# Laws

(courtesy [anonymous])

"Having witnessed Keely's experiments in sympathetic vibration, I am satisfied he has made new and important demonstrations of natural forces not explained by known physical laws." [Dr. James M. Wilcox, PhD, 1890]

Keely
"The aerial propeller has a sympathetic polar accumulator and disperser in one instrument, which is entirely distinct from any of the devices intended for terrestrial use; also other mechanical adjuncts not needed on land nor water.

All forms of non-sympathetic machinery have, associated with them, conditions of centrifugal force on the ratio of the velocity induced; the diverging power from the center of induction being governed specifically by its gravital weight according to the diameter it occupies in its circle of rotation.

In a sympathetic negative circuit this order of conditions is reversed; for the power of neutral attraction draws the molecules of any mass, no matter what the weight, toward the center of rotation (instead of toward its periphery) according to the intensity of the negative vibration that is induced upon that particular circle.

Our earth, in its routine of revolution, is governed by the same law in every particular; its mass tending toward its centre of neutrality with a force that is equivalent to the character and velocity of its rotation.(3) If its rotation were increased, the tendency of everything associated with it would be increased toward its centre of neutrality on the same ratio. That is, a pound in weight would, under certain conditions of increased velocity, become two pounds in weight. The laws governing the sympathetic rotation of vibratory machinery are the same laws that govern planetary suspension. To those who have not witnessed the operation of my devices, my theories must indeed seem wild; but the laws of nature are the same yesterday today and forever. They know no change; and sympathetic physics, demonstrated mechanically, must triumph over all ridicule and opposition in the end. To contradict the laws governing sympathetic rotation is to contradict the laws governing planetary suspension, as I am prepared to demonstrate.

If the earth were rotated on a shaft by mechanical force, the present condition of its rotations would be reversed; everything on its surface would fly off at a tangent, on the ratio of the velocity induced. The equilibrium of all things would also be changed.

The gyroscope reveals astounding facts in relation to this philosophy, even when operated mechanically. No other known device is so nearly associated with sympathetic vibratory physics.

The vitalization of the disks for the polar and depolar field is established on the ratio of thirds, sixths, and ninths; the ninths being the circuit occupied by the polar field, must represent, in the scale of vitalized focalized intensity, 100 in my system: sixths in the depolar field, or 66 2/3; and in the neutral field, or thirds, 33 1/3. The triplets must represent one true chord of equation. The sympathetic transmitter transfers any degree of intensity desired from zero up to disintegration; all the transfers being made above the line of the first inaudible, as associated with my resonating system of transfer. On the sixths and ninths, in the progressive triple subdivision of the elements (4) of water, the nearest sympathetic approach is made to the high luminous, which is the main sympathetic link to the earth's polar negative envelope, and the one whereby coordination is effected for commercial work. In short, this progressive condition establishes the necessary association between celestial radiation and terrestrial outreach, in regard to controlling the polar negative attractive force in mechanics; whether for aerial navigation or for terrestrial commercial work, in all its multiplied forms.

The atmospheric envelope of our earth owes its activity and its volume entirely to celestial radiating forces.(5) Reception and dispersion are kept up by atomic and interatomic conflict between the dominant and enharmonic currents of the triune polar stream. The harmonic and enharmonic current with the dominant (in the electric stream) by their sympathetic association evolve the energy of matter.

The mechanical proof of the correctness of my theories, in sympathetic or spiritual physics, is so overwhelming in its simplicity that it needs but to be witnessed to convince the most learned or the most simple mind that this system will place both science and commerce on a platform which will elevate each to a level far higher than those they now occupy." [The Operation of the Vibratory Circuit]

"Up to 1888 Keely was still pursuing the wrong line of research, still trying to construct an engine which could hold the ether in "a rotating circle of etheric force," still ignorant of the impossibility of ever reaching commercial success on that line. It was the end of the year before he could be brought to entirely abandon his "perfect engine" and to confine himself to researches, which he had been pursuing in connection with his repeated failures on the commercial line, to gain more knowledge of the laws which govern the operation of the force." [Snell Manuscript - The Book, page 2]

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]

Newton, who scoffed at Epicurus's idea that "gravitation is essential and inherent in matter," asserted that gravity must be caused by an agent acting, constantly, according to certain laws. Heat, gravity, light, electricity, magnetism, chemical affinities, are all different phases of the primal force discovered by Keely, and all these forces, it is said, can be obtained from a single ray of sunlight. "The evidence of unity or oneness even between the physical, vital, mental, and spiritual is seen in the light of this law of correlation," says J. J. Smith. "A great portion of our muscles contract and relax in obedience to our wills, thereby proving that the mental force can be, and is, in every such instance actually converted into the muscular or the physical." Keely demonstrates the truth of this assertion, claiming that "all forces are indestructible, immaterial, and homogeneous entities, having their origin and unity in one great intelligent personal will force." [The Key to the Problems. - Keelys Secrets]

This dynaspheric force, which is also called etheric, is conditioned as to its nature on the quality of the atoms which form its transmitting media; and which are infinite both in variety and in their combinations. They may, however, be broadly divided into two categories; viz., the sentient and the non-sentient atoms. Dynaspheric force, composed of non-sentient atoms, is the force that has been already mechanically applied by Mr. Keely to his motor; and which will probably, ere long, supersede the agencies now used for locomotive, projectile, and other purposes. When the laws which govern it come to be understood it will produce materially a great commercial and industrial revolution. There is no hard-and-fast line between the sentient and the non-sentient atoms; just as zoophytes are a connecting link between the animal and vegetable creation, so there is a graduated scale of atoms, between atoms [See isotope] which although animated by the divine life are not sentient, and those which are as highly developed, relatively to them, as man is to a cabbage. [Dynaspheric Force]

