roverbially intellectual and spiritual colors, and
their place in the spectrum therefore conforms to the demands of our
theoretical division. Here, then, is something reasonably certain,
certainly reasonable, and may serve as an hypothesis to be confirmed
or confuted by subsequent research. Coming now finally to the
consideration of the musical parallel, let us divide a color scale of
twelve steps or semi-tones into three groups; each group, graphically
portrayed, subtending one-third of the arc of a circle. The first or
red group will be related to the physical nature, and will consist of
purple-red, red, red-orange, and orange. The second, or green group
will be related to the emotional nature, and will consist of yellow,
yellow-green, green, and green-blue. The third, or blue group will be
related to the intellectual and spiritual nature, and will consist
of blue, blue-violet, violet and purple. The merging of purple into
purple-red will then correspond to the meeting place of the
highest with the lowest, "spirit" and "matter." We conceive of this
meeting-place symbolically as the "heart"--the vital centre. Now
"sanguine" is the appropriate name associated with the color of
the blood--a color between purple and purple-red. It is logical,
therefore, to regard this point in our color-scale as its
tonic--"middle C"--though each color, just as in music each note, is
itself the tonic of a scale of its own.

Mr. Louis Wilson--the author of the above "ophthalmic color scale"
makes the same affiliation between sanguine, or blood color, and
middle C, led thereto by scientific reasons entirely unassociated with
symbolism. He has omitted orange-yellow and violet-purple; this
makes the scale conform more exactly with the diatonic scale of
two tetra-chords; it also gives a greater range of purples, a color
indispensable to the artist. Moreover, in the scale as it stands, each
color is exactly opposite its true spectral complementary.

The color scale being thus established and broadly divided, the next
step is to find how well it justifies itself in practice. The most
direct way would be to translate the musical chords recognized and
dealt with in the science of harmony into their corresponding color
combinations.

For the benefit of such readers as have no knowledge of musical
harmony it should be said that the entire science of harmony is based
upon the _triad_, or chord of three notes, and that there are various
kinds of t