\m'- UC-NRLF C 2 bfib bVl i>m » .jJ^^^^^^^^^^^^^^^^V^ ..^^^^^^^^^^^^^K'*' ^^^^H'^ ^ A 2. 5S 1 aid I M i 3 4^ i5 7 Si 1 J5I53^73 56ioi3 15 j5 ^ J 3 4 3 1 iS % 1 2l A din k 91 134.4 i_il A __ 5 J43 j5:i6 9:6 S:i5, 1 ■■ % •'u.:4c 4: u 1:3 ^r7 2^:3(1 1: 4 9: 35 6 %:u 6 yi^o***'*^^ / ' ^^ PANHARMONICON DESIGNED AS AN ILLUSTRATION OF AN ENGRAVED PLATE, IN WHICH IS ATTEMPTED TO BE PROVED, THAT THE PRINCIPLES OF HARMONY MORE OR LESS PREVAIL THROUGHOUT THE WHOLE SYSTEM OF NATURE; BUT MORE ESPECIALLY IN THE HUMAN FRAMEi AND THAT WHERE THESE PRINCIPLES CAN BE APPLIED TO WORKS OF ART, THEY EXCITE THE PLEASING AND SATISFYING IDEAS OF PROPORTION AND BEAUTY. o Y'l WEBB. I am inclined to believe some general laws of the Creator prevailed with respect to the agreeable or unpleasin? affections of all our senses ; at least the supposition does not derogate from the wisdom or power of God and seems highly consonant to the simplicity of the Macrocosm in general. Sir ISAAC Newton. LONDON; PRINTED BY NICHOLS, SON, AND BENTLEY, RED LION PASSA(}E, I LEKT STREET. PANHARMONICON. Although the engraved Plate to which the following pages refer, may be sufficient to afford a general idea of the curious and pleasing subject which is meant to be illustrated thereby ; yet the Author, in compliance with the request and advice of some learned friends, ventures with great diffidence, and all imaginable deference to the taste and judgment of his readers, to offer something on the subject of which it treats, in general, as well as in particular respecting the ingenious Artist, the late Giles Hussey, Esq. by whose accurate and elegant delineations, he has been enabled to illustrate this his own im- perfect attempt : in which he really has, and pretends to have, little other merit, but that of bringing into one point of view the observations of far more learned and accomplished men. And from hence alone it is, he entertains the hope, that this his imperfect attempt will meet with a candid and liberal reception from those of the highest class of Science ; who may, perhaps, from mere curiosity, be induced to inspect the Plate, and peruse these imperfect, concomitant pages. For imperfect indeed they are, when the subject of them is considered ; and will appear more so, when the cause which first gave rise to the design, and its subsequent execution, are made known . This was at first undertaken merely for amusement, when the Author from bodily indisposition was unable to exercise his mind by more serious study, and closer application. The subject ever was, from his earliest days, up to those of his present very advanced years, pleasing and attractive. And he feels at the present moment of recital, though, with abated energy, the rapture which he experienced when in the course of his juvenile studies, that beam of ivi363024 PANHARMONICON. to man only, it is the first, the most profound, most secure, and unshaken foun- dation-stone both of Physiognomy and the delineating artT And truly won- derful is it to reflect on what we behold, that whilst such a generic, character- istic similarity obtains throughout the several classes of beings, but more espe- cially in man ; such an identical, personal, specific dissimilarity should exist, that no two human beings are to be found, amidst the countless multitudes who do, or have ever existed, exactly alike ; nay who do not most manifestly differ in form, in voice, in motion, and in all respects. And although the final cause, and the consummate wisdom of the great Creator be manifest in such a characteristic and identical diflference, as it effectually prevents that infinite confusion, and even destruction, that would otherwise prevail ; yet the fact is no less astonishing. Thus every individual of the human race is, if we may be allowed the ex- pression, himself, and himself alone : and that in all respects whatever, except in the general character which he has in common with those of his species. This fundamental principle admitted, it follows, that human countenances differ in those degrees which are in proportion to the number of the individuals of the human race : which number, in the present case, may be taken for in- finite. Nor, according to our ingenious Artist, is this all : for he was wont to say, " that whatever was the cast of features, or character of any human face, this cast, or character was the result of the combination of the several parts forming the whole'' And further, '^ that he the countenance whatever it may, all things remaining, it could not be otherwise than it is ; nor can it be altered but for the worse, as every human face is in harmony with itself; even though it should be harmonia discors." Agreeably to these principles, Mr. Hussey would say on sketching a like- ness, " / have now made this drawing as like the original as I am able : and my eye, as well as my hand, is pretty accurate. But how shall I be certain of the exactness of my drawing ? and tvithout this, the exact similarity of' the sketch and the original, cannot possibly be determined; and the least deviation from the truth of expression, though minute as a stroke, will detract so much from the likeness. — ff'hy, says he, as every face is in harmony with itself, we must seek for some scale applicable thereto ; and thereby discover the system on which that particular countenance is formed. In other words, what is the key-note of the face. Now this scale, by long study, experience, and use, I PANHARMONICON. 5 find to he the Harmonic scale. This I apply to the delineated head, and ob- serve the coincidences of all the minute parts of the head with the several parts, or harmonical divisions, of the scale ; and if in my drawing I find any the least deviations inr any drawn line from those points of coincidence which ought in any given instance to take place, I thus far rectify the drawing ; and by such rectification, or correction, obtain the utmost possible likeness to the living Archetype." But as all this will be rendered more plain, and be comprehended the better by a drawing illustrative both of the principles and their application ; a head engraved from an original drawing for this purpose, by Mr. Hussey, is annexed: and also the following letter to a friend on this subject* (printed in the improved Edition of Hutchins's History of Dorset,) which will mutually explain each other. Dear Sir, All the numbers of your Monochord are discoverable by my rules of practice, and in particular cases will answer when beauty and delicacy of character are not required. The human features are so modified and varied by nature, that without a much greater number of major and minor intervals than are generally known to investigators of harmonical combinations, it will be impossible to express them. We agree perfectly in all the characters of the fundamental intervals. We differ in the major 4th and lesser 5th. I express them by ^ and -^, you by |4 ^^^ -H- '* ^^^ difference by the Rule of Three is, 5 : 7 : : 32 : 44^ 7 5) 224 (4441 10 ::45 '-64^ 10 7) 450 {64^ To find my number between the 5th and 4th, put down the ratios of the 5th and 4th as extremes. 2:3= the 5th. 7 : 10 = the lesser 5th. 5 : 7 = the major 4th. 3:4 = the 4th. The sum of the extremes is the major 4th, and the sum of the major 4th and 5th, is the minor 5th. * For the use of thig plate, as well as for that prefixed .to, this work, the Author acknowledges himself indebted to the liberality of Mr. Nichols. 8 PANHARMONICON. The minutiae of this construction may be useless, for aught I know, in the harmony of sounds ; but they are necessary in the formation of a human head. In the horizontal base the numbers are taken as concords to the minor octaves. Their relations will be found if the denominators are multiplied by 2, and the numerators are subtracted. Thus, on the left hand, -^ ^ x 2 = 108 — 12 These are your seconds. To find the numbers of the nostrils between the extremes, 1 : 2 and 2 : 3 } multiply 9 Then 3 + 1 and 9 + 2 = tV 30 10 + 1 and 30 + 2 = 44 48 16 + 1 and 48 + 2 = ^4- The eye situated between -i- and -|- of the major octave, requires more num- bers to form it than any other feature: and the rule to find them is very simple 1 : 3 by 3 = 3 1 : 3 by 10 = 10 I : S by 16 = 16 and commodious. — 2 7 5 3 — 7 Place the extremes 3 = 5th 4 11 = 5th major 5 8 = 6th minor 6 S = 6th 8 12 — — 1 Take the sum of the extrerties — 3 Then 3 +2 and 5 + 3 — 5 8+3 and 5 + 2 — 7 Then descending, 3:5 + 1:2 — 4:7 + 1:2 — Resolve the octave ratio 1 : 2 into 2 : 4. All these numbers are of the first order, the second : for example. 7 = 7th minor S = 7th 11 = 7th major 15 = 7th major ^ 2 = octave. 5. 8 11. ^ 5:9 + 1 : 2 — 6 : 11. Then 2 + 6 and 4 + 11 — 8 : 15. Between them are found those of is an arithmetical mean between 2 : 3 and 1 : 2. PANHARMONICON. g Two more numbers remain to be found, to form the under eye-lid, which are not in your monochord. To find them, take the arithmetical mean 7 : 1 2 for one extreme, and 1 : 2 for the other. Multiply 1 : 2 into 1 4 — 14 : 28 Then I4 : 28 + 7 : 12 — 21 : 40 is one required. Multiply 1 : 2 into 24 — 24 : 48 + 7:12 31 : 60 the other required. Without these 10 means between the 5th and octave, the eye will be incom- plete. Therefore the sum of the means and extremes taken together, must be a modus of the 5th and octave. The sum of the Numerators, 2 . 7-5.3 .7-4.5 -6 . 8 . 21 . 31 is 99 — 18 ~ 9 — 2, Rem. 0. 3 . 11 . 8 . 5 . 12 . 7 . 9 . 11 . 15 . 40 . 60 is 181 — 10 H- 7 — 1» Rem. 3. Otj^erwise, 18 -J- 7 — 2", rem. 4. '^ 10-4-7 — 1? rem. 3. Thus the relation of the octaves, and of the 5th to the major and minor oc- tave, is complete ; and the sums of the quotients and key-notes will resolve them all into a 5th. 2 — 4 — 6. 