130 Hay's Natural Principles and Analogy 



Fences and the scenery, and it is illustrated by some beautifully executed 

 engravings of remarkable portions of scenery and animals. The author is 

 evidently a man of most extensive views, liberal, enlightened, benevolent, 

 and, like almost all learned Germans, remarkably free from prejudice of every 

 kind, a man after our own heart. ' 



A manual of the botany of New Zealand, Dr. DiefFenbach informs us, is 

 expected from the pen of Sir W. J. Hooker. 



Art. II. The Natural Principles and Analogy of the Harmony of 

 Form. By D. R. Hay, Decorative Painter to the Queen, Edin- 

 burgh ; Honorary Fellow of the Royal Institute of the Architects 

 of Ireland, and Author of '•' The Laws of Harmonious Colouring," 

 &c. 4to, pp. 50, with 19 plates, and numerous woodcuts. Edin- 

 burgh and London, 1842. 



Mr. Hav is the author of a work on Colouring, which is in much esteem, 

 and has gone through several editions. In the work before us it is attempted 

 to show " that the impressions made upon the eye by forms are really 

 founded on natural principles, and that the proportions and peculiarities of 

 form which produce the most pleasing impressions are in reality, as well as 

 appearance, dictated by nature, being a response to these principles in the 

 human mind. If it can be shown," Mr. Hay continues, " that, agreeably 

 to the boundless analogy by which the sciences and arts are connected, forms 

 are in all respects analogous to sounds, and that consequently a system of 

 linear harmony can be established, similar to that which regulates the ar- 

 rangement of musical notes, a knowledge of this important branch of art may 

 become a part of elementary education," (p. 4.) 



The author, after this introductory idea, endeavours to prove the analogy 

 between the natural principles of harmony and form, and their analogy to 

 those of sound and colour. 



" That form, in its effects upon the eye, is analogous to sound in its 

 effects upon the ear, has been generally admitted." There are three kinds of 

 harmony in sound ; that produced by the intonations of the voice of the 

 orator, that by the tones of the vocalist, and that by vocal and instrumental 

 music combined. Forms also address themselves to the eye in three ways ; 

 to the judgment as in architecture, to the feelings as in sculpture, and to 

 the imagination as in historical painting. Colour has its three effects of har- 

 mony : in the three neutrals, white, grey, and black ; in the natural colours 

 of landscape ; and in the brilliant hues of flowers, and the plumage of birds. 



" Forms are therefore analogous to sounds and colours in their effects 

 upon the senses, and through the senses upon the mind. But the pi'oving of 

 this analogy would do little in the formation of an intelligible system of har- 

 n)ony of form : it must be shown that a perfect analogy also exists in the 

 component parts producing these effects." (p. 10.) 



The author next proceeds to prove that, as there are three primitive colours, 

 red, blue, and yellow ; three primitive sounds, the tonic, the mediant, and the 

 dominant ; so there are three primitive forms, the circle, the triangle, and the 

 square. He next shows that these forms arise naturally out of one another, 

 and that they may be combined like the tones in music. 



To follow the author farther with advantage, a scientific knowledge of 

 music is absolutely necessary ; and, as we are deficient in this respect, we feel 

 ourselves incompetent to pronounce judgment on this part of the work. 

 We can only say that it appears well reasoned and consistent in itself; 

 though we must confess that the author's application of it to some of the 

 buildings of antiquity has fidled to produce in our minds that conviction of its 

 utility which might have been expected, notwithstanding our inability to 

 follow up his musical analysis. As a specimen of the author's application of 

 his principles we give the following : — 



