tints, are both intervals, in which a series of intermediate tints and tones exist.

1064. Having illustrated in the above-mentioned figure the scale of succession or melody in colours, if now we carry along the line A A of the diagram the course of colours below A, and add, in like manner, the series of colours above B to the other side of the triangle, we obtain the regular series of colours surrounding and forming the triangle A A B, in which we find all the simplest harmonies of colours, opposed and contrasted to each other; with other remarkable coincidences.

1065. For, first, each side of this triangle comprehends an octave, containing the primary triad under a different order or arrangement, and variously melodized; secondly, this triangle being divided into four other similar triangles or quarters, which are again similarly subdivided, we have in the central quarter the three primaries coincluding the neutral black in harmony, as deduced from the original experiment of the spot and aureola, Fig. 44.

1066. Thirdly, the three extreme quarters, or triangles, coincident with the sides of the central quarter, contain distinct harmonies of each of the primaries taken as archeii, or keys; blue ruling in the left quarter with purple and green, red on the right with orange and purple, and yellow at top with green and orange.

1067. Upon the same principle and notation

may be depicted the harmonies and melodies of the secondary colours, constituting another scale or system of intermediates or half-notes, which antient harmonists, borrowing a term from this science, called a Chromatic system, a term still employed in a similar signification by modern musicians.

1068. In the same manner may be denoted, also, the harmonies and melodies of the tertiary colours by other intermediates or quarter-notes, or tones; for so they have been called both by the musician and colourist; and this third scale would be analogous to the antient Enharmonic system: in fine, we may thus attain a true regulation of every possible scale and key of colouring.

1069. And, finally, these three scales or genera - primary, secondary, and tertiary—may be combined in one series and system in a single scale (just as the antient Greek musicians united their Diatonic, Chromatic, and Enharmonic systems, with which these genera agree, under their Genus Spissum); the primary system occupying the upper triangle, G B, on the treble stave; the secondary the central triangle, A A B, on the mean stave; and the tertiary system occupying the lower triangle, A Z, on the bass stave; and the three uniting in one series or scale, descending from white at X to black at Z, as denoted at the end of the diagram. Or the three genera may be blended universally, by a system of quarter, half, or whole tints or tones, throughout a similar and infinite scale.

SECTION V.

1070. Upon the whole, it appears that the Chromatic system, like the Universe, springs from, and resolves into, an absolute unity comprehending a relative infinity-a perfect system! universally triadic, and affording a remarkable illustration of the universal relations of science.

1071. Hence, the developement of colours from their principles is, as it were, a violence done to this unity; and it is in restoring this unity among colours, under the variety of relations it comprehends, that we produce the various harmonies and accordances.

1072. Thus harmony consists in relation, and springs from the reunion of that which is naturally one, or identical; the feeling or perception of harmony is a perception of relation or reason, a natural logic, a consciousness of truth or unity; and the more intimate and comprehensive such unity is, the nearer to perfection is the harmony.

1073. Accordingly, the chaste eye of the painter receives greater satisfaction from the harmony of the tertiaries, in which the three primaries are more intimately combined, and approximate to that absolute or perfect unity from which they proceeded; and, for the same reason, a correct taste demands a subordinated concurrence of the three primaries in every harmony: yet the vulgar, or uncultivated eye, delights more in the unbroken