1 — 2 — 4. All the projections of the features are found by similar additions of extremes and means, within 4 octaves of the transverse fundamental ; so that nothing is left to conjecture: and the order of riature in harmonical progression of num- bers, becomes the rule of art ; from which we cannot deviate without falling into error. I remain, &c. G. HUSSEY. These specimens of our Artist's peculiar method of deducing his harmonical principles, and applying them in the manner described, the Author presents as matter of curiosity, and a proof of singular ingenuity at least, in whatever light they may appear to some who have not much attended to this very cu- rious subject; and less to the particular application of these principles, although known, to that art, in which, by their assistance, Mr. Hussey so confessedly excelled. How far the whole of what that eminent man has advanced, may c 10 PANHARMONICON. claim the serious attention and sedulous practice of the young, or of the more experienced, Artist, the Author presumes not to judge or determine. But it is universally and unequivocally granted, that Mr. Hussey greatly excelled in point of accuracy of drawing, and in the elegance, beauty, and dignity of the human form, and more especially of the human head ; of which the one now presented is a specimen ; and this he always declared he was enabled to do by these principles alone. Therefore, it is but fair to conclude, that whatever opinions others may form of this matter, these principles afforded special assistance to our extraordinary Artist. And as far at least as this goes, we have a proof irom fact of Mr. Hussey's system, and of the principles on which he declared it was founded. That all Sciences and Arts, from those of the highest to the lowest class, have their first elementary principles, is universally acknowledged : and what- ever these are, every one who is desirous of becoming a proficient in that Art or Science which depends on them, should be well grounded, and so constantly employed in their application, as to gain such a practical knowledge and habi- tually easy practice in the science orart, as should render frequent recurrence to the principles unnecessary. For by this means the energies of the mind are transferred to the senses : and the eye and hand of the Artist become more expert and exquisite ; the one in discernment, the other in execution. In this place, and in this connexion, it would be a kind of injustice both to Mr* Hussey and to his art, to withhold the gratuitous, and honorable testimony, of two very eminent and distinguished Artists in favour of his great and acknowledged merits. — ^The first which we shall mention, is one of the highest authority, being no less than that of the President of the Royal Academy, who no doubt will pardon the liberty which the Author takes by introducing his illustrious name on this occasion ; and informing his readers, that several years ago he had the pleasure and satisfaction of hearing from the President himself, free, unqualified, and liberal praise of Mr. Hussey at the time he produced two penciled drawings of our Artist, purchased at the sale of the late M. Duane, Esq. These were pronounced, by this able and competent judge, as specimens of extraordinary excellence, and of truly Grecian elegance, taste, and beauty. — The worthy President being questioned by the Author, if he had ever seen any of Mr. Hussey's performances in oil colours, replied in the affirmative; and mentioned two, the one a Bacchanal, the other a Bacchant^, both in the - PANHARMONICON. 11 collection of his Grace the Duke of Northumberland. On the former of these very high praise was bestowed : the latter was spoken of in such a tone, and in such terms, as led the Author to conclude that it possessed excellence almost above the reach of praise.— From such high, established authority there will scarcely be any appeal. At mention of the name of the other illustrious and competent judge, who has passed sentence on the meritsof our Artist, the tributary, heart-derived tear for unrewarded, suffering merit, exasperated by feelings excited to morbid sen- sibility, must spontaneously and irrepressibly flow — Barry is that name. In the great, and inadequately-remunerated work of this accomplished Artist, with which, the Grand Room of the Arts and Sciences in the Adelphi, is honoured and adorned, this name, and the merits of him by whom it was borne, will be for ever recorded. — The Artist is himself the best eulogist of his fame. In the account which Mr. Barry published in I783, of the comprehensive design of these pictures, he informs us, that in the concluding picture of the series, which occupies one whole side of the room above forty feet in length, it was his wish to bring together in Elyzium, those great and good men of all ages and nations, who were cultivators and benefactors of mankind. — It forms, as he expresses it, a kind of apotheosis, or more properly a beatification of those useful qualities which were pursued through the whole work. In this his Elyzium he not only assigns to each beatified character his appro- priate place, and attendant companions ; but also the reason why such particu- lar station and associates are allotted to them. — And thus he speaks of our Artist : " Behind Phidias I have introduced Giles Hussey, a name that never occurs to me but with fresh grief and shame, at the mean wretched cabal of mechanics, for they deserve not the name of Artists, and their still meaner assistants, that could have co-operated to cheat such an Artist out of the exercise of abilities, that were so admirably calculated to have raised this country to an immortal reputation, and for the highest species of excellence. — The public are never likely to know the whole of what they have lost in Mr. Hussey ; the perfections that were possible to him, but a very few Artists can conceive ; and it would be time lost to attempt giving any adequate idea of them in words. My attention was first turned to this great character, by a conversation I had 13 PANHARMONICON. early in life with Mr. Stuart, best known by the name of Athenian Stuart. The discourses of this truly intelligent and candid Artist, and what I saw of the works of Hussey, had altogether made such an impression on my mind, as may be conceived^ but cannot be expressed. With fervour I went abroad eager to retrace all Hussey's steps through the Greeks, through Rafaelle, through dis- sected Nature, and to add to what he had been torn away from by a laborious and intense study and investigation of the Venetian School. — I endeavoured to recommend myself to the acquaintance of such of Mr. Hussey's friends who were still living ; who all spoke of him with delight ; and from the whole of what I could learn abroad, added to what I received from my friend Mr. Moser, since my return, Hussey must have been one of the most inoffensive, most amiable, friendly, and companionable of men." This candid, generous, and noble tribute of one great Artist to the memory and abilities of another, does equal credit to them both. Whatever the opinions may be which are formed of our Artist, and of his pe- culiar mode of applying the principles of harmony, the general doctrine that these principles do obtain throughout the great system of Nature, is of high anti- quity. The Chaldaean philosophers of the earliest ages, who read the heavens as well as the great volume of Nature which this earth in such an infinity of cha- racters, written by the hand divine, opened to their view, taught this doctrine, that the universe abounded with images of celestial truth; among which Har- mony was the chief. — The sublimity of the doctrine, indeed, according to the opinion of some, carried them into the regions of extravagance; as their enqui- ries were not stopped till they arrived at the great first cause of all. For Pythagoras, who had drank deep of the delightful and exalting streams of this primitive philosophy, hesitates not to affirm, " that the deity himself was Number and Harmony." — The divine Plato, as he has been called, and perhaps not improperly, taught, and somewhat improved, the same doctrine. Philosophers also of later ages have been captivated by the sublime truths which they discovered, or thought they discovered, in the lessons of these an- cient sages. Of this, that very learned and laborious scholar, Athanasius KiRCHER, has afforded an illustrious instance, by applying the principles of harmony even to the inanimate parts of nature and to vegetables (as appears in the plate to which these pages relate) as well as to the human form in its several proportions. Vide Musurgia, Ed. Hared Fran. Corbeletti, Romse, p. 402. PANHARMONICON. IS r Nor was he content to stop here, and confine himself and his principles to our sublunar sphere; but with a bold flight, like our immortal Milton, " Into the heaven of heavens he presumed," and wrote " de Harmonia hiet^archicaj seu Angelorum distributor um,*' &c. — Vide Musurgia sub fine. But these were bold and daring flights; to which, — as some learned Men have observed, — " the old philosophy held out a fascinating and flattering lurer — Let us, therefore, descend from this elevation down to that temperate clime of calm Philosophy in which Newton breathed the air of inspiration ; and whose eye, quickened almost to angelic intuition, saw heaven-born Truth clear of the dazzling confusing light, as well as from the mists and clouds of error, in which she had been for countless ages involved ; and by which all her native charms, simplicity, and beautiful proportions, had been obscured ; but whom we now behold throned by Harmony and Science on the adamantine rock of Demonstration. But we must not omit in this place and connexion, noticing a modern per- formance well worthy the attention of the curious, intituled Homographia, an Essay on the proportions of Man's body ; and of the origin and harmony of Numbers — by W. S. Stevens. ' , The Author observes, " The subject is Man, the first and most interesting object of human investigation.''' '^ The whole reasoning^'' he says, ^^ of the Essay, and the Appendix, (which is singularly ingenious, and original) is founded on the Equilateral Triangle; to which Figure have been ascribed great properties and powers by the Sages of most of the ancient nations of the World — Hebrews, Indians, Bramins, Persians, and the Chinese.''' It is somewhat remarkable, that Mr. Hussey used to declare, " that it was from this Figure he gained the knowledge of the principles of his Art ; and even before he was instructed in the principles of harmony," — The author, therefore, of these pages ventures to offer a few observations, formerly made to him by Mr. Hussey; which, should they ever meet the eye of the ingenious Essayist, may afford him some satisfaction ; and confirm his Theory in such a degree and such a manner, as may perhaps agreeably surprize him. If Mr. Stevens will please to take a series of both those Equilateral Triangles, by which his figure in the Diagram is circumscribed, and by which his system is illustrated — and let fall a perpendicular from the Apex of each Triangle to 14 PANIIARMONICON. their respective bases ; and draw lines from the outer left angle of the first Triangle to the Apices of the successive Triangles ; he will find that the several intersecting points of such lines in the perpendiculars and sides of this series of Triangles, give all the arithmetic, geometric, and harmonic proportions, or correspondent, exponent ratios to any extent, i. e. to any number of Octaves. And if it be also observed, what parts of the delineated human figure are intersected by these lines, a rule, or scale will be found, by which (agreeably to Mr. Hussey's system and practice) any unharmonious part may be corrected, and the whole made thereby more perfect and beautiful. The Equilateral Triangle certainly did make a part, and onli/ a part of the ancient Philosophy. For, as it referred to the whole system of the Universe, it assumed, for its illustration, those symbols which were supposed most appro- priate. Therefore the Circle and the Quadrate, — the one a symbol of the heavens, and Eternity; the other of immobility, or immutable stability, — were added to the Triangle. According to which system, our admirable Spenser thus learnedly describes the human form : " The frame thereof seem'd partly circulare And part triangulare — O work divine! These two the first and last proportions are; The one imperfect, mortal, foeminine ; Th' other immortal, perfect, masculine : And twixt them both a Quadrat was the base, Proportion'd equally by seven and nine ; Nine was the Circle set in heaven's place : All which compacted made a goodly Diapase. Faerie Queen B. II. Stanza 22. of Cant. ix. After what has been oflfered on this most curious and interesting subject, perhaps it may be imagined by some, that we have only lightly skimmed the surface, and not dived deep enough for the Pearl. — Let us then endeavour to dive lower, and take the matter deeper, in order to discover the Principle of our Principles, taking the latter only as effects ; and trace these up to the great First Cause. — Now as the subject of our enquiry is Man, let us con- sider him in the abstract, if it be possible to consider that being in the abstract who contains in himself all the diversified excellences which in the round of PANHARMONICON. 15 created earthly beings are to be found *, with this wonderful addition, that he is endowed with powers, capacities, and intellect peculiar to himself; by which he is specifically, characteristically, and essentially distinguished from all other earthly beings; and by which he is allied to those of higher order, and superior dignity. — Nay, still more, for we have sacred authority for asserting, that Man was formed in the divine image ; or rather according to the perfect ideas con- ceived previous to his creation, in the divine mind. — It therefore follows, that whatever portion, or degree of excellence has been imparted to Man by the omnipotent, all-wise Creator, the exercise of those powers and capacities in which such distinguishing excellence consists, of what nature soever they may be, is not only correspondent to, but perfective of his nature. And further, that those things which are the Objects of the exercise of these powers and capacities, are by no means to be considered, in any respect whatever as arbitrari/ relative to Man ; altho' they are all resolvable into the divine Will. Now apply this reasoning to our subject. Man is so formed as to be pleased, delighted, and satisfied by the perception and contemplation of order, propor- tion, regularity, and beauty, in whatever part of nature, or in whatever object, they appear, or by whatever means these ideas are excited in the mind. And these several diflferent terms, as will be shewn, are all contained in the signifi- cant comprehensive term. Harmony. Which term, with the most correct philosophical propriety, may be used both in a moral or in a natural sense : that is, in whatever relates either to mind, or to body. — In short, all that is per- fective of Man, and of his happiness, must by the constitution of nature, be consonant, concordant, and in perfect union, or unison ; that is, in harmony, — In fact, Nature abhors a Discord, save her own concordia discors. Thus then the required Principle of our Principles is found, and found to lie deep indeed ; even in the profundity of the Divine Mind, Now as Man was formed in, or according to, the image of the great Creator, as before explained, — these principles also are to be considered (speaking after our very imperfect manner and inadequate conceptions) as existing in the * Homo Microcosmus post reliqua factus estj ut divina bonitas in ipso sub brevi quodam com- pendio, quicquid difFusfe antfe fecerat exprimeret ; si enim exactairi singulorum comparationem In- slituamus, reperimus nihil in mundo majorij cujus proprietas non etiam in Homine mundi filio, tanquam in omnium renun mensura et compendio elucescat. Musurg. Kirch, torn Ildo. p. 403. 14 PANHARMONICON. their respective bases ; and draw lines from the outer left angle of the jfirst Triangle to the Apices of the successive Triangles ; he will find that the several intersecting points of such lines in the perpendiculars and sides of this series of Triangles, give all the arithmetic, geometric, and harmonic proportions, or correspondent, exponent ratios to any extent, i. e. to any number of Octaves. And if it be also observed, what parts of the delineated human figure are intersected by these lines, a rule, or scale will be found, by which (agreeably to Mr. Hussey's system and practice) any unharmonious part may be corrected, and the whole made thereby more perfect and beautiful. The Equilateral Triangle certainly did make a part, and onlt/ a part of the ancient Philosophy. For, as it referred to the whole system of the Universe, it assumed, for its illustration, those symbols which were supposed most appro- priate. Therefore the Circle and the Quadrate, — the one a symbol of the heavens, and Eternity; the other of immobility, or immutable stability, — were added to the Triangle. According to which system, our admirable Spenser thus learnedly describes the human form : " The frame thereof seem'd partly circulare And part triangulare — O work divine ! These two the first and last proportions are; The one imperfect, mortal, foeminine ; Th* other immortal, perfect, masculine ; And twixt them both a Quadrat was the base, Proportion'd equally by seven and nine ; Nine was the Circle set in heaven's place : All which compacted made a goodly Diapase. Faerie Queen B. II. Stanza 22. of Cant. ix. After what has been oflfered on this most curious and interesting subject, perhaps it may be imagined by some, that we have only lightly skimmed the surface, and not dived deep enough for the Pearl. — Let us then endeavour to dive lower, and take the matter deeper, in order to discover the Principle of our Principles, taking the latter only as effects ; and trace these up to the great First Cause. — Now as the subject of our enquiry is Man, let us con- sider him in the abstract, if it be possible to consider that being in the abstract who contains in himself all the diversified excellences which in the round of PANHARMONICON. 