(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.

(51) In the original symbolism of the Christian Church, colors were of first importance and their use was regulated according to carefully prepared rules. Since the Middle Ages, however, the carelessness with which colors have been employed has resulted in the loss of their deeper emblematic meanings. In its primary aspect, white or silver signified life, purity, innocence, joy, and light; red, the suffering and death of Christ and His saints, and also divine love, blood, and warfare or suffering; blue, the heavenly sphere and the states of godliness and contemplation; yellow or gold, glory, fruitfulness, and goodness; green, fecundity, youthfulness, and prosperity; violet, humility, deep affection, and sorrow; black, death, destruction, and humiliation. In early church art the colors of robes and ornaments also revealed whether a saint had been martyred, as well as the character of the work that he had done to deserve canonization.

(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.

(17) Some are strongest in the Quality of Love, and those are a Glance of the heavenly Joyfulness, very light and bright; and when the Light shines on them, they look like t light Blue, of a pleasant Gloss, Glance, or Lustre. [t Or Azur.]

(4) It is the aggregate of matter resolved into its primordial state which is the blue light. The Wisdom of the Dharma-Dhdtu, blue in colour, shining, transparent, glorious, dazzling, from the heart of Vairochana as the Father-Mother, will shoot forth and strike against thee with a light so radiant that thou wilt scarcely be able to look at it.

(20) Now this Spirit subsists in its Colour like Azure or Heaven-Bleu, for it is generated out of all the six Spirits; and when the Flash, which stands in the Midst or Center in the Heat, shines into the other Spirits, so that they rise up in the Flash, and generate the seventh Spirit, then the Flash rises up also in the Birth of the six Spirits together in the Seventh.

(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.)

(106) Now being drawn together, it looks like Azure or Sky-colour blue, but when the Light or Flash rises up therein, then it looks like the precious Jaspis, or Jasper Stone, or as I may call it in my Language, a glassy Sea, on which the Sun shines, and that very clear and bright.

(12) As in the Flowers in the Meadows, every one receives its Colour from its Quality, and is named also according to its Quality, so are the holy Angels also: Some are strongest in the astringent Quality, and those are of a r brownish Light, and are nearest of Quality to the Cold. [r Dusky or Grey, or dim White, like Twilight.] And

(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.

(20) there seemeth to be a blue or azure Sphere above the Stars, whereby the Place of this World is closed and shut out from the holy Heaven, as Men have thought hitherto; yet it is not so, but it is the superior Water of Nature, which is much brighter than the Water below the Moon. And now when the Sun shines through the Deep, then it is as it were of a light-blue or azure Colour.

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

(150) In such Manner and Colours, the Heaven of God's Nature shows or presents itself in the Rising up of the Spirits of God: And now when the Light of the Son of God shines therein, then it is like a bright clear Sea, of the Colours of the above-mentioned precious Stones or Jewels. Of the wonderful Proportion, Alteration or Variation, and Rising up of the Qualities in the heavenly Nature. [Or God's Nature's Heaven.]

(10) At the same time, a dull blue light from the brute world will come to shine along with the Radiances of Wisdom. Then, through the influence of the illusions of thy propensities, thou wilt feel afraid of the radiance of the five colours; and [wishing to] flee from it, thou wilt feel attracted towards the dull light from the brute-world. Thereupon, be not afraid of that brilliant radiance of five colours, nor terrified; but know the Wisdom to be thine own.

(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.

(31) And when the Light rises up out of the sweet Fountain-water in the Heat, in the astringent and bitter Quality, then the bitter and astringent Quality tastes the Light and sweet Water, and the bitter Quality catches the Taste of the sweet Water, and in the sweet Water is the Light, but only of a Sky-colour, or Azure, which is blue.

(35) The metals used in the building of the Tabernacle were all emblematic. Gold represents spirituality, and the golden plates laid over the shittim-wood were emblems of the spiritual nature which glorifies the human nature symbolized by the wood. Mystics have taught that man's physical body is surrounded by a series of invisible bodies of diverse colors and great splendor. In the majority of people the spiritual nature is concealed and imprisoned in the material nature, but in a few this internal constitution has been objectified and the spiritual nature is outside, so that it surrounds man's personality with a great radiance.