1872.] Colours and their Relations. 103 



their being struck simultaneously, the analogy to which can 

 arise only from the perfect admixture of colours. 



The effect produced on the eye by the juxtaposition of 

 complementary colours, again, seems to depend on a different 

 principle from that of the rates of vibration standing to 

 each other in a musical ratio. It results solely from the 

 circumstance that the admixture of the two adjacent colours 

 would give white ; and as three colours are required to pro- 

 duce this effect, one or both of the adjacent complementary 

 colours must contain the necessary third colour in the proper 

 proportion required to constitute white. The retina ex- 

 periences a pleasurable relief on turning from the one com- 

 plementary colour to the other, because the vibrations are 

 then most opposed. Here, also, the effect is more analogous 

 to melody than harmony. The ear experiences the same 

 weariness from the prolongation of one note as the eye does 

 from gazing on one colour; and as the latter feels the 

 greatest amount of relief when turned to the complementary 

 colour, so the ear feels the greatest amount of relief, when, 

 after being fatigued with one note, it hears another which 

 would make with it a harmonious combination, as the third, 

 fifth, or octave. 



It is, however, in their metaphysical qualities that the 

 two sorts of vibrations most widely differ ; and here the 

 advantage rests with the musical tones. Apart from variety 

 of form, colours can be regarded only as more or less 

 pleasing or the reverse. Beyond this they have little or no 

 emotional power. Music, on the other hand, addressing 

 the imagination, can express, awaken, or exalt every emotion 

 of the mind. It is only when united to variety of form 

 that colours acquire the ascendency over their sonorous 

 rivals. Then, indeed, they become by much the more 

 powerful vehicle for conveying ideas, whether intellectual or 

 emotional, to all but the blind. 



