Year: 1860

"Oh, Light! thy subtle essence who may know Ask not for all things but myself show"

 It has been ascertained by the curious in such matters, that of mankind, one in seventeen is un- able to distinguish all the primary colors.

 Not infrequently this unfortunate seventeenth has an eye quick to recognize six of the" charm ed components of pure light" burseparated from the rest, the seventh is always deceiving him, never named by him without hesitation, and when named invariably confounded with tints perfectly familiar when in view.

 Those philosophers are probably correct who insist that this disqualification arises, not from any peculiar conformation of the eye, nor from but from certain qualities and aptitudes of the mind itself, and this notwithstanding the effects of color are produced and submitted to our con- temptation through the sense of vision, and though on this account knowledge of its laws can not, as of music, be called purely mental art. However, the many theories and specula- tions regarding colors and the beautiful experi ments by which such theories are established are no part of the present design, which is far from scientific, and will be accomplished if it shall be made to appear that any incapacity to receive from colors the full benefit of their existence is areal misfortune, and one, when subject to amend ment, ot sufficient weight to repay much labor in the amending. The simplest way to show this, will be by appeal to the universal pleasure colors afford, and the good stead in which they stand imaginative writers for similes and types One can not but observe that the poets ever address ing themselves to the imagination, borrow more of their epithets and choicest figures from this source than from any other beside. Nor are we surprised to find poetry rich in beautiful crea- tions of the fancy, projected upon some imagined aptness in colors to express the conditions, quali ties and emotions of the mind itself. Thus it is universal to represent purity, and truth and inno- cence as clothed in white; and they easily de- mand prescriptive right to so fit and congenial habit. We say to day, that as the lily

 "Arayed in virgin white,

 So truth, amid world of tears,

 Doth shine with vestal light"

 And in the same flower recognize

 "The old Egyptians emblematic mark

 Ofjoy immortal and of pure affection"

 To another inspired by this same felicity in colors to express the properties of the soul

 Green is the color of faith and truth,

 And rose the color of love and youth"

 It is worthy of notice that there is general agreement among the poets as to the colors sug- gestive of particular quality. And notwith. standing Truth has two different hues ascribed to it in the above quotations it is most easily recognized in it's garb of white

 "Thus should the pure and lovely meet Stainless with stainless and sweet with sweet" Nor is this rule of agreement often overlooked and, except in one of those poetical exigencies when everything, upon whatever authority, truth or probability founded must yield, we still meet truth with innocence,

 "Unstained and pure

 As is the lily or the mountain snow" Burns is clearly within rule when he proposes

 "The hyacinth for constancy vii it's

 Unchanging blue." And Shakspeare's green and yellow melan- choly has been favorite priming for many ca daverous fancies of later poets. Black and sombre hues are oftenest translated into expressions of sorrow and mourning, and in such robings we instinctively find their Attest livery, without arbitrary rule we recognize as cognate Darkness and solitude, and sighs and tears,

 And all the inseperable train of griefs." And so we might multiply examples indefinitely. One tells of

 Pink that never with it's gentle fingers Paints the clouds, but that it gives pledgeof Clearer skies; ne'er mantles OCT the hanging

 fruit

 But that it speaks of ripeness ne'er OCT a Maidens cheek suffuses in a blush but that it Tells heart attuned to modesties;

 Ne'er grants it's presence but we dream of charity And hope"

 But we must refrain, that we may have time to observe, if but for moment, a very curious tend ency which certain dreamy philosophers in every age have exhibited to turn all things in nature aside from their original intent and purpose, to subserve some scheme of their own invention After finding work on thei" Application o Music to Mechanics" we shall not so much won der that such tempting field for experiment a' colors called forth host of attempts to interfer with natural laws. Among the many curious in ventions for this purpose we cannot restrain our selves from giving brief description of one call ed the Ocular Harpischord" of Father Caste remembered only as notable failure, upon whic