"I shall not forestall an unproved conclusion, but fight step by step the dark paths I am exploring, knowing that, should I succeed in proving one single fact in science heretofore unknown, I shall in so doing be rewarded in the highest degree. In whatever direction the human mind travels it comes quickly to a boundary line which it cannot pass. There is a knowable field of research, bordered by an unknown tract. My experience teaches me how narrow is the strip of territory which belongs to the knowable, how very small the portion that has been traversed and taken possession of. The further we traverse this unknown territory, the stronger will become our faith in the immovable order of the world; for, at each advancing step, we find fresh fruits of the immutable laws that reign over all things,- from the falling apple, up to the thoughts, the words, the deeds, the will of man: and we find these laws irreversible and eternal, order and method reigning throughout the universe. Some details of this universal method have been worked up, and we know them by the names of 'gravitation,' 'chemical affinity,' 'nerve-power,' etc. These material certainties are as sacred as moral certainties. . . . The nearest approaches to a certainty is made through harmony with nature's laws. The surest media are those which nature has laid out in her wonderful workings. The man who deviates from these paths will suffer the penalty of a defeat, as is seen in the record of 'perpetual motion' seekers. I have been classed with such dreamers; but I find consolation in the thought that it is only by those men who are utterly ignorant of the great and marvellous truths which I have devoted my life to demonstrate and to bring within reach of all. I believe the time is near at hand when the principles of etheric evolution will be established, and when the world will be eager to recognize and accept a system that will certainly create a revolution for the highest benefits of mankind, inaugurating an era undreamed of by those who are now ignorant of the existence of this etheric force." [Keely, Progressive Science]

What are "laws of physics"? Looking at Newton's laws of motion for instance it can be seen these are not really laws at all. They are mathematical descriptions of sensed motion, phenomena. The same applies to most other "laws". These are descriptions of effects and say little if anything about cause, the how and why of the sense perceived motion. In SVP we are interested mostly in the causative forces, principles and laws.

Various Laws within the svpwiki - (not a comprehensive list)

Keely
The vapor from the liberator, registered at 20,000 lbs. per square inch has a range of atomic motion of 1333 1/3 the diameter of the atmospheric molecule with constant rotary vibratory action. At 10,000 lbs., 666 2/3, at 5,000, 333 1/3, at 2500, 166 2/3, at 1250, 83 1/3, at 625, 41 2/3. The higher the range of atomic motion the greater its tenuity and pressure. The very evolution on the negative shows a vacuum of a much higher order than was ever produced before confounding all theory to analyze. The highest vacuum known is 17.999999, or not quite 30 inches, but Keely produced etheric vacuums repeatedly of 50 to 57 inches ranging down to 30 inches or 57 lbs. All operations of nature have for their sensitizing centers of introductory action, triple vacuum evolutions. These evolutions are centered in atomic triple revolutions, highly radiophonic in their character and thoroughly independent of all outside forces in their spheres of action. No conceivable power, however great, can break up their independent centers. These triple centers are the foundation of the universe, and mathematically considered, the respective and relative motion of these atomic triplets, gravitating to and revolving around each other, is about one and one-third of their circumference. The problem of this action, when analyzed mathematically, (taking it as the quadrature of the circle) would baffle mathematical science to bring it to a numerical equation. Every revolving body is impressed by nature with certain laws making it susceptible of the operation of force, which being applied, impels motion. These bodies never can approach nearer than a certain limit, nor farther than a certain point. They are, at some mean point, made perfectly equal, and may therefore be considered as one force and as one element. It matters not that other and disturbing forces exist outside or inside the space these bodies revolve in, because if this force must be considered as acting uniformly, applying itself to each of these bodies in a way to produce a perfect equation on all, it is as if this outside force were nonexisting. [Snell Manuscript - The Book, page 2]

"The human ear cannot detect the triple chord of any vibration, or sounding note but every sound that is induced of any range, high or low, is governed by the same laws, as regards triple action of such that govern every sympathetic flow in Nature. Were it not for these triple vibratory conditions, change of polarity could never be effected, and consequently there could be no rotation. Thus the compounding of the triple triple, to produce the effect would give a vibration in multiplication reaching the ninth, in order to induce subservience, the enumeration which it would be folly to undertake, as the result would be a string of figures a mile in length to denote it. [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]

Schauberger
In reality there are two mutually opposed fermentation processes (forms of inner motion) that determine what is to be created from these allotropic (polymorphic) fat-concentrates entombed in the Earth along with the cadaver. Decomposive and retrogressive energies - the above ptomaine radiation - are active here, which are generated when the reversed fermentation process that produces positively charged acids is triggered by thermal influences which intensify internal - rupturing - pressures. This is further exacerbated by the disintegrative effect of mechanics, which bio-logic-ally speaking gives rise to reactivated centrifugal motion. It thus becomes clear that in Nature there are neither equivalencies, nor any constant conservation of energy or matter, but only differentiations, which mutually potentiate one another. Robert Mayer, Isaac Newton and others devoid of intuition - therefore nature-alienated lawmakers - have seriously erred (exact proof of this exists) inasmuch as in an eternally changing Nature there are actually no rigid laws, no domas or absolutes, but only a rhythmical interplay of energies, which determine the fate of all existence.[17] This is because the products of this interplay, already in an atomic state, have an in-built capacity to react, and are therefore products of bio-logical development. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