15 created earthly beings are to be found *, with this wonderful addition, that he is endowed with powers, capacities, and intellect peculiar to himself; by which he is specifically, characteristically, and essentially distinguished from all other earthly beings; and by which he is allied to those of higher order, and superior dignity. — Nay, still more, for we have sacred authority for asserting, that Man was formed in the divine image ; or rather according to the perfect ideas con- ceived previous to his creation, in the divine mind. — It therefore follows, that whatever portion, or degree of excellence has been imparted to Man by the omnipotent, all-wise Creator, the exercise of those powers and capacities in which such distinguishing excellence consists, of what nature soever they may be, is not only correspondent to, but perfective of his nature. And further, that those things which are the Objects of the exercise of these powers and capacities, are by no means to be considered, in any respect whatever as arbitrary relative to Man ; altho' they are all resolvable into the divine Will. Now apply this reasoning to our subject. Man is so formed as to be pleased, delighted, and satisfied by the perception and contemplation of order, propor- tion, regularity, and beauty, in whatever part of nature, or in whatever object, they appear, or by whatever means these ideas are excited in the mind. And these several different terms, as will be shewn, are all contained in the signifi- cant comprehensive term. Harmony. Which term, with the most correct philosophical propriety, may be used both in a moral or in a natural sense: that is, in whatever relates either to mind, or to body. — In short, all that is per- fective of Man, and of his happiness, must by the constitution of nature, be consonant, concordant, and in perfect union, or unison ; that is, in harmony, — In fact. Nature abhors a Discord, save her own concordia discors. Thus then the required Principle of our Principles is found, and found to lie deep indeed ; even in the profundity of the Divine Mind, Now as Man was formed in, or according to, the image of the great Creator, as before explained, — these principles also are to be considered (speaking after our very imperfect manner and inadequate conceptions) as existing in the * Homo Microcosmus post reliqua factus est, ut divina bonitas in ipso sub brevi quodam com- pendio, quicquid diffusa antfe fecerat exprimeret } si enim exactam singulorum comparationem in- stituamus, reperimus nihil in mundo majori, cujus proprietas non etiam in Homine mundi filio, tanquam in omnium rerum mensura et compendio elucescat, Musurg. Kirch, torn Ildo. p. 403. l6 PANHARMONICON. divine mzW.— And the human mind was formed by infinite wisdom, capable of receiving impression from things, whether of a mental or corporeal nature, which are the result of these divine archetypical ideas. Man was formed capable of this divine impress; and this capacity is a proof of his divine origin *. Were not Man the offspring -j- of God, he could not delight either in his worJis, his ways, or his word. Nor could he, his powers and faculties considered, delight in himself : in other words he could not pos- sibly be happy: — That is, he could not have attained the end of his being. Behold how the great system of nature and of Man's wonderful frame are, upon these principles, formed for harmonious association. — Were not this the case, (the great end of Man considered as just explained) all would have been made in vain, and a scene of confusion must have prevailed. — For as all Nature would have been a dreadful blank to man deprived of sight; so would it be nought but discord, if his ear had not been delighted and charmed by the universal harmony that prevails. But the human eye as well as ear, is formed to delight in, and to be charmed with, those proportions in which harmony consists. Nay, it may be shewn, that each sense, according to its respective constitution, is also thus affected in a certain degree. :|: — In short Nature m every part, as well as in the whole, is harmony. And man may be considered as a mighty instrument capable of receiving s^^mpathetic impressions from each part, and from the whole : For there is not a part but what is in itself, or by Art may be made capable of conspiring to form the'harmony of the whole. — ^The skin, or intestines of a quadruped ; the trees of the forest or garden — the dull, inactive ore buried in the very bowels of the earth ; the coarse dead sea-weed, and the trodden sand on which it indolently lies, when the flinty- stone is joined thereto ; afford materials to Man's plastic Art of which to form the instruments of harmony. — Yet all these were vain, did not the air, that imparts life and energy to Man, impart also life and breath to harmony. This is the inspiring soul of all, and is in itself harmonious. Witness that pleasing, soothing, wonderful instrument, the ^olian-harp, whose plectrum is the fin&- * Hoc habet animus argumentum suae divinitatis, quod ilium divina delectant, Seneca. Sn/AHwOtv xaJ tuttwGev answer, as illustrative of the present subject. PANHARMONICON. I7 spun, sightless air. Of this Instrument we may rapturously exclaim with the amiable, delightful Poet — Ah me ! what hand can touch the strings so fine, Who up the lofty Diapason roll Such soff^ such sweet, such solemn airs divine, Then let them down again into, the soul ? Now rising love they fann'd ; now pleasing dole They breath'd, in tender musings, through the heart ; And now a graver sacred strain they stole. As when seraphic hands an hymn impart: Wild-warbling nature all, above the reach of art. Thomson's Castle of Indolence, Stan. 41. This seemingly mysterious Instrument has been well explained in a very ingenious essay on sounds, by Mr. Young. — Mr. Stillingfleet also, in his valuable work, the Principles of Harmony, observes, that from the pheno- menon of the Trumpet marine, it is proved, that if an aliquot part of a musical string be sounded, the longer as well as shorter part sounds in its respective totality. And that when a musical string is sounded, the 3d, f>th, or rather the 17th, and 12th, are heard, and also the Phenomenon of the 3rd sound. — The experiment may be made on two Violins tuned in concert. If any one string be stricken of one instrument, the correspondent string of the other instrument will vibrate. And if two Violins, in circumstances now mentioned, be distant from each other about 30 feet, and a 3rd be forcibly excited on one Instrument, and the octave, or fundamental on the other, and held out or prolonged, the 5th will be very audibly perceived. And this also has been experienced as to human voices in like circumstances : for that great philosophical Artist and Author, Tartini himself, heard, when Rosini and Guadagni were singing a duet in an opera, and the one edited a 3rd, and the other the fundamental note, the 5th almost as plain as if a third person had been singing. Here then we have a proof convincing, as it is astonishing, of the wonderful disposition of the Air to generate, and propagate harmonical sounds ; as well as to correct, and subdue discords : for if the latter, as well as the former, were not true, the ^Eolian Harp, so far from producing almost heavenly Harmony, would produce nought but dissonance. l8 PANHARMONICON. But perhaps, after all, it may be, as it has been, said by superficial and incre- dulous persons, that all this is mere arbitrary Theory ; especially what relates to the materials of which the several sorts of musical instruments are formed ; seeing they are wrought up to a capacity of thus editing musical sounds, by the Art of Man. But who insited these capacities in such materials of being ivrought into such instrumental forms 9 who breathed into Man the breath of life, and the spirit of understanding? — Who but that Almighty being by and in whom, he not only " lives and moves and has his being,'' but who — stupendous glorious thought! lives and energizes in Man? and his — est Deus in nobis et sua calescimus aura — divine spirit pervades and actuates all? Deum namque ire per omnes Terrasque tractusque maris coelumque profundum. What little has been said may be sufficient in proof of the principle, or cause of the principles of harmony. And, perhaps, it may be both pleasing and satis- factory to enquire, or rather show, how our reasoning and proofs are confirmed hy facts. And here it is obvious to remark, that all the ages of the world from its beginning, concur in affording proofs that Poetry, which certainly is a part, and no small part, of harmony, is coeval with and connatural to Man. — In the first ages of the world, it has been observed, that Priests, Philosophers, and even Statesmen, delivered their precepts and laws in poetry. And we cannot in this connexion omit remarking on that sublime description contained in the very ancient and poetical* Book of Job, of the Creation, " when the morning stars sang together, and all the sons of God shouted for joy." Thus this World is ushered into being by angelic harmony. Thus its history first began — and in the primitive ages of the World, History, Elogiuence, Poetry, and Musick, were all of the same Cast. And they continued inseparable associates through succeeding ages after the Creation, down to, and far beyond, the time of the great Hebrew Legislator; who informs us in the 4th ch. and 24th verse of the Book of Genesis, that Jubal was the parent, or first master of those who played on musical instruments. And we find that in the solemnities of divine worship among the Hebrews, Musick made so important a part, that no less than four thousand persons were employed in conducting this part of their religious * For this and what follows see Bishop Lowth, De Sacra Poesi Hebraeorum, PANHARMONICON. - , I9 ceremonies. Twenty-four Levites were appointed to preside over an equal number of bands of musicians, who served by turns in the temple. — ^The insti- tutions of David relating to the musick of the temple, are more costly, splendid, and magnificent, as Dr. Blair observes, than ever obtained in any other nation in the world. And although it be foreign from the professed design of this short essay to enter into a description of the beauties, excellence, and subli- mity of the sacred writings, which has been done in so masterly a manner by the learned and eloquent prelate in his work just quoted ; yet the temptation of presenting one passage from the Psalms of David, to the notice and atten- tion of the reader, is not to be resisted, as a specimen of the highest order and species of