth such helpful influences, for he may affect for
good hundreds whom he never saw and will never know upon the physical
plane.

_Mendelssohn._--The first of such forms, a comparatively small and
simple one, is drawn for us in Plate M. It will be seen that we have
here a shape roughly representing that of a balloon, having a scalloped
outline consisting of a double violet line. Within that there is an
arrangement of variously-coloured lines moving almost parallel with this
outline; and then another somewhat similar arrangement which seems to
cross and interpenetrate the first. Both of these sets of lines
evidently start from the organ within the church, and consequently pass
upward through its roof in their course, physical matter being clearly
no obstacle to their formation. In the hollow centre of the form float a
number of small crescents arranged apparently in four vertical lines.

[Illustration: PLATE M. MUSIC OF MENDELSSOHN]

Let us endeavour now to give some clue to the meaning of all this, which
may well seem so bewildering to the novice, and to explain in some
measure how it comes into existence. It must be recollected that this is
a melody of simple character played once through, and that consequently
we can analyse the form in a way that would be quite impossible with a
larger and more complicated specimen. Yet even in this case we cannot
give all the details, as will presently be seen. Disregarding for the
moment the scalloped border, we have next within it an arrangement of
four lines of different colours running in the same direction, the
outermost being blue and the others crimson, yellow, and green
respectively. These lines are exceedingly irregular and crooked; in
fact, they each consist of a number of short lines at various levels
joined together perpendicularly. It seems that each of these short lines
represents a note of music, and that the irregularity of their
arrangement indicates the succession of these notes; so that each of
these crooked lines signifies the movement of one of the parts of the
melody, the four moving approximately together denoting the treble,
alto, tenor and bass r