Mrs. Fitzgerald Hughes, grand-niece to Charles Darwin. Her book was sent to Keely from which he derived an insight that greatly aided his research. Her book references the work of Professor W. F. Barrett.

Mrs. F. Hughes writing "Tones and Colors", advances theories of her own, which correspond with Keely's. "I firmly believe that exactly the same laws as those which develop sound keep the heavenly bodies in their order. You can even trace the poles in sound." [Snell Manuscript - The Book, page 2]


Harmonies of Tones and Colours - Developed by Evolution
Supplement to Harmonies of Tones and Colours - Developed by Evolution



On harmonical parallel between tone and colour
—On the term of "rest," fifths, and the sympathy of music with life
Relativities of sounds and vibrations of strings
—The doctrines of three pairs, six tones, and the law of "two and fro"
—The germ of the system probably to be found in the adaptability of numbers
—Sudden death of Dr. Gauntlett, . . . . . 48 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]


AFTER I had sent this work to the publisher, I looked over letters addressed to me by the late Dr. Gauntlett. They show so much interest in the scheme, that I publish extracts from them. [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]

"Harmony must be looked at in two ways at least: first, up the score from bottom to top—the perpendicular view; second, along the score from side to side—the horizontal view. Then as to its periods or pulsations—its to and fro, its flow and ebb. This brings us to rhythm and measure. At the bottom of these lie what is called stress or accentemission and remission—strong and weak: of these the bar in modern music is an outward and visible sign of certain facts which ought to be in the music, but which, if not in the music, the presence of the bar is of no avail. The bar cannot give stress or accent. 'Wherever there is time, there must be accent;'* but the tick of a clock has no accent. Hullah (or Chorley) should have said life." "The semitone makes music. What operation has it upon the accent or to and fro? It creates the call, it supplies the answer." [This point, I believe, Dr. Gauntlett never alluded to with me, and I have feared that making no difference between tones and semitones might be considered a difficulty with regard to the scheme. In the working of the natural laws of harmony, they must all equally be employed.—F. J. H.] "Art (grand and true) does not depend upon the teaching of facts. The head is of less importance than the heart. Unless the tone of feeling, the habit and disposition, be well fixed, nothing enduring can come out of the misdirected artist." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

I will close this Appendix with a remark once made to me by Dr. Gauntlett. I am sorry I forget where he said it occurred. "After I had been for some time organist, one of the congregation said to me, 'When you first came, the tunes on the organ were loud and clear; now, the voices of the congregation almost drown them.' I replied, 'That has been my aim —it should be so. When I began, the organ was needed to lead the voices: I have been gradually subduing it, that the voices of praise should be uppermost.'"F. J. H. [Harmonies of Tones and Colours, Fragments from Dr. Gauntlett's Last Note-book, page 51]

If, as I believe, the Natural Sciences throughout Creation develope by Trinities, how silently, yet how strikingly, may we trace the wonders of Redeeming Love. "Wisdom hath builded her house; she hath hewn out her seven pillars."— Prov. ix. I. We strikingly see in the development of harmonies the type of 2 Cor. iii. 18, as each key rises from darkness to light, or, descending, falls from light to darkness.
F. J. Hughes
February, 1885 [Harmonies of Tones and Colours, Supplementary Remarks, page 54]

See Also

Figure 12.03 - Scale Showing Relations of Light Color and Tones
Figure 4.16 - Break-out of Colors Tones and Attributes
Figure 4.17 - Musical Relationships of Colors Tones and Attributes
Figure 7B.01 - Colors Represent Relative Frequencies
Figure 7B.02 - Colors and Tones
Hughes - Keely Connection
Light and Sound
music note or sound colors
W. F. Barrett
12.40 - Color

Created by Dale Pond. Last Modification: Saturday April 10, 2021 05:42:34 MDT by Dale Pond.