poetry ; and a signal illustration of the force and effect of the chief figure of poetic description, the prosopopceia. — Suppose David the king, and with him all the people, and the Levites, and their numerous attendants, ac- companied with all the instruments of musick, slowly and solemnly leading the way to the temple of Jehovah. — Behold the grand procession approach the doors of the tabernacle. — Hear the chorus, the whole band of instruments ac- companying, in loud acclaim shouting forth, " lift up your heads, ye gates, and he ye lifted up, ye everlasting doors, and the King of Glory shall come ini* and then pronounce, if a sight more august and solemn, — or a scene of greater effect, and an apostrophe more sublime, can be conceived. From this source of sacred eloquence and harmony, flowed a rich and copious stream through other regions besides that of Judea, till the time, or, more emphatically, the fulness of time was come, when the grand prophecy should be fulfilled, and the glory of Israel, and the expectation of nations, should be seen and gratified by the appearance of the Prince of Grace and Peace ; at whose advent the earth was glad, and the heavens rejoiced : and Harmony descended from her celestial seat with the exulting song of a multi- tude of the heavenly host, hymning, " Glory to God in the highest, on earth peace, and good-will toivards men!!'' — Thus the birth, as well as the triumph, of this mighty one, was attended, as our immortal bard represents it. With heav'nly acclamation and the sound Symphonious of ten thousand harps that tun'd Angelic harmonies : the earth, the air Resounded — S^h PANHARMONICON. ' , The heav'ns and all the constellations rung : The planets in their station list'ning stood. While the bright pomp descended jubilant. Paradise Lost, B. vii. 1. 558, &c- And this angelic song of Jubilee, has been, and shall be, adopted and conti- nued till the consummation of all things; and a " new heaven and a new earth appear ;" when the pomp and song shall be renewed with grandeur more sublime and magnificent, and in more elevated notes, agreeably to the glorious description given by him, the heavenly-favoured one, who saw, and heard in vision, " the voice of many angels round about the throne; and the number of them was ten thousand times ten thousand, and thousands of thousands : — and a voice came out of the throne, saying, Praise our God, all ye his ser- vants, and ye that fear him, both small and great. And there was heard a voice of a great multitude as the voice of many waters, and the voice of mighty thunderings, saying, Alleluia — for the Lord God omnipotent REIGNETH." Apocalypsc, chap. v. 11. and chap. xix. 5, and 6. Thus in this triumphant song was found, as Milton says. No voice exempt — no voice but well could join Melodious part — such concord is in heav'n. In the same spirit and manner does he describe the hallowed day, when the Creator is represented as resting from the great work of creation, and by the angelic host kept holy : But not in silence holy kept — the harp Had work and rested not, the solemn pipe And dulcimer, all organs of sweet stop. All sounds on fret, by string, or golden wire. Tempered soft tunings intermix'd with voice Choral, or unison. We have now traced Harmony from earth up to her native seat, " the heaven of heavens^* for so high is she sphered, although she deign to dwell with man on earth ; to mingle intimately with him both in body and in soul; to delight his senses, and enrapture his mind ; to controul his passions ; and to PANHARMONICON. 21 join in all the interests not only of his mortal, but immxyrtal state. And although she be not all in all to man, she is no inconsiderable part of his all; as we have seen how much she conspires to perfecting his nature;, for which we have the concurrent testimony of the best and wisest men in all ages of the world. An ancient scholiast cites Aristophanes to prove, that the phrase Citharce callensy was not intended merely to describe an accomplished perfor- mer on that instrument; but, as taken in a more general, extensive, and figura- tive sense, to designate one who was accomplished in all the graces and perfec- tions of the mind. For the ancients formed so exalted an idea of Harmony, that they supposed the person who was insensible to it, formed of discordant elements both of body and mind. Nay, so exalted was the opinion they formed of musick, that they believed a mortal could attain to the knowledge of it only by the inspiration of the gods. — Agreeably to this opinion, we find the most antient artists who excelled in this divine science, such as Orpheus, Linus, and Amphion, were held also to be of divine origin. Vide Malcolm, ch. 13. § 3. There are some lines of Horace, in his De Arte Poetica, so apposite to these last observations on the subject, that the Author cannot refrain from quoting them : Silvestres homines, sacer interpresque, deorum, Caedibus et victu foedo, deterruit Orpheus : Dictus ab hoc lenire tigres, rapidosque leones : Dictus est Amphion, Thebanae conditor arcis, Saxa movere sono testudinis, et prece blanda Ducere quo vellet. Fuit hie sapicntia quondam, Publica privatis secerncre, sacra profanis : Concubitu prohibere vago : dare sacra maritis : Oppida moliri : leges incidere ligno : Sic honor, et nomen divinis vatibus, atque Carminibus venit. To the above description of the part which Harmony takes, as before ob- served, in the great and general interests of man, may be added, from this Prince of Lyrics, what relates to her influence over the emotion of his mind : Pectus inaniter angit, Irritat, mulcet, falsis terroribus implet. 23 PANHARMONICON. And also what the accurate and eloquent critic, Quintilian, says on the parti- cular species of harmony we are now considering, Musick, as quoted by the learned Mr. Harris, in his treatise on this subject. Namque et voce et modulatione grandi elatd — jucunda dulciter — moderata leniter canit — totaque arte consentit cum eorum quae dicuntur affectibus. The description which Macrobius gives in favour of the wonderful effects of Harmony, in this respect, is to the same purpose, and more amplified. Omnis habitus animoe cantihus guhernatur, ut ad helium progressui et item receptui canatur, cantu et excitante et rursus sedante virtutem ; dat somnos adimitque, necnon curas et immittit et retrahit ; iram suggerit, clementiam suadet. Of the wonderful power and effects of Harmony, both sacred and profane his- tory furnishes strong and indubitable proof. And in all ages of the world, and in nations more or less civilized, as by a natural impulse, we see men have re- course to musick when passions of the more violent and nobler kind are to be excited, or appeased ; or when those of the milder nature are to be raised, soothed, and indulged. Athenaeus reports, that Clinias the Pythagorean, who was subject to sudden fits of extravagant anger, assumed his lyre to allay the tumult of his rising passion. Agreeably to these principles, Homer represents Achilles after his violent dispute with Agamemnon, having recourse to the same remedy, and calming his spirit by singing to his lyre. Timotheus is reported to have fired Alexander to such an extravagant rage of passion amounting to frenzy, that he slew one of his companions ; and that by a sudden change of the mode to the Lydian measure, he as soon softened the hero to pity and repentance. But what is more, Terpander is reported to have quelled a Sedition at Sparta by the means alone of musick. — And sacred history informs us, that the Daemon of hatred, which had taken possession of Saul was cast out, by the enchanting and disenchanting harp of that very per- son who was the object of his rage. Vide Malcolm, ch. I4, § 3. Several ancient philosophers and physicians assure us of the wonderful effi- cacy of Harmony in the cure of many diseases. And this has been reported and believed by persons of no mean credit and skill even in modern times, with regard to those who have been stung or bitten by the tarantula. PANHARMONICON. 33 But such cases as these (though they should not be admitted) are yet to be considered as out of the ordinary course of things, and extreme instances of the power of harmony. Let us therefore briefly notice those of a more com- mon nature ; which, by the concurrent experience and testimony of all ages and nations, have invariably obtained, in which Harmony has exerted her powers, and mingled her mighty, but milder charms. — And it is obvious in the first place to remark on these, in a case of the most transcendant nature ; which is the solemn and sublime services of divine worship ; in which when employed, musick is, by way of eminence, very properly styled sacred. In this connexion, musick was held both by ancient Philosophers and Legislators of such importance, that the regulation of it in their temples was prescribed by the laws ; and subject to the inspection of those who were appointed by the state to superintend this important part, as it was deemed, of the common- wealth. And it was held equally criminal to innovate, or disturb the laws and ordinances of this part of religious solemnities, as to violate any other established law of the state. This we learn from the high authority of Plato himself. And when it is considered how musick, properly chosen and adapted, is fitted to soothe and tranquilize, as well as elevate the mind, and thereby fit it in a peculiar manner to receive impressions (suitable to so favourable a state), of the higher order, we shall evidently perceive how well suited this must be to the solemnities of Devotion, by drawing off our attention and aflfections from the present imperfect