Produced in suction-turbines, the negatively potentiated ur-product of the cycloidally-moving Earth is therefore the 'original' resurrected entity, which in accordance with Nature's laws must be braked by a corpuscular carrier-substance. Unless this happens it will accelerate out of control and drag everything along with it. (viz. the cataclysm of Atlantis in which the supposed Deluge was triggered by the precipitating out of ur-water at great heights - a process that can be copied experimentally.) [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

In the management of today's forestry, agriculture, water and energy resources, lower-grade interactions between basic substances are triggered exclusively and without exception. That is to say, molecular disturbances are caused through the influences of fire and expansively acting temperatures. These disturbances immediately intensify into chain reactions, thereby weakening the interaction between basic substances in the whole organism or actually reverse it. Thus, in accordance with Nature's inner laws, the disruptions to development will become all the more severe, the more modern science, which produces the reversed motive and stimulative influences, achieves its phoney successes. In lieu of the 'original' pressure-less and heat-less motion of the Earth's masses, it has invented and applied the reversed methods of motion and excitation. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

A true understanding is only possible after appropriate observable demonstrations, whereupon all the rigid theorems, principles and dogmas of today will then be rendered untenable and quickly collapse upon themselves. Moreover, all present laws, regardless of whether they concern the laws of energy conservation, gravitation or so-called heat-equivalence, will likewise be invalidated. To make it quite clear at the outset, what is here involved is something entirely new, which is why any proper assessment by scientists would be impossible. For this reason the Austrian government was requested to dispense with the expert opinion of specialists. All that is required is practical proof for which certain prerequisites are necessary, such as the one requested in the memorandum of the 15th of March 1946.[5] [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

escape-less dead-end. Rigid laws and dogmas were contrived which simply do not exist in Nature, where constant change is sovereign. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Naturally, no normal thinking person will believe that he or she were so brain-washed at school and in church as to be made to believe in the existence of rigid laws and dogmas in a Nature so rich in interchanges of substances and metabolic processes. For this reason it is still necessary to take a small example as an aid, which every respectable Tyrolean knows, who loves a good wine, even if a little dry. [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

This self-generating force, which also intensifies by the square, not only refutes above all the conservation of energy law, the law of gravity and the Second Law of Thermodynamics; in short, all rigid laws of whatever kind, but also renders just as invalid, all those basic tenets and principles impossible in Nature, such as the dogmatic axioms of theology. By enshrining these so-called laws, both science and theology have committed several blunders, and through this identification of their intentionally or unintentionally promulgated fallacies, have made fools of themselves for all time. In any event, they gained an advantage in this way, the loss of which will now for the first time reveal the unholy consequences of the greatest deception, although it could merely be self-deceit. For if the process is reversed, i.e. if the form of motion actuated by the above temperature differences is given first place in naturalesquely constructed and shaped development-facilitating devices, [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

already very shaky scientific edifice would come tumbling down, if the full scope of the reactive energy economy should become known too quickly. An upheaval of such a kind would then arise, which could not be endured in these days of food shortages, and the baby would be thrown out with the bath-water by those, who have only one idea left: somehow to struggle through life and to be free of all problems. Were this implemented, however, then the most marvellous things would come to life again, which compared to the present world situation would be a paradise. The trick therefore is - how do I tell the innocent children that the end has come for all manner of lusts for power, because a natural power is now appearing, before which everything else must unconditionally capitulate. Today this new power rejoices over the victory, which was brought about by the fact that the Germans - and this can be examined from any desired viewpoint - were unfortunately the best exponents of a technology founded on faecal matter. Unhappily they exploited precisely those expulsive energies that enable us, for example, to rid ourselves of those substances so vital to the Earth for maintaining the eternal renewal of her motive forces. With the aid of these earthly and other waste materials she recreates everything anew, which our evolutionally older descendants absolutely require for their various necessities of life. For this reason wise Nature will not hesitate much longer before she clears everything off the green dissection-table with a single sweep of the hand, as it were, upon which, using decimal scales and an inch ruler, attempts were made to discover the 'essence', namely, that which provides for the weight and measure of all things. And thus, instead of specific elements they found absolutely heavy remnants, which they then declared to be 'atoms'. That these remnants of a former organic whole, which have been artificially rendered potential-less (stripped of life-force, so to speak), interact in a lively fashion, is quite obvious. Under no circumstances, however, do the products of synthesis that produce higher quality products come into being in this way, but only active forms of heat and cold. These promote the process of decay through further interactions, which in turn give rise to the decomposive and retrogressive factors that promote an accelerated disintegration as well as the annihilating energies that intensify by the square. That these energy-forms, which foster decomposition and are possessed of a force of resistance that increases by the square, contradict the irrational assumption that they actually further the build-up of culture, is perhaps only incomprehensible to those who know nothing of the specific counter-elements and who, because of a tragic error, established the crowning law of contemporary technology, such that under all circumstances the resistance must increase by the square of the velocity. The specific counter-form, the upward falling weight as it were, comes into being when etherialised substances are transferred to the 4th dimension. This happens, due to the fact that negatively potentiated constituents of carbonic [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

For this reason any expert opinion from this quarter is totally uninteresting, because the scientists, who failed to perceive the natural process of development, formulated rigid laws and dogma that do not exist in Nature's rhythmical interplay of forces. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]

