Full text of "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 frame: and that where these principles can be applied to works of art, they excite the pleasing and satisfying ideas of proportion and beauty"

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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.

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^

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.

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

— 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.

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

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.

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,

* 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 <r(Pp«y<^* ^s5. Philo apud Euseb. L. T. C. 1.
t T3 yap x.a.\ ysv®' eo/xev. Aratus apud Sanct. Paul. Act. Apost. Cap. 17. v. 23.
X See Sir John Harington's Letter to Sir Isaac Newton in the Appendix: and Sir Isaac Newton>
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 ; —

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

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 <rovvsvixjxe,
— Ideo quoque orbicularis Platoni — wpsTrov dv siVj ar/rj^a to mspisi'kri^og iv auroj
vdvra oTroVa (r^rly.oe.ra. — Vide Annot. in Boet. Vannini. Lib. iii. Met. ix.

This may be sufficient for the illustration of circular : I proceed now to
that of triangular. The former, as we have seen, is put for, and considered
as, the symbol of perfection ; and therefore styled by the Poet the Jirst propor-
tion, immortal, perfect, masculine; the other, the triangular, denominated
the last proportion, or meanest figure, as a symbol of matter, and imperfect,
mortal, feminine. On this point I shall quote at first from Sir Kenelm Digby.
" By the triangular figure he very aptly designeth the body; for as the circle
is of all figures the most perfect and capacious ; so the triangle is the most
imperfect, and includeth the least space. It is the first and lowest ofallfigures,
for fewer than three right lines cannot comprehend and inclose a superficies,"
Again, " As a triangle has three lines, so it aptly represents body, or matter;
which has longitude, latitude, and profundity,''' or, as we generally say, length,
breadth, and thickness, — Matter or body, till informed, or operated upon by
mind, is certainly very properly called imperfect — and the body of man, as
.well as all others, is subject to decay and ruin ; which we properly call mortal.
As the word masculine perhaps is meant to signify pre-eminence, superiority,
and authority ; so the term feminine may be used in opposition thereto, as
implying subordination, weakness, and subjection. Or, if we Platonize on it,
we may say, that as the feminine receives perfection from the male, so by the
operation of mind on the body, all corporeal actions and functions are gene-
rated and produced : and further, that although there is an essential difference
between these two, and the one be deemed perfect, and the other imperfect.

SS APPENDIX.

yet by their constitution they have reciprocally a tendency to union with eacli
other. Of this union we shall have occasion to remark as we proceed.
And 'twixt them both a quadrat was the base.

Sir Kenelm Digby is very short in all respects in his explanation of this
line, at which I am somewhat surprized, as well as at his entering no further
into the extremes and the means by which the body and mind are united ;
seeing that the Pythagorean system, and the Platonic philosophy, furnish
ample matter herein. But indeed he makes an apology for his imperfections,
by saying, " that what he wrote was on the spur of the occasion ; and that he
had not proper books to consult ; which if he had, he might have dived farther
into the Author's intention, the depth of which (he says) cannot be sounded
by any less learned than he was.'^ And also " that others proceeding upon his
grounds, might compose a worthy and true commentary upon this theme.'"' —
I will not presume mine to be such ; yet, for your amusement and mine own,
I will venture to enlarge a little.

Sir Kenelm Digby says little more, than " that this signifies the four prin-
cipal humours of man's body, according to the old school, choler, blood, phlegm,
and melancholy; which while in due temperament and proportion, preserve the
health and order of the frame ; but if distempered, disorder and dissolution
ensue." But if the description be confined alone to the construction or compo-
sition of man's body, the four elements, according to our philosophy, ought
rather to be admitted. — But to proceed :

I shall first quote a general observation from the learned Kircher's Arithmo-
logia. — Notandum itaque inter asciticios ^gyptiorum Discipulos Pythagoraeos,
arcanas quasdam Numerorum dispositiones didicisse, quibus tantum tribuebant,
ut nihil non in rerum natura lis se demonstrare posse putarent. — And again ;
Quadratos autem cum primis observarunt, tanquam rerum omnium in septem-
plici niundo genesis rationem explicantes. — Further, Alter binarius (scilicet 4),
etiam animam signabat, quod cum mens immobilis sit, aut motu uniformi,
scilicet circulari gaudeat. — Vide Kirch. Musurg. L. 7, Cap. i. Atque hinc cele-
berrima ilia TsTpaxrus Pythagorica, fons perennis^ animae humanae, per quam
Pythagorici jurare solebant. — And again, Hinc Tsrpaxrog ista propter usum
tam multiplicem consideratione et admiratione dignissima habita est inter

