"The real animating power of knowledge fills us with wonder and joy; a joy for which, observe, ignorance is just as necessary as the present knowledge. The man is always happy who is in the presence of something which he cannot know to the full, which he is always going on to know. This is the necessary condition of finite creatures with divinely rooted and divinely directed intelligence; this, therefore, its happy state—but observe, a state not of triumph or joy in what he knows, but of joy rather in the continual discovery of new ignorance, continual self-abasement, continual astonishment."—Ruskin.

"Adore with steadfast unpresuming gaze,
Him, Nature's essence, mind, and energy." Coleridge.

"Speak, ye who best can tell, ye sons of light,
Angels, for ye behold Him, and with songs
And choral symphonies, day without night,
Circle His throne rejoicing; ye in heaven,
On earth, join all ye creatures, to extol
Him first, Him last, Him midst, and without end." Milton—Paradise Lost, Book V.

If we examine the line last quoted by the laws of life which regulate the foregoing scheme, we may compare it with the fundamental threefold chord of the scale of C and its relative colours,

C	E	G	C red rises
RED.	YELLOW.	BLUE.

from the fountain key-note which contains in itself all tones. "Him first," the Son of God proceeding from the Almighty, and yet in Himself the Trinity in Unity. E, yellow or light. E is the root of B, ultra indigo, or black. "Him midst," the Almighty Father, the Fountain of life, light gradually rising and dispelling darkness. G, blue, "Him last," the Holy Spirit, proceeding from the Father and the Son, Trinity in Unity. The Son of God and the Holy Spirit are the complemental working pair throughout the universe; each containing "the seven spirits of life." Red and blue contain all colours in each. C and G are a complemental pair, C rising from the fountain key-note which contains in itself all tones, and C and G combine all tones in each. In Chapter III. it is explained that all varieties of tones and colours may be condensed into this pair, rising from and falling again into the fountain.

If we strike any major threefold chord, and directly afterwards its relative minor, we may notice how they respond to the twofold natures within us of joy and melancholy.

"Joy and melancholy, virtue and vice, are as much the consequences of natural law as the falling of a stone or the growth of a flower."—C. Watts.