Ramsay
grave harmonic, while all the other intervals have, shows that the natural laws are not confined to one style of working.
When the major scale has been generated, with its three chords, the subdominant, tonic, and dominant, by the primary mathematical ratios, it consists of forms and orders which in themselves are adapted to give outgrowth to other forms and orders by the law of duality and other laws. All the elements, orders, combinations, and progressions in music are the products of natural laws. The law of Ratio gives quantities, form, and organic structure. The law of Duality gives symmetry, producing the minor mode in response to the major in all that belongs to it. The laws of Permutations and Combinations give orders and rhythms to the elements. The law of Affinity gives continuity; continuity gives unity; and unity gives the sweetness of harmony. The law of Position gives the notes and chords their specific levities and gravities; and these two tendencies, the one upward and the other downward, constitute the vital principle of music. This is the spiritual constitution of music which the Peter Bell mathematicians have failed to discern: [Scientific Basis and Build of Music, page 37]

The mathematical scales, if followed out regardless of other laws which rule in music, would read like a chapter in Astronomy. They would lead us on like the cycles of the moon, for example. In 19 years we have 235 moons; but the moon by that time is an hour and a-half fast. In 16 such cycles, or about 300 years, the moon is about a day fast; this, of course, is speaking roughly. This is the way seemingly through all the astronomical realm of creation. And had we only the mathematical ratios used in generating the notes of the scale as the sole law of music, we should be led off in the same way. And were we to follow up into the inaudible region of vibrations, we should possibly find ourselves where light, and heat, and chemical elective motions and electric currents are playing their unheard harmonies; or into the seemingly still region of solid substances, where an almost infinite tremor of vibrations is balancing the ultimate elements of the world. Music in this case would seem like some passing meteor coming in from among the silent oscillations of the planetary bodies of the solar system, and flashing past with its charming sound effects, and leaving us again to pass into the higher silence of those subtle vibrations to which we have referred, having no infolding upon itself, no systematic limit, no horizon. But music is not such a passing thing. Between the high silence of these intense vibrations, and the low silence of oscillating pendulums and revolving planets, God has constituted an audible sphere of vibrations, in which is placed a definite limit of systematic sounds; seven octaves are carried like a measuring line round twelve fifths; and motion and rest unite in placing a horizon for the musical world, and music comes [Scientific Basis and Build of Music, page 39]

It runs in all the polarities of Nature. Music, as belonging to Nature - as one of the things which the Great Numberer hath created - is under this Law of Duality as well as that of mathematical ratios and other laws. The Law of Duality in music gives the major and minor systems. As the major is derived from certain primes in ratios ascending, and the minor from the same primes in the same ratios descending, they are inversely related; and these diatonic scales have in the responding parts exactly the same quantities. But as multiplying by 3 three times gives the framework of the major system in the ascending genesis, and dividing by 3 three times gives the framework of the minor system in the descending genesis. They are in this view also directly related. The Law of Duality in music emerges into view from the genesis [Scientific Basis and Build of Music, page 42]

Helmholtz falls into a mistake when he says- "The system of scales and modes, and all the network of harmony founded on them, do not seem to rest on any immutable laws of Nature, but are due to the aesthetical principle which is constantly subject to change, according to the progressive development of taste." It is true, indeed, that the ear is the last judge; but the ear is to judge something which it does not create, but simply judges. Nature is the maker of music in its scales and modes. The styles of composition may vary with successive generations, and in the different nations of men; but the scientific basis of music is another thing. It is a thing, belonging to the aesthetic element of our being and our environment; it is under the idea of the beautiful, rather than the idea of the useful or the just; but all these various aspects of our relation to creation have their laws which underlie whatever changes may be fashionable at any period in our practice. If the clang-farbe of a musical tone, that is, its quality or timbre, depends on the number and comparative strength of the partial tones or harmonics of which it is composed, and this is considered to be the great discovery of Helmholtz, it cannot be that the scales and modes are at the caprice of the fickle and varied taste of times and individuals, for these partials are under Nature's mathematical usages, and quite beyond any taste for man's to change. It is these very partials or harmonics brought fully into view as a system, and they lead us back and back till they have brought us to the great all-prevading law of gravitation; it is these very partials, which clothe as an audible halo every musical sound, which constitute the musical system of sounds. [Scientific Basis and Build of Music, page 78]

The sympathy of one thing with another, and of one part of a thing with another part of it, arises from the principle of unity. For example, a string requires to be uniform and homogenous to have harmonics producing a fine quality of tone by the sweet blendings of sympathy; if it be not so, the tone may be miserable ... You say you wish I were in touch with Mr. Keely; so do I myself ... I look upon numbers very much as being the language which tells out the doings of Nature. Mr. Keely begins with sounds, whose vibrations can be known and registered. I presume that the laws of ratio, position, duality, and continuity, all the laws which go to mould the plastic air by elastic bodies into the sweetness of music, as we find them operative in the low silence of oscillating pendulums, will also be found ruling and determining all in the high silence of interior vibrations which hold together or shake asunder the combinations which we call atoms and ultimate elements, but which may really be buildings of wondrous complexity occupying different ranges of place and purpose between the visible cosmos and Him who built and evermore buildeth all things. The same laws, though operating in different spheres, make the likenesses of things in motion greater than the differences. [Scientific Basis and Build of Music, page 87]