state ; and raising them to the contemplation of divine things, the perfections of the deity, and spiritual objects ; by which means a holy ardor, reverence, and love are excited ; and the mind disposed to receive with delight and joy instruction from the oracles of God delivered in his sacred temple. — No doubt but the mind of Milton had often experienced these eflfects of sacred musick ; as he, in his // Penseroso, describes them in so sweet and extatic a manner : There let the pealing organ blow, To the full-voic'd quire below, In service high, and anthems clear. As may with sweetness, through mine ear, Dissolve me into extasies, And bring all heaven before mine eyes. 24 . - PANHARMONICON. :' And here we cannot but remark on, and severely condemn, the abuse of sa- cred musick, in our churches, and especially in the cathedrals, by those volun- taries, as they are called, often of such a light and desultory nature, as to bor- der on indecency and profanation. Let those who have the direction of sacred musick, remember, how careful the heathens were of preserving a solemn, de- corous behaviour, in all respects, during the time of their religious services in their temples. With the ancients, next to the celebration of the praises of their Gods, was that of celebrating the praise of illustrious men ; who, by their wisdom, elo- quence, heroic and martial deeds, were esteemed the benefactors of mankind ; and in such an eminent degree, that they were deemed and stiled demigods ; to whom even divine honours were paid ; and their deeds of renown made the subject of the triumphant song of poets, in such strains, as while they immor- talized others, immortalized themselves. — Witness the sublime strains of the eagle-winged, bold, adventurous Pindar — And the less daring and unre- strained, but steady and moderate flight of the Roman sivan; who nevertheless, with some portion of our Milton's elevated spirit, soared so high, as to venture to boast, suhlimiferiam sidera vertice. Homer, mighty bard, it was who first led this august band, and Virgil, keeping an attentive eye on this his great and revered master, swept his sweetly-tuned accordant lyre with a correct and skilful hand, and reduced it to a milder tone than that of his grand and bold original. — These were the boasted sons of Greece and Rome. — And so, indeed, were those of inferior rank, the lofty Statins ; and the fatally rash, adventurous rival of a vain, con- ceited tyrant, the eloquent declaimer in the sacred cause of freedom, the ill- fated Lucan ; whose life was a forfeit to his fame. And such was he, our own, to none inferior, who although he had, with these, drank deep of the Pierian spring, indeed so deep, that it may be truly said of him. Hie totas Heliconis aquas ; hie flumina Pindi Tota hausit, — yet he had drank as deep " of Siloam's sacred brook, that flowed fast by the oracle of God'* And his muse, " who nightly whisper' d to his ear^* begirt his honoured head, not with fading laurel, or with bays, the meed of common bards ; but with " wreath of Amaranth, with which the spirits elect bind their PANHARMONICON. 25 resplendent locks J^ — Milton, immortal bard ! we bow to thee in homage, such as mortals may to mortals pay, as to one, Qui genus humanum ingenio superavit ; et omneis Praestinxit stellas, exortus uti aetherius sol. Next we see the sons of harmony of great, though of inferior note and fame, who cull up kings and heroes from the tomb to " tread the mimic stage for our amusement;" and as the stagyrite says, to purge the sordid passions, and elevate the soul ; the rival bards Sophocles and Euripides. — Time has gra- ciously spared such relicks of their works as will gain his sanction and passport through all succeeding ages as far as his records shall extend. — And he too, our boasted own Shakspeare, Nature's legitimate son, is seated on the rock of Fame by Nature and Genius. — Nor shall his favourite name diminish or decay, till The cloud-capt towers, the gorgeous palaces. The solemn temples, the great globe itself. Yea, all which it inherit, shall dissolve. Nor will Harmony permit us to pass over in silence two other of her worthies, Otway and Dry den ; the latter of high rank and place. — Had we na other proof of his legitimate claims to such eminent station, but his celebrated and incomparable Ode on the power and wonderful effects of harmony, this would be sufficient to immortalize the Poet. But let us now descend from these heights to the level of ordinary life, and see how harmony befriends us here. — x\nd first with Milton let us " hail wedded love, true source of social bliss." — The description and celebration of which we have in the rich and highly finished Epithalamium of Solomon, denominated his Song ; in which all the beauties, elegance, and sublimity of oriental poetry are displayed. — Pity ever to have taken it out of its proper place, and to have given it a " new name which none can read" save those of spiritual, and spiritualizing minds ; who in order to display its beauties to greater advantage, have officiously thrown over the plain, but becoming, wed- ding-garment, the sacred stole of Religion. But if not equal, great praise indeed is due to our Poet, the Lord of Fairie regions, for his nuptial songs and hymns in favour both of earthly and of heavenly love, breathing the purest spirit of harmony in the following charm- ing strain ; — E 26 PANHARMONICON. For Love is lord of truth and loyaltie, Lifting himselfe out of the lowly dust. On golden plumes up to the purest skie. Above the reach of loathly sinful lust. Whose base affect through cowardly distrust Of his weak wings, dare not to heaven flie. But like a mold-warpe in the earth doth lie. Nor does Harmony desert us when we are in need of her soothing, consolatory, or sympathetic aid : — For she, like divine Charity, can " weep with those who weep" as well as " rejoice with those ivho rejoice!' She willingly joins in the mournful Dirge, or in the complaining Elegy — And while she lends her cheerful notes to a Solomon, can graciously condescend to assist Ovid, Tibullus, and even Corn. Gallus, while they pour forth their plaintive strains. And gladly did she join with her favourite Gray, who, in some of his sublime odes, evinced that he had caught the lofty spirit of Pindar. — But we have another illustrious instance of her kind and fostering influence, in the abstractedly refined, and lofty genius of Collins ; who has in a most expressive and energetic ode, aptly and wonderfully described the powers of harmony. This ode, with that on the poetic character, may be considered as singular and extraordinary proofs of the exquisite taste, refined, elevated, and original genius of this exalted Poet, and depressed, unhappy man : to whose memory while we give just and unqualified praise, we cannot but afford a tributary tear of sorrow; and lament, that the intellectual powers of this Bard so highly worthy of that dignified name — for of him we may appropriately say, . Infundit lumen Camoenis, et cedere nescit Grsecorum ingeniis — should have been, by any earthly cause, subdued to imbecility: And the brilliant light of his elevated soul extinguished, before that of his vital lamp. The Author who ventures to pay this unavailing posthumous tribute to this great genius, cannot repress the abortive, involuntary tear, which he has oft- times shed, while contemplating the Tablet sacred to his memory, inscribed by a living Poet of distinguished talents, genius, and learning ; which we cannot peruse without recalling to mind the mournful stanza of the Poet's own ; PANHARMONICON. 2 7 Each lonely scene shall thee restore ; For thee the tear be duly shed ; Belov'dj till life can charm no more ; And mourn'd, till Pity's self be dead. Thus, tho' transiently, we have seen how Harmony in general and in par- ticular, is suited to Man's nature, accommodated to his pleasure, improvement, and delight, from the sublimest degree of the ivorship of the Deity, to that of recording the merits and praise-worthy deeds of Demigods, and of all those illustrious characters, who have by their virtues and wisdom been the benefac- tors of Mankind — how much man is indebted to this sovereign power in all circumstances either of a prosperous, or adverse nature, to heighten his joy, or afford him soothing consolation — to calm the turbulent passions of his mind ; and by refining them from all sordid ingredients, to purify and spirit- ualize it in this world, so as to fit it, in concert with religion, for the enjoy- ment of a more exalted and glorious state. We should now, agreeably to our plan, show how the principles of Harmony can be applied to inferior beings, and to inanimate nature, and to the works of Art: But as these are illustrated in the Plate, to this the Author must refer the reader. All that he would say in addition to what is contained therein, is, that with respect to plants, besides the Equisetum, mentioned by Kircher, we may observe the leaves of some fruit-trees, flowers, and plants; especially those of the Fine, the Sycamore, the Plane, and the Chesnut ; and others of this class : which if severally taken, and brought to the harmonic scale, in like manner as applied to the Butterfly in the plate, will show how nearly they ap- proach to this standard of proportional beauty. And though no two leaves, any more than any two persons, creatures, or things, are exactly alike ; yet these nice dissimilarities are not to be regarded, as they will when brought to the scale, point out the harmonical arrangement or system to which they belong. — The same may be said of the works of Art ; for, wherever these prin- ciples, or the scale, can