The Evolution of the Tattvas 59 



the vibrations at certain points by touching the 

 edge with his finger tips. This established nodal, 

 or rest, lines along which the sand grains shifted, 

 showing the form of the vibrations; and by vary- 

 ing the points of contact, both for drawing the 

 bow and damping the vibrations, a great variety 

 of beautiful figures were produced corresponding 

 with varying tones. It was thus found that a 

 given tone always produced the same figure; so 

 the experiments disclosed an unvarying law of 

 sound vibrations. 



Illustrations of these sand forms, called 

 " Chladni's Figures," can be seen in Tyndall's 

 Sound and in most text books upon Natural Phil- 

 osophy. They are of particular interest in our 

 study because they betray the presence of all the 

 Tattvas in manifold combinations in the different 

 musical tones, and show how their characteristic 

 vibrations are modified by interaction one with an- 

 other. 



Efforts to establish the laws of tonal color 

 should investigate this field; for color, following 

 form in Kosmic manifestation, is inseparably con- 

 nected with it, and as invariable as the form. 

 Each may be recognized by the other. Helmholtz 

 discovered that every color has its special vibration 

 (that is, /orw), but he drew the false inference 

 therefrom, that the secondary colors were not 

 formed from the primaries. The Tattvic law cor- 