"There are two distinct laws which rule in astronomy - viz., masses and distances; and there are two distinct laws which rule in music - affinities and proximities. The notes produced by simple ratios as 1:2, 2:3, 3:4, etc., are attracted to each other by the law of affinity; notes which are beside each other in the octave scale and have moderately complex ratios as 9:10 and 15:16, are attracted to each other by their proximities. F and C, and C and G, and G and D are related to each other by affinity. C is related to the fifth below and the fifth above; G is related to the fifth above and the fifth below. F and C, C and G, and G and D are never nearer to each other than a fifth or a fourth, and in either case they [Scientific Basis and Build of Music, page 95]

"All the bodies in the Solar System, in a general way, are attracted to the sun according to the Law of Masses; but all the satellites are attracted to their planets according to the Law of Distance. The subdominant and dominant chords in the Musical System, in a general way, are attracted to the tonic center; but each note in the octave scale is attracted to its nearest note by the Law of Proximity. [Scientific Basis and Build of Music, page 96]

Hughes
The scheme endeavours to prove that the development of harmonies of sound and of colours is regulated by the law of Evolution as gained from the Scriptures
—Youthful impressions regarding my great-uncle Dr. Darwin's views
—My cousin Charles Darwin's views touched upon
—The scheme involves the belief that life developing from the Almighty is the general key to disentangle the intricacies of the Natural Sciences
—A remark of Sir John Lubbock's quoted
—The development of Numbers, the stream of Time, the Sevens of Creation, &c., may eventually be proved to proceed by the same laws, . . . . . . . 9 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

General remarks on harmonies of tones and colours
—The scheme gained without technical knowledge
—Brief explanation of how the laws were gained
—The development of numbers showed the "to and fro" in the development of sounds
Multequivalency of harmonies veering round, or advancing and retiring in musical clef
—Before judging, close examination requested, . 12 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

General remarks on the method of harmonies developing on all kinds of instruments, including the human voice
—A musical note compared to a machine, the motive power not of our creation
—The imperfection of keyed instruments, from some notes acting two parts, attuned to the ideal of harmony within us
Macfarren quoted on the echoing power of a cathedral attuning the Amen
—Why music as an art precedes painting
—Philosophers and mathematicians have only studied music to a certain point
—Every key-note a nucleus, including the past, the present, and the future; no finality in any ultimate
—The late Sir John Herschel's views on the musical gamut alluded to
—The imperfection of keyed instruments adapts them to our present powers
—The laws will be seen to develope the twelve major and the twelve minor keys in unbroken sequence and in harmonious ratio; to gain them in geometric order [as] keyed instrument should be circular, the seven octaves interlacing in tones a lower and a higher series, . 15 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

On colours developing by the same laws as musical harmonies
—The physical properties of light and darkness briefly considered
—If the laws are correctly gained, harmonics of tones and of colours will agree
—Quotation from a lecture by Professor W. F. Barrett on the order of sonorous and luminous wave-lengths
—Fountain of musical harmonics, E root of B; in colours yellow and ultra-violet, being tints and shades of white and black
—All harmonics of sound and colour condense into a primo springing from the fountain
Multequivalency of tones and colours
Wünsch's views nearly one hundred years ago

Helmholtz's experiments on developing colours shown to agree with the scheme
—The sounds of the Falls of Niagara are in triplets or trinities
—The Arabian system divides tones into thirds
—Two trinities springing from unity apparently the germ of never-ending developments in tones and colours
—Inequality of the equinoctial points; is the want of equilibrium the motive power of the entire universe?
—The double tones of keyed instruments, the meetings by fifths, the major and minor keys, so agree with the development of colours, that a correct eye would detect errors in a piece of coloured music
Numbers not entered upon, but develope by the same laws
Bass notes omitted in order to simplify the scheme, 18 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

The same laws, developing the minor scales, show that the ascending and descending scales vary from the harmony of the key-note and its trinities
—Each key developing three harmonies
—The tenth note of a minor scale modulates into a higher key, . . . . 36 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

The following scheme endeavours to show that the development of the musical gamut and the colours of the rainbow are regulated by the same laws. I wish it to be clearly understood that I have gained the evolutions from the mysterious type of Life—a golden thread running throughout the Scriptures, from the first chapter of Genesis to the last of Revelation;—life developing around us and within us from the Almighty, who is its Eternal Fountain. My youthful impressions included the belief that the views of Dr. Darwin, my great-uncle, contradicted the teaching of the Scriptures, and I therefore avoided them altogether. Having endeavoured for years to gain correctly the laws which develope Evolution, I suddenly discovered that I was working from Scripture on the same foundation which he had found in Creation; and as Creation and Revelation proceed from the same Author, I knew that they could not contradict each other. It is considered by many that my cousin, Charles Darwin, gained his first ideas of Evolution from his grandfather's works; but I know from himself that he was ignorant of them, and that his theory of Evolution was arrived at by his close experiments and observations of the laws of creation alone. Only a few months since, after reading his work on "the Movements of Plants," published in 1881, and wishing to be certain that I had not an incorrect belief, I asked the following question—"Did you gain your views on Evolution by your wonderfully acute observations, ignorant of your grandfather's ideas?" The reply was, that he had done so entirely from his own observations. [Harmonies of Tones and Colours, Introduction1 - Harmonies, page 9]

If health is still granted to me, and if an interest is created on the subject of these pages, I shall endeavour to explain by what means I gained the laws here described, and to enter upon the development of numbers as showing the stream of time ever falling into infinity, and gliding onwards; also the sevens in creation, with several other branches of the subject which are here untouched, or but briefly alluded to. It is my earnest desire that all may be closely examined. Indifference will grieve me, but even severe criticism will afford me pleasure, as proving that the subject is considered worthy of investigation. [Harmonies of Tones and Colours, Introduction2 - Harmonies, page 10]