be applied, it will be found, that as they are more or less capable of such application, they are to the eye, which, as well as the ear, is pleased with harmonic proportions, most pleasing and satisfying. And whatever object has this pleasing effect, that object we call beautiful. And the feelings attendant on the perception of such objects, constitute or discover 28 PANHARMONICON. what is called taste ; which, like all other faculties,* may be improved, and by use made more exquisite. But we cannot conclude this subject without noticing that part of it which is of the greatest importance, and therefore reserved to the last, as an impressive improvement, and application of the whole. It has been before asserted, that Harmony was not only connatural to Man, but in its order and degree perfective of his nature. — Now there is such a mutual dependance on, and connexion between, the different (if different they are) capacities or powers of man's corporeal and intellectual, or spiritual, part of his constitution, that each is affected by the other. We have instanced how strongly the passions of the mind (the only percipient principle) are affected by Harmony ; especially the more refined and sublime affections. — As Virtue, per- fective of man's nature, has, with propriety, been held to consist in the harmony of the several passions, or affections ; it follows, that by whatever means this harmony is produced, those means, as far as they extend, may be considered as perfective of Man. But natural harmony, as it has been explained, is the means of producing this moral harmony, in which it is allowed, on all hands, that man's chief, or greatest good, consists. — It follows, therefore, from the whole, that Harmony, in its nature, proportion, and degree, is perfective of Man^ and of the great end of his being : and that end is Happiness. ^ ( 29 ) APPENDIX. As the following letters, preserved in the "Nugae Antiquse," printed in 1769, are in themselves so very curious and interesting, and peculiarly pertinent to the preceding subject, and come recommended by the highest authority ; the reader cannot but be highly pleased and gratified by their insertion. Letter from Mr. (afterwards Sir) John Karrington to Sir Isaac Newton ; with a scheme of the Harmonic Ratios'^, preserved in '' Nugse Antiquae," printed in 1769. Sir, At your request I have sent you my scheme of the Harmonic Ratios adapted to the Pythagorean proposition ; which seems best to express the modern improvements ; as the ancients were not acquainted with the sesqui- alteral divisions, which appears strange. Ptolemy's Helicon does not express these intervals so essential in the modern system ; nor does the scheme of 4 triangles, or 3, express so clearly as the squares of this proposition. What I was mentioning concerning the similitude of ratios, as constituted in the sacred architecture, was my amusement at my leisure hours, but am not master enough to say much on these curious subjects. The given ratios in the dimen- sions of Noah's Ark, being 300, 50, and 30, do certainly fall in with what I observed; the reduction to their lowest terms comes out 6 to 1, which pro- duces the quadruple sesquialteral ratio; and 5 to 3, is the inverse of 6 to 5, * This scheme is given in the hour circle of the plate, and the explanation of it in the margin. $0 ' APPENDIX. which is one of the ratios resulting from the division of the sesquialteral ratio ; the extremes are as 10 to 1, which produce by reduction 5 to 4, the other ratio produced by the division of the sesquialteral ratio. Thus are produced the 4 prime harmonical ratios, exclusive of the diapason, or duple ratio. / have conjectured that the other most general established architectural ratios owe their beauty to their approximation to the harmonic ratios : and that the several forms of members are more or less agreeable to the eye, as they suggest the ideas of figures composed of such ratios. I am sensible these matters have been touched upon before, but my attempts were to reduce mat- ters to some farther certainty as to the simplicity and origin of the pleasures affecting our different senses ; and try, by comparison of those pleasures which affect one sense from objects whose principles are known, as the ratios of sound, if other affections, agreeable to other of our senses, were owing to similar causes. Your obedient Servant, JVadham College, John Harrington. May 22d, 1693. Sir Isaac Newton's answer to the foregoing. Sir, By the hands of your friend, I was favoured with your demonstration of the Harmonic ratios, from the ordinances of the 47th of Euclid. I see you have reduced from this wonderful proposition, the inharmonics as well as coinci- dences of agreement, all resulting from the given lines 3, 4, and 5. You ob- serve that the multiples hereof furnish those ratios that afford pleasure to the eye in architectural designs ; and that the ideas of beauty in surveying objects arises from their respective approximations to the simple constructions, and that the pleasure is more or less, as the approaches are nearer to the harmonic ratios. I believe you are right ; portions of circles are more or less agreeable, as the segments give the idea of the perfect figure from which they are derived. Your examination of the sides of Polygons with rectangles, certainly quadrate with the harmonic ratios. — In fine, I am inclined to believe some general laws of the Creator prevailed with respect to the agr cable, or unpleasing affec- tions of all our senses ; at least the supposition does not derogate from the wisdom or power of God, and seems highly consonant to the simplicity of the Macrocosm in general. Your humble Servant, May 30, 1693. Isaac Newton. APPENDIX. 31 The following very curious and important discoveries are so illustrative of the doctrine attempted to be established in the preceding pages, that the Author cannot but think they will be a valuable addition to the work. The first is by that eminent Geologist, Mr. Farey, published in the Monthly Magazine for October 1813. The second by the ingenious and excellent C. Lofflt, esq. published in the same Magazine for August 18 12. On Chemical and Musical Numbers. " When a great number of things which are related to each other, are required to be accurately discriminated, no other method is so simple or effec- tual, when it can be done, as a number appropriated to each. This truth has received a very happy illustration, in the rapid progress of Chemical analysis, since the important work of Mr. Dalton appeared ; showing that Chemical substances combine always in definite proportions, and the consequent appro- priation of a number to each known elementary substance and chemical com- pound ; by the help of which number, every possible combination may be anticipated by a calculation ; and a degree of precision and evidence given to the analysis of substances, which was before unattainable." Now it is found, by experiment, that the numbers which are the means of such discovery, are those of musick, or the harmonic ratios ; which is proved and illustrated in a most satisfactory manner by tables subjoined to the above introduction to this very curious and even wonderful discovery ; to which tables the inquisitive reader is earnestly requested to have recourse. The following are the ingenious and elegant illustrations of Mr. Lofft. It has long been recognized, that there are but three primary colours, as well as three primary tones ; and that these are in the same order in the visual and auditory sextant : red. orange, yellow, green, blue, indigo, violet. 1st. 2nd. 3rd. 4th. 5th. 6th. 7th. Then come in both, the repetition, or octave to the colour or tone. And expe- riment shows another curious analogy : that every ray contains as it were a 32 APPENDIX. brede of the three primary colours : its own principal, and the two others in subordinate proportion. This confirmation of the Newtonian theory is very valuable. It is also very curious, that the distinctive harmony to thirds, yellow, and blue, is frequent in the mixture of the colours of flowers. Of the harmony of the fifths, red and blue, the Fuchsia is an elegant instance. Of the connective discords to seconds, green and yellow, green and blue, the florist sees the earth full of examples. The mixture of all colours in white, may be regarded as a diapason. Orange and yellow are also frequently and beautifully united in flowers. And blue, in its several contiguous tints. The vernal earth and sky are a fine example of the connective seconds in blue and green. The common principle, paradoxical as it might seem, runs through- out ; that discords are connectives, and the primary harmonics disjunctives: and that thus, by union and disjunction, the fair order of the universe is main- tained. In Summer, the strongest colours abound, red, orange, yellow. In Autumn and Spring, white and blue more predominate, in the daisy, the violet ; and yellow, as Spring advances, butter-cup, marsh marygold, &c. In the close of Autumn, the more refrangible, weaker colours ; the blue of the asters, the purple of the meadow saflfron, the white of many of the Autumnal flowers. Winter, and early Spring, present the herbaceous green, pale blue, or white ; as hellebore, hepatica, pergatilla, white-nettle, purple dead-nettle, ground and common ivy, holly, and misletoe. APPENDIX. . 