rches of this creed are lacking in
severe lines and the walls and ceilings are highly reflecting. Adequate
illumination by means of diffused light without the production of severe
contrasts expresses the creed, modernity, and enlightenment. On the
altar of certain churches the expressiveness of light is utilized in the
ceremonial uses which vary with the creed. Even the symbolism of color
may be appropriately woven into the lighting of the church.

The expressiveness of light and color originated through the contact of
primitive man with nature. Sunlight meant warmth and a bountiful
vegetation, but darkness restricted his activities and harbored manifold
dangers. Many associations thus originated and they were extended
through ignorance and superstition. Yellow is naturally emblematical of
the sun and it became the symbol of warmth. Brown as the predominant
color of the autumn foliage became tinctured with sadness because the
decay of the vegetation presaged the death of the year and the cold
dreary months of winter. The first signs of green vegetation in the
spring were welcomed as an end of winter and a beginning of another
bountiful summer; hence green symbolized youth and hope. It became
associated with the springtime of life and thus signified inexperience,
but as the color of vegetation it also meant life itself and became a
symbol of immortality. Blue acquired certain divine attributes because,
as the color of the sky, it was associated with the abode of the gods or
heaven. Also a blue sky is the acme of serenity and this color acquired
certain appropriate attributes.

Associations of this character became woven into mythology and thus
became firmly established. Poets have felt these influences of light
and color in nature and have given expression to them in words. They
also have entwined much of the mythology of past civilizations and these
repetitions have helped to establish the expressiveness of light and
color. Early ecclesiasts employed these symbolisms in religious
ceremonies and dictated the garbs of saints and other religious
personages in the paintings which decorated their edifices. Thus there
were many influences at work during the early centuries when intellects
were particularly susceptible through superstition and lack of
knowledge. The result has been an extensive symbolism of light, color,
and darkness.

At the present time it is difficult to separate the innate appeal of
light, color, and da