I had for a long time studied the development of the harmonics of colour, and believed that I had gained them correctly; but I saw no way of proving this. The thought occurred—Why not test the laws in musical harmonies? I wrote down the development of the seven major keys of the white notes in keyed instruments. I was perplexed by the movement as of "to and fro," but the development of numbers explained this point, and I found that the method of development in colours, tones, and numbers agreed. I remembered the keys with sharps, but had forgotten that B? belonged to the key of F, and here I thought that the laws failed. But I found by reference that all were correct, the eighth being the first of a higher series, the laws having enabled me to distinguish between flats and sharps, [Harmonies of Tones and Colours, General Remarks on Harmonies of Tones and Colours, page 12]

I had forgotten all the minor keys, except that A is the relative minor of C major; but although I had only faint hopes of success, I determined to try, and I gained the twelve keys correctly, with the thirteenth octave. I found also that E? was usually printed as a minor key-note, Nature's laws having shown that it must be D#. [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

In a few remarks on "Tones and Colours," inserted in the Athenæum of February 24, 1877, I alluded to the great loss I had sustained by the sudden death of Dr. Gauntlett. I often retrace with grateful remembrance the kind manner in which he examined this scheme when it was but crude and imperfect; with a very capacious intellect, he had a warm and generous heart, causing him to think over with candour any new ideas placed before him. He was of the greatest use to me, by corroborating the points which I had gained. I remarked to him one day, "I find that, of the double tones, F# is a key-note and G? a root." He replied, "You must have a right foundation to work upon, or you would never have ascertained the necessity of the two poles; you have gained the double tones correctly, and the development of harmonies without limit. On this point I have always felt the failure of the laws followed by the musician." [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

There is amazing grandeur, united with simplicity, in the working of Nature's laws))__ in the development of harmonies of sound, so that the smallest conceivable point has its complementary and corresponding gradation, which renders it capable of development into its peculiar harmony, causing the "multequivalency of harmonies" in endless variety, whether veering round, to and fro, ascending or descending, or advancing and retiring in musical clef. [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

THIS scheme is grounded upon the belief that a key has been gained which unites grandeur with simplicity, the laws of which are wonderfully simple, although most complex in their working, explaining all the intricacies which arise in the developments of harmonies. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies1, page 15]

There is much paradox, and the scheme differs so much from any hitherto published on the subject, that I am aware that, if any link can be found to be wanting in the chain, the defect will immediately be seized upon. I believe, however, that it will be found to admit of clear demonstration. Anyone who has studied the subject knows the difficulties that arise on all sides. In the problem before us, we have to reduce large fields of thought to certain elementary truths. In my endeavour to do this, I have been entirely dependent upon the discovery of the laws of Nature, as my ear is not musical enough to assist me in the matter. "All mysteries are either truths concealing deeper truths, or errors concealing deeper errors," and thus, as the mysteries unfold, truth or error will show itself in a gradually clearer light. The great mystery of music lies in its infinite resources; it teems with subtle elements and strange analogies. A musical note may be compared to a machine: we touch the spring and set the machine in motion, but the complex machinery exists beforehand, quite independent of our will; the motive power is not of our creation, and the laws on which its operation depends are superior to our control. The complex work of harmony is governed by the laws which are originated by the Creator; every note performs what He has willed, and in tracing these laws let us not be indifferent about their Author, but ever bear in mind that the source or fountain of the life and activity of harmonies arises from the Power who created the machine, and who knows how it will act. Let us also remember that we understand this machine but partially, and govern it but imperfectly, as indeed the finite can only, in a small measure, grasp the Infinite; and in any [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies1, page 15]

study of the natural sciences, as we progress, we find that "hills peep o'er hills, and alps o'er alps arise." As regards keyed instruments, it appears that the effect of those notes which act two parts, such as C# and D?, is rectified in some way so as to be perfectly attuned to the ideal of harmony within us. Again, the "Amen" sung by the choir in a cathedral may not be in accurate tune, but if nearly the correct intonation is sounded, after traveling along the aisles, the chords always return to the ear in perfect harmony, because the natural laws of music, assisted by the echoing power of the building, have attuned them to the perfect harmonical triad. If the "Amen" be too much out of tune, these laws decline to interfere, and there is no such helpful resonance.* [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]

If the laws which I shall endeavour to explain develope the twelve major harmonies, with each note in succession expanding its six tones from within itself; and if each of these is found to be a lower development, which leads the ear to a corresponding higher expansion of the twelve major key-notes, and the six tones of each ascending and descending in an unbroken sequence from any twelve consecutively, the thirteenth being the octave of the first, which commences a higher or a lower series; and if the twelve minor harmonies are also gained by the same laws from their twelve relative key-notes (the thirteenth again being octave): if, again, all other notes are shown to be but higher or lower repetitions of these twenty-four harmonies—may we not consider the problem as in some measure solved? especially as the harmonies proceed in geometric as well as harmonical ratio, and an accurate parallel can be traced between the development of notes and colours, which latter correspond with all the intricacies of harmonic sounds. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]

ON COLOURS AS DEVELOPED BY THE SAME LAWS AS MUSICAL HARMONIES.