33 A LETTER FROM THE AUTHOR OF THE FOREGOING PAGES TO A FRIEND. On the 22nd Stanza of the gth canto of' the 2d book of Spenser's Faerie Queen* At last, my good friend, I shall offer you my thoughts on that stanza of the Faerie Queen, concerning which we had some conversation. At that time I had not seen Sir Kenelm Digby's critique on it preserved in the Cabala, in a letter to Sir Edward Esterling. I have it now before me. Sir Kenelm per- fectly agrees with me in the general principle of illustration, though we differ in some particulars ; to what extent will appear in the following observations. The Stanza is found in the 9th canto of the 2d book of this beautiful poem, and is as follows : The Jrame thereof seem'd partly circulare And part triangulare : O I work divine ! These two the^rst, and last proportions are ; The one imperfect, mortal, Jcerninine ; The other immortal, perfect, masculine : And 'twixt them both a quadrat was the base. Proportioned equally by seven and nine ; Nine was the circle set in Heaven's place : All which compacted made a goodly diapase. However I may be disposed to agree with Sir Kenelm Digby, as to the genius, abilities, and learning of this truly great poet, yet I cannot join with him in the unqualified eulogy he bestows on this particular stanza ; and say with him, " that were there nothing else extant of his writings, yet these Jew words would make me esteem him no whit inferior to the most famous men that ever have been in any age.'' For though he has most unquestionably given proofs, not only in this particular place, but throughout his work, of his being deeply learned in the philosophy of Plato, yet I cannot help thinking, that the chief merit of this particular stanza, lies in the compression of the sentiment into the limits of it: for as to the poetic merit, it can boast but little; and Spenser seems to have aimed not at it. Indeed this was so far from being necessary, that he would have been in danger, by poetic description, to have F 34 APPENDIX. obscured the philosophy it contains. Not to mention that there are a few inaccuracies, if considered wholly philosophical ; such as the word partly in the first, and equally in the seventh line, and also, place in the eighth, and the word diapase, for diapason. But this last is a liberty he perpetually takes to suit his verse. Nevertheless the stanza has great merit, and comprehends a great deal. This we must endeavour to dilate and explain. Considering upon what principles Sir Kenelm has very properly expounded the passage, to which I should have supposed the Author's own writings, and espe- cially the opening of this second book, would have given the learned a proper clue ; I am somewhat surprized when he informs us, " that he wonders how he stumbled on it ; and that it was Fortune that made him light upon it, when first the stanza was read unto him for an undissoluhle riddled What part fortune could have had in this, or the like cases, it will be difficult to conceive. But Sir Kenelm Digby was a man of a very extraordinary cast of character, as well as genius. He changed his tenets of religion I believe more than once ; and he credited the accounts given by some romantic traveller, of a petrified city having been discovered in Africa. Yet he was certainly a learned and ingenious man. But whatever difficulty might attend the explication of this stanza, I can by no means agree with Sir Kenelm in the following remarks, when he says ; " that the Author seems to proceed in a different manner from ivhat he does elseivhere :for in other places (says he) although the beginning of this allegory may be obscure ; yet, in the process of it he doth declare his own conceptions in such sort, that they are obvious to any ordinary capacity : but in this, he seemeth only to glance at the profoundest notions that any science can deliver to us ; and then of a sudden, as it were recalling himself out of an enthusiasm, he returns to the general relation of the allegorical history that he had becrun, leaving his readers to wander up and down in much obscurity, and to rove with much danger of erring at his intention in these lines.'" With due submission to so great authority, I must confess that I cannot discover such an unusual deviation from his accustomed manner and method ; and that the obscurity does not arise from the manner of handling, but from the subject itself, and that system of philosophy which is therein adopted. For APPENDIX. $^ as this stanza, with the others following to the end of the canto, is, as Sir Kenelm Digby properly observes, a description of man, as compounded of body and mind ; so, in the stanza in question, he gives, in the Platonic way, a gene- ral, or rather summary, and abstract of his frame, as formed of matter and mind ; and in the subsequent stanzas, he enters into a more particular and minute detail, especially of the animal functions ; in which, by the bye, he by no means appears to have excelled himself in poetic description. Indeed, the subject does not admit of it. But as to order and arrangement of the matter, it is as consonant to the principles of philosophy and true composition, as to those of poetry. Perhaps, from what I have already written, you will think that I shall not so fully agree with Sir Kenelm as you expected from my declaration in the beginning of my letter. I agree perfectly with him in the great leading prin- ciples; viz. the adoption of the Platonic philosophy, and that the poet here describes man as compounded of body and mind : though I cannot say I shall enter so far as he does into astrology or spherical predominances, or adopt some other particulars on which he has enlarged, no further indeed than I am warranted by the system of Plato himself. I am sure I need not caution you against supposing that I here adopt the Platonic doctrines ; I only adduce them by way of illustration. At the same time I cannot omit this opportunity of giving my humble testimony in favour of the most sublime genius that ever adorned the Pagan world : and though we are more enlightened by a system really divine, yet have we not of late, at least in some instances, returned to the old philosophy ? I cannot here omit the observation of that accurate philosopher, M*= Laurin, on the wonderful disco- veries of Sir Isaac Newton, respecting the harmony of the prismatic colours ; and especially that respecting the planets. — If' (says he) we suppose musical chords extended from the Sun to each planet ; that all these chords might become unison, it will be requisite to increase or diminish their tension in the same proportion as would be sufficient to render the gravity of the planets equal: and from the similitude of these proportions the celebrated harmony of the spheres is perhaps derived. Certain as these harmonic coincidences is now become J till Sir Isaac Newton demonstrated the laws of' gravitation in ^6 APPENDIX. relation to the planets, this, as well as the Pythagorean system^ must have passed for an Utopian dream" I beg pardon for this deviation, and hope you will excuse it. Return we now to our Poet, and let us consider his comprehensive stanza, line by line. To begin : The Jrame thereof seem'd partly circulare And part triangulare : Sir Kenelm Digby very properly observes, " that the Poet means the mind and body of man : and it was by these the Platonists explained it. And though I am ready to grant, that the frequent observation of Aristotle and Clemens is true, that principles and conclusions must be within the sphere of the same science; and that leaping a genere ad genus, and transferring principles into sciences to which they do not belong, may be prejudicial to knowledge (which some have objected to the Platonists, respecting numbers, &c.) yet I must confess, the more I consider the great system, as well as its constituent parts, and see evidently to what an extent the principles of harmony prevail, I am rather inclined to suppose, that the application of these, and the numbers which compose them, is not altogether within this Aristotelean rule or observation. But I shall insist no further on this, but only observe, that it is in these principles we are to find a just explanation of the meaning of our Poet. — But to proceed. The circle, as Sir Kenelm Digby observes, is used for perfection, as a symbol of the divine mind, it being the most perfect figure, and including the greatest space, without angular interruption, or break; without composition, and pure in itself The divine mind has thereby been aptly signified, whose centre is every where, but its circumference no where. But as to derived beings, such as man, his circle is limited, and only in form resembling the divine mind ; which is the great centre to which all minds, when in due order, tend. — Agreeably hereto is the sentiment of the Platonists concerning all the works of God, but especially of this world, and of man, whom they styled M*xpo«oo-]x(^, as containing in his body and mind all the excellencies that are to be found elsewhere. Thus Sitzmanus, remarking on Lactantius, and Apu- leius de DogmatePlatonis, — Idcirco autem perfectissimo et pulcherrimo Mundo APPENDIX. 37 instar pulchrae et perfectae Sphaerae a fabricatore Deo quaesitum est, ut sit nihil indigens : sed operiens omnia, coercensque contineat : pulcher, et adtnira- bilis, suique similis, sibique respondens. — Anima hominis qui jxjxpoxoo-jxi^^ est, perfectissima mentis divinae imago est; perfectissima, quia intelligens. — Speak- ing of the spirit that animates the world as well as man, it is observed : Motum dedit illi Deus qui corpori ejus esset aptissimus ; orbicularis nimirum, qui unus ex septem motibus ad mentem et intelligentiam, vSv na) (ppovria-iv, pertineret. Itaque cum ilium per eadem, et in eodem, et in seipso circumduxisset, effecit, ut circulari conversione moveretur. Figura enim orbiculata perfectissima est, ut quae Aristoteli quoque, ft-j^Ve dp-^r^v, (xt^ts tsK^ ^X^^' ^^^* ^'^ eawro * P 'A