(50) The ancients conceived the spirit of man to correspond with the color blue, the mind with yellow, and the body with red. Heaven is therefore blue, earth yellow, and hell--or the underworld--red. The fiery condition of the inferno merely symbolizes the nature of the sphere or plane of force of which it is composed. In the Greek Mysteries the irrational sphere was always considered as red, for it represented that condition in which the consciousness is enslaved by the lusts and passions of the lower nature. In India certain of the gods--usually attributes of Vishnu--are depicted with blue skin to signify their divine and supermundane constitution. According to esoteric philosophy, blue is the true and sacred color of the sun. The apparent orange-yellow shade of this orb is the result of its rays being immersed in the substances of the illusionary world.

(91) III. Thirdly, the bitter quality, which existeth in the kindling of the water in the fire-flash, is melted away, for that is a rager, raver, tyrant and destroyer. Also no silver nor gold can subsist, if that be not killed or mortified; for it makes all dry and brittle, and presenteth or sheweth forth itself in several colours; for it rideth through all spirits, assuming the colours of all spirits.

(22) Black is really an absence of color, while White is really a harmonious blending of all colors. The blending of the Primary Colors in varied proportions produce what are known as the "hues" of color; and adding White we obtain "tints," while mixing Black produces "shades." Key to the Auric Colors An understanding of the basic character of the Three Primary Auric Colors, and of Auric Black and Auric White, gives the student the key to the whole range of auric coloring. For this purpose the following table is presented: The Red Group . Red represents the physical nature, and its presence always indicates the existence and activity of that part of the nature of man.

(4) Kâlî (black), Karâlî (terrific), Manogavâ (swift as thought), Sulohitâ (very red), Sudhûmravarnâ (purple), Sphuliṅginî (sparkling), and the brilliant Visvarûpî (having all forms), all these playing about are called the seven tongues (of fire).

(22) The green color alludes to the vegetation which covers the face of the earth, and therefore represents the robe of Nature. The black represents death and corruption as being the way to a new life and generation. "Except a man be born again, he cannot see the kingdom of God." (John iii. 3.) White, yellow, and red signify the three principal colors of the alchemical, Hermetical, universal medicine after the blackness of its putrefaction is over.

(1) On the nature of fire it says in revelation, that fire is produced of five kinds, namely, the fire Berezi-savang, the fire which shoots up before Aûharmazd the lord; the fire Vohu-fryãn, the fire which is in the bodies of men and animals; the fire Urvâzist, the fire which is in plants; the fire Vâzist, the fire which is in a cloud which stands opposed to Spêngargâk in conflict; the fire Spênist, the fire which they keep in use in the world, likewise the fire of Vâhrâm.

(18) In addition to the ordinary colors named above, there are several shades which cannot be named, for they correspond to colors outside of the field of human vision, such as "infra red" and "ultra violet." Without going deeply into this phase of the subject, it may be said that the "ultra violet" auric colors denote high spiritual powers manifested in the direction of the highest and most worthy aims and ends; while the "infra red" auric colors denote psychic powers employed in unworthy ways and for base ends—as for instance, that which the occultists know as "black magic." There are two other auric colors which are impossible to describe in words, for there are no terms adequate for such expression. These colors are as follows: (1) the true primary yellow, which indicates the highest spiritual illumination of the intellect; and (2) true pure white, or a peculiar brilliancy and transparency, which indicates the presence of the awakened spirit.

(49) Consciousness, intelligence, and force are fittingly symbolized by the colors blue, yellow, and red. The therapeutic effects of the colors, moreover, are in harmony with this concept, for blue is a fine, soothing, electrical color; yellow, a vitalizing and refining color; and red, an agitating and heat-giving color. It has also been demonstrated that minerals and plants affect the human constitution according to their colors. Thus a yellow flower generally yields a medicine that affects the constitution in a manner similar to yellow light or the musical tone mi. An orange flower will influence in a manner similar to orange light and, being one of the so-called secondary colors, corresponds either to the tone re or to the chord of do and mi.

(36) Among both civilized and savage peoples color has been accepted as a natural language in which to couch their religious and philosophical doctrines. The ancient city of Ecbatana as described by Herodotus, its seven walls colored according to the seven planets, revealed the knowledge of this subject possessed by the Persian Magi. The famous zikkurat or astronomical tower of the god Nebo at Borsippa ascended in seven great steps or stages, each step being painted in the key color of one of the planetary bodies. (See Lenormant's Chaldean Magic.) 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.)

(68) Timaeus: which is midway between these reaches to the liquid of the eyes and is mingled therewith, it is not brilliant but, owing to the blending of the fire's ray through the moisture, it gives off a sanguine color, and we give it the name of “red.” And “bright” color when blended with red and white becomes “yellow.” But in what proportions the colors are blended it were foolish to declare, even if one knew, seeing that in such matters one could not properly adduce any necessary ground or probable reason. Red blended with black and white makes “purple”;

(68) Timaeus: but when these colors are mixed and more completely burned, and black is blended therewith, the result is “violet.” “Chestnut” comes from the blending of yellow and grey; and “grey” from white and black; and “ochre” from white mixed with yellow. And when white is combined with “bright” and is steeped in deep black it turns into a “dark blue” color; and dark blue mixed with white becomes “light blue”; and chestnut with black becomes “green.” As to the rest, it is fairly clear from these examples

(13) Red is the color of the passions in general, but there is a great variety in its manifestations, for instance: Red (dull and appearing as if mixed with smoke) indicates sensuality and the lower animal passions; Red (appearing as bright flashes, sometimes light lightning in form) indicates anger. In this case the red usually is shown on a black back ground when the anger arises from hatred or malice and on a greenish background when the anger arise, from jealousy, envy, etc., and without any back ground when the anger arises from "righteous indignation" and the defense of what is believed to be righteous cause. Red (crimson shade) represent Love, and varies in shade according to the character of the passion named. For instance, a dull and heavy crimson shade indicates a gross, sensual love, while the brighter, clearer and more pleasing shades indicate love blended with higher feelings and accompanied by higher ideals; and the highest form of human love between the sexes manifests in a beautiful rose color.

