(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.

(28) The second method of healing was by vibration. The inharmonies of the bodies were neutralized by chanting spells and intoning the sacred names or by playing upon musical instruments and singing. Sometimes articles of various colors were exposed to the sight of the sick, for the ancients recognized, at least in part, the principle of color therapeutics, now in the process of rediscovery.

(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.)

(48) The theory so long held of three primary and four secondary colors is purely exoteric, for since the earliest periods it has been known that there are seven, and not three, primary colors, the human eye being capable of estimating only three of them. Thus, although green can be made by combining blue and yellow, there is also a true or primary green which is not a compound. This can he proved by breaking up the spectrum with a prism. Helmholtz found that the so-called secondary colors of the spectrum could not be broken up into their supposed primary colors. Thus the orange of the spectrum, if passed through a second prism, does not break up into red and yellow but remains orange.

(40) There are numerous arbitrary arrangements setting forth the mutual relationships of the planets, the colors, and the musical notes. The most satisfactory system is that based upon the law of the octave. The sense of hearing has a much wider scope than that of sight, for whereas the ear can register from nine to eleven octaves of sound the eye is restricted to the cognition of but seven fundamental color tones, or one tone short of the octave. Red, when posited as the lowest color tone in the scale of chromatics, thus corresponds to do, the first note of the musical scale. Continuing the analogy, orange corresponds to re, yellow to mi, green to fa, blue to sol, indigo to la, and violet to si (ti). The eighth color tone necessary to complete the scale should be the higher octave of red, the first color tone. The accuracy of the above arrangement is attested by two striking facts: (1) the three fundamental notes of the musical scale--the first, the third, and the fifth--correspond with the three primary colors--red, yellow, and blue; (2) the seventh, and least perfect, note of the musical scale corresponds with purple, the least perfect tone of the color scale.

(38) 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.

(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.

(41) In The Principles of Light and Color, Edwin D. Babbitt confirms the correspondence of the color and musical scales: "As C is at the bottom of the musical scale and made with the coarsest waves of air, so is red at the bottom of the chromatic scale and made with the coarsest waves of luminous ether. As the musical note B [the seventh note of the scale] requires 45 vibrations of air every time the note C at the lower end of the scale requires 24, or but little over half as many, so does extreme violet require about 300 trillions of vibrations of ether in a second, while extreme red requires only about 450 trillions, which also are but little more than half as many. When one musical octave is finished another one commences and progresses with just twice as many vibrations as were used in the first octave, and so the same notes are repeated on a finer scale. In the same way when the scale of colors visible to the ordinary eye is completed in the violet, another octave of finer invisible colors, with just twice as many vibrations, will commence and progress on precisely the same law."

(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.

(42) When the colors are related to the twelve signs of the zodiac, they are arranged as the spokes of a wheel. To Aries is assigned pure red; to Taurus, red-orange; to Gemini, pure orange; to Cancer, orange-yellow; to Leo, pure yellow; to Virgo, yellow-green; to Libra, pure green; to Scorpio, green-blue; to Sagittarius, pure blue; to Capricorn, blue-violet; to Aquarius, pure violet; and to Pisces, violet-red.

(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.

(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.

(10) Every thought, emotion or mental state has its corresponding rate and mode of vibration. And by an effort of the will of the person, or of other persons, these mental states may be reproduced, just as a musical tone may be reproduced by causing an instrument to vibrate at a certain rate--just as color may be reproduced in the same may. By a knowledge of the Principle of Vibration, as applied to Mental Phenomena, one may polarize his mind at any degree he wishes, thus gaining a perfect control over his mental states, moods, etc. In the same way he may affect the minds of others, producing the desired mental states in them. In short, he may be able to produce on the Mental Plane that which science produces on the Physical Plane--namely, "Vibrations at Will." This power of course may be acquired only by the proper instruction, exercises, practice, etc., the science being that of Mental Transmutation, one of the branches of the Hermetic Art.

(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

(17) The therapeutic music of Pythagoras is described by Iamblichus thus: "And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires." (See The Life of Pythagoras.)

(53) The magic rituals used by the Egyptian priests for the curing of disease were based upon a highly developed comprehension of the complex workings of the human mind and its reactions upon the physical constitution. The Egyptian and Brahmin worlds undoubtedly understood the fundamental principle of vibrotherapeutics. By means of chants and mantras, which emphasized certain vowel and consonant sounds, they set up vibratory reactions which dispelled congestions and assisted Nature in reconstructing broken members and depleted organisms. They also applied their knowledge of the laws governing vibration to the spiritual constitution of man; by their intonings, they stimulated latent centers of consciousness and thereby vastly increased the sensitiveness of the subjective nature.

(23) The favorite method of healing among the Pythagoreans was by the aid of poultices. These people also knew the magic properties of vast numbers of plants. Pythagoras highly esteemed the medicinal properties of the sea onion, and he is said to have written an entire volume on the subject. Such a work, however, is not known at the present time. Pythagoras discovered that music had great therapeutic power and he prepared special harmonies for various diseases. He apparently experimented also with color, attaining considerable success. One of his unique curative processes resulted from his discovery of the healing value of certain verses from the Odyssey and the Iliad of Homer. These he caused to be read to persons suffering from certain ailments. He was opposed to surgery in all its forms and also objected to cauterizing. He would not permit the disfigurement of the human body, for such, in his estimation, was a sacrilege against the dwelling place of the gods.