other feelings is the endurableness of it. The physical influence of light, although able to excite a first class sensation in point of power, is yet so gentle that we can endure it far longer than we can any other sensuous influence of similar efficacy. This is one of the peculiarities of pleasure or emotion that we understand by the term 'refinement;' the pleasures of the eye in general are said to be the most refined of the enjoyments of sense; those of the ear rank second in this respect. The influence of the solar ray is evidently favourable to the animal functions-the respiration or digestion, &c., probably through both physical and mental causes; at any rate the feeling engendered is freshening and cheering, and can often suffice to support the frame of mind against the depressing organic influences, thus manifesting by a neutralising efficacy the full equality above asserted between it and them.

The emotion now described is in a high degree tranquil and serene, like the best forms of pleasure of the other senses. There is a kindred character between it and agreeable warmth, independent I believe of the usual association of light and heat. The painter speaks of a warm colour, as if there were certain modes of light that impart to the sensitive framework the peculiar tremor of genial warmth. The feeling of light is as much akin to the sweet in taste and smell, the soft in touch, and the sweet in sound, as the great differences of organ will permit.

There is a strong sympathy of nature between this feeling and the respective emotions of love and beauty. Probably this resemblance is merely greater in degree than what obtains between the proper pleasures of the other senses and these emotions.

The distinction of the sensations of sight as respects the intellect is well marked, as I shall have occasion to notice again. These are more persistent and recoverable than any others as a general rule, and hence we are able to live them over again in the life of ideas. This is a second circumstance entering into our notion of refinement. The intellectual character of the feelings of vision, besides alimenting our

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intellect proper, enhances their value as mere emotion or pleasure. The impress of vivid illumination remains in the mind when the original is gone, and becomes an object of recollection, anticipation, and longing, more than any other pleasure of sense, excepting always the strong appetites at their periods of pressing urgency. To the blind Milton, the emotions of light could become powerfully present, and suggest a lofty and apposite train of descriptive imagery.

It will be necessary next to advert to the different forms and varieties of the sensation of light. I have supposed in the above description, the case of abundant but not excessive or painful sunshine; it was necessary also, in order to state the full force of the feeling, to imagine the first or fresh outburst of light after comparative darkness. Notwithstanding the endurability of the eye, the sunlight may be too strong, and too long continued: there arises, then, a painful form of fatigue in the eye and in the head. But as the light that reaches us is nearly all reflected light from the surfaces about us, the sky, the landscape, the walls of buildings, &c., there are many varieties of it, and many different effects on the internal sensibility. There is this peculiarity, however, in a time of sunshine, that a large portion of the sun's unaltered rays reach the eye by reflection, so that we have predominating the sensation proper to pure sun-light. Next in character to the original ray and its mirrored reflection, is the radiance of strong white surfaces, as the clouds, the seafoam, white walls, chalk cliffs, white dresses, &c. This gives us very much of the sensation of light, but in a less intense form; indeed the richness of these surfaces consists in reflecting abundantly the solar ray when abundantly receiving it.

The course of the day and of the year gives us all degrees of illumination, from outer darkness to the radiance of midsummer noon. Of darkness, or the total absence of light, as a habitual thing, I could only speak by contrasts, or opposites to the language above used. As the repose from light it is not only endurable but welcome; with shade and shadow we have no necessarily unpleasant associations. The mixing up of the proper amount of dark with the daily sun-shower

is one of our arts for adjusting and regulating our pleasures. The grateful emotion of light is perfect only when we stop short, having attained the exact amount that the eye can bear; and for this adjustment the command of darkness is necessary. In cold, moist climates, such as ours, there is probably too little sun-light; a greater quantity would undoubtedly increase the pleasures of life in these islands. In what places the balance of light and shade is best struck, I cannot pretend to say. Too much sun-light, even if not hurtful, is probably unfavourable to active exertion.

9. Before taking up the sensations of colour, it is worth. while to remark on the artificial lights; their ray being dif ferent in character from the solar. A fire, or a lamp, is so much weaker than the sun's face, that we can gaze upon them directly for hours together. We have, then, what I might term a pungent luminous sensation, more intense, concentrated, and coarse, than the diffused radiance of day-light. When the eyes are feeble, this is an unsafe luxury. There is an apparently involuntary attraction of the eye towards the flame of a candle; the real fact is, that we voluntarily turn to it to drink in a strong sensation. The flickering blaze of the hearth, the furnace glare, the bonfire illumination, are all highly exciting as the cause of strong luminous sensations. I call these effects coarse and pungent, because of the inferiority of the terrestrial lights to the solar ray, in delicacy and in balanced mixture, as well as of the obvious difference of sensation. Nevertheless, our experience of a brilliantly lighted room, exemplifies strikingly the pleasurable and exciting influence of a copious illumination.