"And God said, Let there be light, and there was light."—GEN. i.3.
"God is light, and in Him is no darkness at all."—I JOHN i.5.
[Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies1, page 18]

The primitive laws of any science should be capable of succinct statement, but in combination with others they become more complex and delicate, and error is proved if in the developments they do not echo each other. If, therefore, musical harmonies are correctly gained, the same laws will develope harmonies of colour, and will agree with the colours of the rainbow, the circle of which is divided by the horizon. All who are interested in the laws which regulate these two sciences will doubtless know the interesting lectures delivered by W. F. Barrett (Professor of Experimental Physics in the Royal College of Science, Dublin), and the article written by him and published in the Quarterly Journal of Science, January, 1870, entitled "Light and Sound; an examination of their reputed analogy, showing the oneness of colour and music as a physical basis." I will quote shortly from the latter for the benefit of those who may not have met with it. "The question arises, Has all this æsthetic oneness of colour and music any physical foundation, over and above the general analogy we have so far traced between light and sound? We believe the following considerations will show, not only that it has some foundation, but that the analogy is far more wonderful than has hitherto been [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies1, page 18]

This quotation on vibrations will be seen to agree with the laws which I have gained. The fact that six of the notes of keyed instruments are obliged to act two parts, must prevent the intermediate notes bearing a definite ratio of vibrations with the intermediate colours of the spectrum. I name the note A as violet, and B ultra-violet, as it seemed to me clearer not to mention the seventh as a colour. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]

The inequality of the equinoctial points is a well-known fact. It will be seen how apparent this is in the developments of harmonies. From the moment that trinities depart from unity, the balance is unequal, and the repeated endeavours after closer union cause a perpetual restlessness. May not this want of equilibrium be the life or motive power of the entire universe, with its continuous struggle after concord, even to oneness? "Closer and closer union is the soul of perfect harmony." In tracing harmonies of tones and colours, the double tones of keyed instruments will be seen to correspond with the intermediate tints and shades of colours. The twelve notes, scales, and chords in the major and minor series, the meetings by fifths, &c., all agree so exactly in their mode of development, that if a piece of music is written correctly in colours with the intermediate tints and shades, the experienced musician can, as a rule, detect errors more quickly and surely with the eye than the ear, and the correct eye, even of a non-musical person, may detect technical errors. Although the arithmetical relation has been most useful in gaining the laws, it is not here entered upon; but numbers equally meet all the intricacies both of tones and colours. The bass notes have been omitted, in order to simplify the scheme. [Harmonies of Tones and Colours, The Arabian System of Music, page 21]

The diagram begins with C, the third space of the treble clef, as being more convenient to write than C, the lowest note in the bass clef. The life of musical sounds rising from a hidden fountain of life is shown by the chasms of keyed instruments between B and C, and E and F; their great use will be strikingly manifest as the developments proceed. The fundamental key-note C and its root F rise from the chasms. B, the twelfth key-note, and E, its root, sound the octave higher of the fountain B. The generation of harmonies is by one law a simple mode of difference. Each major major key-note and its tones embrace the eighteen tones of keyed instruments which all lie in order for use. The power and extent of each are complete in itself, rising and developing, not from any inherent property in matter, but from the life communicated to matter. In the whole process of harmony there are limits, and yet it is illimitable. Its laws compel each key-note to follow certain rules within certain bounds; each separate key-note, being the fountain of its own system, has its own point of rest, and series after series rise and enlarge, or fall and diminish infinitely. [Harmonies of Tones and Colours, Diagram I - The Eighteen Tones of Keyed Instruments, page 22a]

CHAPTER IX.
DIAGRAM VI.—THE TWELVE KEYS RISING SEVEN TIMES THROUGH SEVEN OCTAVES, AND FALLING BACK AGAIN.
"Painting has been called silent Poetry; Poetry, speaking Painting; and Architecture, frozen Harmony. The laws of each are convertible into the laws of every other."
[Harmonies of Tones and Colours, The Twelve Keys Rising Seven Times, page 28a]

THE term "key" in the minor developments must be taken in the sense in which it is understood by musicians, although it will be seen that it is only the seven of the harmony that are the relative minor keys of the majors, the scales with their chords sounding other keys. The grandeur, combined with simplicity, of the laws which develope musical harmonies are strikingly exhibited in the minor keys. Although at first they appear most paradoxical, and, comparing them with the majors, we may almost say contradictory in their laws of development, when they are in some degree understood, the intricacies disappear, and the twelve keys follow each other (with the thirteenth octave), all exactly agreeing in their mode of development. I shall endeavour to trace them as much as possible in the same manner as the majors, the lowest developments of the minor keys being notes with scales and chords, the notes always sounding their major harmonies in tones. Here an apparently paradoxical question arises. If the major keys are gained by the notes sounding the major tones, how are the minor keys obtained? Strictly speaking, there are no minor key-notes: the development of a minor harmony is but a mode of succession within the octave, caused by each minor key-note employing the sharps or flats of the fourth major key-note higher; and with this essential difference, it will be seen in how many points the developments of major and minor harmonics agree. I have carefully followed the same laws, and if any capable mind examines the results, I am prepared for severe criticism. I can only express that it was impossible to gain any other results than the seven of the harmony, the ascending and the descending scale and the chords combining three different keys. [Harmonies of Tones and Colours, Diagram VIII - On the Development of the Twelve Minor Harmonies, page 32]

