(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.

(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”;

(121) Outward colors arise from the light of sun and stars, The light that lights the eye is also the heart's Light; The eye's light proceeds from the Light of the heart. But the light that lights the heart is the Light of God, At night there is no light, and colors are not seen; Hence we know what light is by its opposite, darkness. At night no colors are visible, for light is lacking. How can color be the attribute of dark blackness? Looking on light is the same as looking on colors; Opposite shows up opposite, as a Frank a Negro.

(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.)

(37) 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?"

(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.

(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.

(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

(47) Moreover, it is the imaging or forming of all Sorts of red Colours in its own Quality; in the sweet it images or forms all Sorts of White and Blue; in the astringent, or harsh and four, it forms all Sorts of green dusky, and mixed Colours, with all Manner of Forms, or Figures and Smells.

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

(80) Timaeus: and derived from kindred substances,—some from fruits, and some from cereals, which God planted for us for the express purpose of serving as food, —they get all varieties of colors because of their commingling, but red is the color that runs through them most of all, it being a natural product of the action of the fire in dividing the liquid food and imprinting itself thereon. Wherefore the color of the stream which flows through the body acquired an appearance such as we have described; and this stream we call “blood,” which is the nutriment of the flesh

(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

(4) But when the sun has set, and the moon has set, what light does a person here have? ' ' Fire, indeed, is his light/ said he, c for with fire, indeed, as his light one sits, moves around, does his work, and returns/ ' Quite so, Yajnavalkya.

(68) Timaeus: and dissolving the very passages of the eyes causes a volume of fire and water to pour from them, which we call “tears.” And this moving body, being itself fire, meets fire from the opposite direction; and as the one firestream is leaping out like a flash, and the other passing in and being quenched in the moisture, in the resultant mixture colors of all kinds are produced. This sensation we term “dazzling” and the object which causes it “bright” or “brilliant.” Again, when the kind of fire

(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.

(5) The origin of the Trinity is obvious to anyone who will observe the daily manifestations of the sun. This orb, being the symbol of all Light, has three distinct phases: rising, midday, and setting. The philosophers therefore divided the life of all things into three distinct parts: growth, maturity, and decay. Between the twilight of dawn and the twilight of evening is the high noon of resplendent glory. God the Father, the Creator of the world, is symbolized by the dawn. His color is blue, because the sun rising in the morning is veiled in blue mist. God the Son he Illuminating One sent to bear witness of His Father before all the worlds, is the celestial globe at noonday, radiant and magnificent, the maned Lion of Judah, the Golden-haired Savior of the World. Yellow is His color and His power is without end. God the Holy Ghost is the sunset phase, when the orb of day, robed in flaming red, rests for a moment upon the horizon line and then vanishes into the darkness of the night to wandering the lower worlds and later rise again triumphant from the embrace of darkness.

(7) We can scarcely do better, in fine, than follow Plato.

Thus:

In the universe as a whole there must necessarily be such a degree of solidity, that is to say, of resistance, as will ensure that the earth, set in the centre, be a sure footing and support to the living beings moving over it, and inevitably communicate something of its own density to them: the earth will possess coherence by its own unaided quality, but visibility by the presence of fire: it will contain water against the dryness which would prevent the cohesion of its particles; it will hold air to lighten its bulky matters; it will be in contact with the celestial fire- not as being a member of the sidereal system but by the simple fact that the fire there and our earth both belong to the ordered universe so that something of the earth is taken up by the fire as something of the fire by the earth and something of everything by everything else.

This borrowing, however, does not mean that the one thing taking-up from the other enters into a composition, becoming an element in a total of both: it is simply a consequence of the kosmic fellowship; the participant retains its own being and takes over not the thing itself but some property of the thing, not air but air's yielding softness, not fire but fire's incandescence: mixing is another process, a complete surrender with a resultant compound not, as in this case, earth- remaining earth, the solidity and density we know- with something of fire's qualities superadded.

We have authority for this where we read:

"At the second circuit from the earth, God kindled a light": he is speaking of the sun which, elsewhere, he calls the all-glowing and, again, the all-gleaming: thus he prevents us imagining it to be anything else but fire, though of a peculiar kind; in other words it is light, which he distinguishes from flame as being only modestly warm: this light is a corporeal substance but from it there shines forth that other "light" which, though it carries the same name, we pronounce incorporeal, given forth from the first as its flower and radiance, the veritable "incandescent body." Plato's word earthy is commonly taken in too depreciatory a sense: he is thinking of earth as the principle of solidity; we are apt to ignore his distinctions and think of the concrete clay.

Fire of this order, giving forth this purest light, belongs to the upper realm, and there its seat is fixed by nature; but we must not, on that account, suppose the flame of earth to be associated with the beings of that higher sphere.

No: the flame of this world, once it has attained a certain height, is extinguished by the currents of air opposed to it. Moreover, as it carries an earthy element on its upward path, it is weighed downwards and cannot reach those loftier regions. It comes to a stand somewhere below the moon- making the air at that point subtler- and its flame, if any flame can persist, is subdued and softened, and no longer retains its first intensity, but gives out only what radiance it reflects from the light above.

And it is that loftier light- falling variously upon the stars; to each in a certain proportion- that gives them their characteristic differences, as well in magnitude as in colour; just such light constitutes also the still higher heavenly bodies which, however, like clear air, are invisible because of the subtle texture and unresisting transparency of their material substance and also by their very distance.

(4) But when the sun has set, Yajnavalkya, and the moon has set, and the fire has gone out, what light does a person here have? ' £ Speech, indeed, is his light/ said he, f for with speech, indeed, as his light one sits, moves around, does his work, and returns. Therefore, verily, O king, where one does not discern even his own hands, when a voice is raised, then one goes straight towards it.' ' Quite so, Yajnavalkya.

(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.

(78) On the side whence the light of the moon comes forth, there again she wanes till all the light vanishes and all the days of the month are at an end, and her circumference is empty, void of light.