(47) Moreover, it is the imaging or forming of all sorts of red colours in its own quality; in the sweet it imageth or formeth all sorts of white and blue; in the astringent, or harsh and sour, it formeth all sorts of green, dusky and mixed colours, with all manner of forms or figures and smells.

(67) Timaeus: and to the astringent particles which affect the tongue, and to all the heating particles which we call “bitter“ with these “white” and “black” are really identical affections, occurring in a separate class of sensation, although they appear different for the causes stated. These, therefore, are the names we must assign to them: that which dilates the visual stream is “white” and the opposite thereof “black“ ; and the more rapid motion, being that of a different species of fire, which strikes upon the visual stream and dilates it as far as to the eyes, and penetrating

(27) The various combinations of the three Primary Annie Colors are formed in connection with White and Black, as well as by the blending of the three themselves. These combinations of course result from the shades of mental and emotional activity manifested by the individual. But not only is the blending caused by the mixing of the colors themselves, in connection with Black and White, but in certain cases the body of one color is found to be streaked, striped, dotted, or clouded by other colors. At times there is perceived the mixture of two antagonistic color streams fighting against each other before blending. Again we see the effect of one color neutralizing another. In some cases great black clouds obscure the bright colors beneath, and then darken the fierce glow of color, just as is often witnessed in the case of a physical conflagration. Again, we find great flashes of bright yellow, or red, flaring across the field of the aura, showing agitation or the conflict of intellect and passion.

(91) "Yet the fire giveth or holdeth forth to us a mystery of the eternal nature, and of the Deity also, wherein a man is to understand two Principles of a twofold source, viz. I. a hot, fierce, astringent, bitter, anxious, consuming one in the fire-source. And out of the fire cometh II. viz. the light, which dwelleth in the fire, but is not apprehended or laid hold on by the fire; also it has another source than the fire has, which is meekness, wherein there is a desire of love, where then, in the love-desire, another will is understood than that which the fire has.

(3) For purple is from water, linen from the earth; blue, being dark, is like the air, as scarlet is like fire.

(67) The three elements, fire, air and water, have a threefold moving or qualification, but proceed from one body; and consider, the fire or heat swells and flies aloft from the sun and stars; and from the heat the air swells [or expands itself] and flies aloft; and from the air comes the water.

(6) Man (purusd), verily, is a sacrificial fire, O Gautama. The open mouth, verily, is its fuel; breath (prdnd), the smoke, speech, the flame; the eye, the coals; the ear, the sparks. In this fire the gods offer food. From this oblation semen arises.

(20) The habitual colors shown indicate the 'general character' of the person; the passing colors show what feeling, emotion, or passion (if any) is dominating him at that particular time." Another writer, describing the appearance of the aura of a person, has said: "The shades and colors of the aura present an ever-changing kaleidoscopic spectacle. The trained occultist is able to read the character of any person, as well as the nature of his passing thoughts and feelings, by simply studying the shifting colors of his aura.. To the developed occultist the mind and character becomes as an open book, to be studied carefully and intelligently. Even the student of occultism who has not been able to develop the clairvoyant vision to such a high degree, is soon able to develop the sense of psychic perception whereby he is able to at least 'feel' the vibrations of the aura, though he may not see the colors, and thus be able to interpret the mental states which have caused them. The principle of course is the same, as the colors are but the outward appearance of the vibrations themselves, just as the ordinary colors on the physical plane are merely the outward manifestations of vibrations of matter. But it must not be supposed that the human aura is always perceived in the appearance of a luminous cloud of ever-changing color. When we say that such is its characteristic appearance, we mean it in the same sense that we describe the ocean as a calm, deep body of greenish waters. We know, however, that at times the ocean presents no such appearance, but, instead, is seen as rising in great mountainous waves, white-capped, and threatening the tiny vessels of men with its power. Or again, we may define the word 'flame' in the sense of a steady, bright stream of burning gas, whereas, we know only too well that the word also indicates the great hot tongues of fiery force that stream out from the windows of a burning building and lick to destruction all with which it comes in contact. So it is with the human aura. At times it may be seen as a beautiful, calm, luminous atmosphere, presenting the appearance of a great opal under the rays of the sun. Again, it blazes like the flames of a great furnace, shooting forth great tongues of fire in this direction and that, rising and falling in great waves of emotional excitement, or passion, or perhaps whirling like a great fiery maelstrom toward its centre, or swirling in an outward movement away from its centre. Again, it may be seen as projecting from its depths smaller bodies or centres of mental vibration, which like sparks from a furnace detach themselves from the parent flame and travel far away in other directions—these are the projected thought forms of which all occultists are fond of speaking and which make plain many strange psychic occurrences." The Three Primary Auric Colors Like their physical counterparts, the Auric Colors are derived from three Primary Colors, from which. all the various combinations and colors are formed. These three primary colors, together with White and Black, give us the key to the entire auric spectrum.