CHAPTER XV.
DIAGRAM XII.—THE CHORDS OF THE TWELVE MINOR KEYS.
"No development can help anything which does not have corrective causes working with it; some power must shape the growth, and work correctively by laws impressed and authority maintained. The law of progress must be operated upon and moulded by guiding forces. That which acts, lives; and the universe lives as much by its soul as we do by ours."
"And what if all of animated nature
Be but organic harps diversely formed,
That tremble into thought as o'er them sweeps,
Plastic and vast, one intellectual breeze,
At once the soul of each and God of all?"—Coleridge.
"In all things, in all natures, in the stars
Of azure heaven, the unenduring clouds,
In flower and tree, in every pebbly stone
That paves the brooks, the stationary rocks,
The moving waters, and the invisible air,
It circulates, the soul of all the worlds."—Coleridge.
[Harmonies of Tones and Colours, Diagram XII - The Chords of the Twelve Minor Keys, page 37a]

With our present powers the darkness of ignorance is ever groping after the light of knowledge. If the field is so vast when we merely attempt to harmonise the laws which regulate the visible creation, it widens indefinitely when we attempt to harmonise, by the same laws, Creation with the Scriptures. "God is light," and with His Holy Spirit for our teacher, every line of His word instructs us; "like the ocean, the word remains essentially the same, while the light never plays upon its surface without deepening and varying its hues." [Harmonies of Tones and Colours, Reflections on the Scheme1, page 43]

Spontaneous life has no existence: whatever is developed below, derives its life from the laws which regulate it from above. [Harmonies of Tones and Colours, Reflections on the Scheme4, page 46]

the present, and the future, developing in geometric progression; as the past retires, the future advances. The rests in harmony correspond with silence in the Scriptures, both limiting and illimitable. But there is this essential difference: musical instruments can only be tuned to a certain pitch, whereas the Bible will never need fresh editions or corrections, but as it always has unfolded, it always will unfold, as it is necessary to meet our higher mental powers. I believe that, eventually, scientific minds will arrive at the conclusion that all the energies around us arise from the laws which regulate the life of matter, and cause the continual development of trinities from unities. Continuity everywhere adapts simple laws to wondrous workings. If we evade the belief in the development of trinities, this scheme falls to the ground. We can conceive no grander idea of the power, wisdom, and love of the Parent of the universe than that of His following out His own characteristics, knowing that at any moment, if His life-giving power were withdrawn, all would crumble into dust. Let us link with this thought these glorious promises— [Harmonies of Tones and Colours, Scripture Compared with Scripture, page 47]

I have passed so many happy hours in comparing Scripture with Scripture, and drawing from its inexhaustible store the laws which develope the harmonies of sounds and colours, that I feel deep regret in drawing to a conclusion. Throughout the investigation the truth has ever been foremost in my mind— [Harmonies of Tones and Colours, Scripture Compared with Scripture, page 47]

1867.—"Your plan of eliciting facts from Scripture (altogether new) interests me exceedingly." "To make out the scheme of harmonical parallel proper for the elucidation of your system, it will, if possible, run all true with the harmony of colour, and this has never yet been done, except in a way which has been met with serious objections. When I commenced the examination of your theory, I spent five days at the British Museum, and collated about forty volumes." "I am very glad to hear you have a probability of harmonising numbers by the same laws as light and sound." "What you call rest, I call the appearance and disappearance of a harmonical cycle." "Your series of fifths is quite correct." [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]

1872.—"It gives me great pleasure to write to you on this subject. Music deals more with the imaginative faculty than any other art or science, and possessing, as it does, the power of affecting life, and making great multitudes feel as one, may have more than ordinary sympathy with the laws you work upon. You say 'from E, root of B, the fountain key-note F, root of C, rises.' There is a singular analogy here in the relativities of sounds, as traced by comparing the numbers made together by vibrations of strings with the length of strings themselves, the one is the inverse or the counterchange of the other. The length of B and E are the counterchange of F and C, hence they are twin sounds in harmony." [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]

I was aware that my explanation of the Minor Scales was erroneous. I now see the beautiful Scriptural type which shows how they develope, rising or falling in perfect harmony. I hope to explain this clearly, and I think that any who have doubted my having gained these laws from the Scriptures will then see their mistake. [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]

The same laws are followed here as in the development of the Major Scales, except that the Minor Scales only develope five notes. [Harmonies of Tones and Colours, The Seven of each Harmony with its Scale, page 59]

Christ Returns - Speaks His Truth
"I 'saw' that these 'principles' and 'characteristics', clearly observable in the process of creation, were set, invariable LAWS governing all of existence." [Christ Returns - Speaks His Truth, Letter 1, page 13]

Cayce
"When the laws of the physical, of the mental, of the spiritual are kept in unison of purpose, a more perfect balance is kept in the body." [Cayce (3246-2)]

"Know in thyself that there are immutable laws, and the universe about thyself is directed by laws set in motion from the beginning." [Cayce (1549-1)]

"All knowledge is to be used in the manner that will give help and assistance to others, and the desire is that the laws of the Creator be manifested in the physical world." [Cayce (254-17)]

"Rather, then, than the stars ruling the life, the life should rule the stars - for man was created a little bit higher than all the rest of the whole universe, and is capable of harnessing, directing, enforcing, the laws of the universe." [Cayce (5-2)]

"Then know the author of thy ideals, not merely by words but study to show thyself approved. Find not fault with others. Judge not that ye be not judged, for with what judgement ye judge it will be measured to thee again. These are not merely words, they are not merely precepts, but they are the immutable laws as were the law of the Persians, as are the law of the Creative Force - God." [Cayce (3006-1)]

Jules Verne
“We may brave human laws, but we cannot resist natural ones.” [Jules Verne, 20,000 Leagues Under the Sea]