10. The effect of colour is distinct from the effects of light and shade, or of pure whiteness and the mixtures of this with black. I am disposed to use the same term, 'pungency,' to express this difference. The optic nerve would seem to be more powerfully irritated or inflamed, by colour than by whiteness, but also it may be more readily fatigued. Of all colours, red is the most pungent and exciting. In the midst of other tints this intoxicates the eye, and satiates the appetite for luminous effect. Red is the colour of state,

glitter, and display-avoided by a taste for sobriety and retirement. This colour does not greatly abound in nature, and is therefore sought out by art. The discovery of the scarlet and purple dyes was the introduction of a new pleasure. Green is much less pungent than red, but is nevertheless an effective and stimulating colour. Yellow is probably next to red in intensity of stimulus, after which would come blue. There is a general belief that of these four prominent colours, green is the one that can be longest endured without fatigue. The mild blue of the sky may be as little fatiguing, but is certainly less exciting than the first bloom of spring vegetation. The effect of red upon the bull and other animals is probably a proof of its fiery and exciting character. The eye fatigued either with white sunshine, or with the pungent colours, finds repose in green; hence the character of freshness belonging to this colour.

11. It has been believed, since the time of Sir Isaac Newton, that white light is not a simple but a complex effect; for by mixing colours together, in certain proportions, whiteness will be produced. Red, yellow, and blue are supposed to be the primitive or elementary colours; out of these any other colour can be formed, and by combining them in certain proportions, colour can be made to disappear in favour of white light. This fact is the physical foundation of harmony of colouring. When different tints occur together, as in a picture, the total effect is most pleasing when they are in the proportions requisite for producing whiteness. Two colours harmonize, if one is a primitive colour, and the other a certain mixture of the two remaining colours: thus red harmonizes with green (formed out of yellow and blue); blue harmonizes with orange or gold (a mixture of red and yellow); yellow harmonizes with violet (red and blue). The eye, excited by one of these colours, desiderates, and feels refreshed by the other. When the white ray is thus resolved into two colours, they are termed complementary colours; such are red and green, blue and orange, yellow and violet. These complementary colours are to one another like light and shade, they enable the eye to support a greater amount of coloured

effect. And to eyes sensitive to the harmony and balance of colour, they are more exciting and pleasing than the mere combination of sun and shadow. The sensation resulting from well harmonized colour is more sweet and exquisite than the feeling of a single unbalanced effect, as red, blue, or orange; it is an example of the emotion that we term 'the beautiful.' Combinations that leave out one of the primary elements, are called discordant, as yellow with red, yellow with blue, or blue with red; we have then the effect of a single unbalanced colour. Whiteness being the balanced sensibility of the retina-the mutual destruction by the colours of one another's pungency-the elements of white held apart give us the maximum of pleasure with the minimum of fatigue, which result it is the constant endeavour of art and refinement to bring about.

12. There remains to be noticed the sensation of lustre, which is somewhat distinct from any of the foregoing. Lustre is caused by a colour seen through a transparent covering. One of the best examples is that furnished by the pebbles at the bottom of a clear pellucid stream. The sensation produced by this combination of colour and transparency is very remarkable, a fresh, rich, luxurious feeling, suggesting coolness in the midst of oppressive heat, and inviting the lounger to plunge bodily into the element. It may be said that the associations of coolness make the principal charm of this sensation, which might be granted, were it not that a similar effect is produced in many other circumstances that exclude the thought of water. Take the case of polished marble and coloured gems. In these we find developed a transparent film, through which is seen a rich white, green, red, &c., and the combination of the rays reflected from the transparent surface with those passing through it from the coloured surface, is the lustre, brilliancy, glitter, in a word the beauty of the object. I can give no explanation of this effect, but we are bound to remark it among the sensations of light and colour. More stimulating, piquant, and exquisite than mere white, red, or green, it is at the same time not fiery and exhausting, and is therefore an admirable effect for being