37° [Proc. B.N.F.C, 



arrangement in long periods of 2 octaves with a triad 'of elements 

 coming between. This, which at the first glance seems to 

 interrupt the analogy, on the contrary leads us to another very 

 strong point of it ; indeed the most deeply seated of all between 

 the chemical elements and the elements of music. We have 

 long periods in musical elements. Besides the short periods of 

 octaves of notes we have the long periods of the chord scales in 

 every complete scale of Feminine and Masculine chords', and 

 between the two we have J transitional elements which has been 

 called u the defective triad," being neither a minor nor a major fifth. 

 Beginning with the subdominant or under chord of the Fem- 

 enine phase of the scale, and proceeding through Tonic and 

 dominant of it ; then passing by means of the miscalled 

 "defective triad" to the under or subdominant of the Masculine 

 phase, usually called the major, we have the long period of the 

 chord-scale thus in horizontal file : — 



DF4, ACE, EGB, [BDF], FAC, CEG, GBD. 



This long period arrangement to which Mendelejeff resorted 

 for the reason mentioned, and without discerning the analogy 

 existing between it and anything among musical element, being 

 a third Point of analogy, seems to go far to establish a purpose 

 of the Builder. 



We have called this view of Classification of the chemical 

 elements according to their atomic weights, a profound view, 

 inasmuch as weight which is Gravitation seems to be the great 

 ruling force, not on the earth only, and not through the solar 

 system only, but through the whole material universe, as 

 Newton's profound research has shewn. We are told in the 

 same precious old Book which tells us who the Builder is, that 

 " He has weighed the mountains in scales, and the hills in a 

 balance." And music, which is the most heavenly of earthly 

 things, is produced by the play of elasticity against gravitation, 

 that is weight. A vibrating string, for example, twanged by 

 finger on harp, or bow on violin, or hammer in piano passes and 

 repasses its centre of rest by the force of its elasticity ; but every 

 time it passes that centre its excursion is less, through the force 



