The Pythagorean Theory of Music and Color-h

The figures on the chart disclose the harmonic relationships existing between the four primary elements according to both Fludd and the Pythagoreans. Earth consists of four parts of its own nature; water of three parts of earth and one part of fire. The sphere of equality is a hypothetical point where there is an equilibrium of two parts of earth and two parts of fire. Air is composed of three parts of fire and one part of earth; fire, of four parts of its own nature. Thus earth and water bear to each other the ratio of 4 to 3, or the diatessaron harmony, and water and the sphere of equality the ratio of 3 to 2, or the diapente harmony. Fire and air also bear to each other the ratio of 4 to 3, or the diatessaron harmony, and air and the sphere of equality the ratio of 3 to 2, or the diapente harmony. As the sum of a diatessaron and a diapente equals a diapason, or octave, it is evident that both the sphere of fire and the sphere of earth are in diapason harmony with the sphere of equality, and also that fire and earth are in disdiapason harmony with each other. *** It is thus evident that the Babylonians were familiar with the concept of the spectrum in its relation to the seven Creative Gods or Powers. In India, one of the Mogul emperors caused a fountain to be made with seven levels. The water pouring down the sides through specially arranged channels changed color as it descended, passing sequentially through all shades of the spectrum. In Tibet, color is employed by the native artists to express various moods. L. Austine Waddell, writing of Northern Buddhist art, notes that in Tibetan mythology "White and yellow complexions usually typify mild moods, while the red, blue, and black belong to fierce forms, though sometimes light blue, as indicating the sky, means merely celestial. Generally the gods are pictured white, goblins red, and devils black, like their European relative." (See The Buddhism of Tibet .) In Meno , Plato, speaking through Socrates, describes color as "an effluence of form, commensurate with sight, and sensible." In Theætetus he discourses more at length on the subject thus: "Let us carry out the principle which has just been affirmed, that nothing is self-existent, and then we shall see that every color, white, black, and every other color, arises out of the eye meeting the appropriate motion, and that what we term the substance of each color is neither the active nor the passive element, but something which passes between them, and is peculiar to each percipient; are you certain that the several colors appear to every animal--say a dog--as they appear to you?" In the Pythagorean tetractys --the supreme symbol of universal forces and processes--are set forth the theories of the Greeks concerning color and music. The first three dots represent the threefold White Light, which is the Godhead containing potentially all sound and color. The remaining seven dots are the colors of the spectrum and the notes of the musical scale. The colors and tones are the active creative powers which, emanating from the First Cause, establish the universe. The seven are divided into two groups, one containing three powers and the other four a relationship also shown in the tetractys . The higher group--that of three--becomes the spiritual nature of the created universe; the lower group--that of four--manifests as the irrational sphere, or inferior world. In the Mysteries the seven Logi , or Creative Lords, are shown as streams of force issuing from the mouth of the Eternal One. This signifies the spectrum being extracted from the white light of the Supreme Deity.