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ANALYSES OF BOOKS. 
Harmonies of Tones and Colours developed by Evolution. By 
F. J. Hughes. London : Marcus Ward and Co. 
Most of our readers must be aware that to certain persons there 
is a distindt connection between tone and colour. To them, as 
we are told, the hearing of a tone suggests or calls up the im- 
pression of a colour, and the sight of a colour in an analogous 
manner conveys the sensation of a tone. All this, indeed, is 
something which lies entirely outside the bounds of our personal 
experience. Still we feel no right to deny such statements, lest 
we might fall into the error, e.g., of a colour-blind person who 
should doubt the diversity of shades in the spedfrum. The 
author of the work before us — who, by the way, is a second 
cousin of Charles Darwin — does not lay claim to the possession 
of this natural perception of the connection between tones and 
colours, but by studying the harmonies of both he has reached 
certain most interesting conclusions. We must, however, admit 
at the outset that the subjedt is involved in difficulties. Con- 
cerning colour — a matter which we have approached from the 
double point of view of the student of organic nature, and that 
of the tindtorial chemist — we may at any rate claim a little 
knowledge. But of acoustics, and still more decidedly of har- 
mony, we know absolutely nothing, and to us, therefore, this 
work is as if in great part written in some unknown tongue. 
The author maintains that “ the fountain or life of musical 
harmonies and colours is E, or yellow ; the root B, or ultra- 
violet ; these being, in fadt, tints and shades of white and black. 
Ascending they partake more of white ; descending, of black ; 
the former drawing tones and colours higher, the latter lower. 
Throughout the scheme seven tones and seven colours develop 
in every harmony. In the relationship between tones and colours 
the seven may be condensed into a pair : as an example we trace 
the notes and colours in the fundamental scale of C. C rises 
from the fountain, and contains all tones within itself. Red also 
rises from the fountain, and contains all colours, with white and 
black. D = the notes C and E mingled ; Orange , red and yellow 
mingled. E, the root of the fountain. Yellow , containing all 
colours, is white in its extreme. F = the notes E and G min- 
gled. Green = yellow and blue mingled. G contains all tones. 
Blue , with more or less of black and white. A = G and B 
mingled. Violet — blue and all colours inclining to black. B, 
the key-note of the fountain. Ultra-violet = violet mingled with 