APPENDIX* 39

primas, transtuleruntque earn non ad Physicae tan turn, sed et ad Animce con-
templationem, et ad ethicam theologicamque doctrinam. — He proceeds ; per
quaternarium denotabant numerum Elemenforum, quae conjuncta constituunt
10 — quo numero omnem notant totius Universi ornatum quo Opifex Max,
Rerura id ditavit. Vides igitur quatenam sub hisce harmonicis numeris musi-
cam abscondebat Pythagorici (et Platonici) earn videlicet quae non vocibus,
et instrumentis, quam mundanae fabricae (et hominis structurae corporis, qui est,
ut supra, Mixpoxoa-fx^) scrutinio cumprimis serviebat. — Vide ut supra, Mu-
surgia, ad fin. capit. predict.

I shall not press any more quotations into the service, but go on to observe, this
philosophy considered the Quadrat as a principle of union between numbers
and proportions ; and therefore may well be considered in the present instance
to be so meant respecting the quadrat being placed, as a mean, or connecting
principle, between the circle and triangle; and therefore may properly be con-
sidered and treated of in the same manner as the Platonists did the tertiam
quandam naturam, which partaking of the quality of body and mind, was the
bond by which these were united ; which is thus elegantly expressed by that
sublime Christian philosopher and poet, Boetius, in his great work, De Conso-
latione Philosophiae, Lib. iii. Met. Q.

Tu triplicis mediam naturae cuncta moventem
Connectans animam per consona membra resolvis.
Upon which lines, as well as the whole of the masterly work, the learned and
ingenious Vallini has commented with great elegance and ingenuity : I shall
transcribe some of his notes, as particularly applicable to our present investi-
gation.— I hope so much Platonism will not be disagreeable to you : but as it
will serve to place some parts of this philosophy in its proper light, which has
been objected to for want of being well understood, I the more readily venture
on it.

And fir?t let us observe, that the following were deemed by the Platonists as
the highest primary genera of substances ; viz. r ayabov, to ^siov, to xaXov, n*
eu8ai|xovja, 73 o'o<p/a, and lastly 0 0et^^ UTrspspaviwv. Then vsg, -^o^-^, (tcS^cx., -^ u^-ij,
by which the Deity formed the admirable system of this world, and was pleased
to make the corporeal part of the universe capable of intelligence and mind :

40 APPENDIX.

which Plato explains in hisTimseus. When the Deity from his goodness deter-
mined to form this world agreeably to the eternal exemplar existing in the
divine mind, he resolved that it should be corporeal and subject to the sense.
But because the matter thereof was rude, and deprived of the quality of figure,
and the fluctuating mass was to be moulded into form, it seemed good to the
Deity to infuse into it animam, spirit, or soul, by which the mass should be
animated and reduced into order and form. But yet, as the mass thus
animated, was still obnoxious to error and corruption, and was therefore not
the image of the most perfect divine mind, because itself void of mind, the
Deity added intelligence thereto, and by this means rendered it perfect ; which
being thus endowed with a mind to which intelligence was inseparable, should
subsist in wonderful order and regularity. This mind or soul, besides reducing
matter or body into form, and informing it, is the bond with which intelligence
is connected ; which without that middle nature could not be united with
body. Agreeably hereto, Proclus says, that it is impossible that mind should
be in aught without soul. He distinguishes here between Mens and Anima.
He also puts it by way of question ; how, says he, can the individual eternal
essence of mind be united with that which has corporeal form ? This, there-
fore, is the nature and dignity of the soul of the world, which the deity useth,
not only as by its spirit to give life to the living, but as a substance (or
existence) which partaking of, and imitating the divine intelligence or mind,
that mind which is ever the same, kindles the fires of heaven ; by its light and
heat filleth the air, and raiseth the sea, fecundates animals and plants ; and
by its alternate influence, moderates the seasons of the year, never departing
from its primeval tenour of permanent operation.

Hinc est quod apud Apuleium [Lib. de Plat. Natur. Phil.] illam ccelestem
animam, fontem animarum omnium, optimam et sapientissimam, virtutum
esse genetricem, subservire etiam fabricatori Deo, et praesto esse ad omnia
inventa ejus, Plato pronuntiat. Et Virgilius, ex ejusdem mente, sic eum
describit. Vallini.

Principio ccelum, ac terras, camposque liquentes,

Lucentemque globum Lunae, Titaniaque Astra

Sph'itus intus alit, totamque infusa per artus

Mens agitat molem, et magno se corpore miscet.

APPENDIX. 41

Inde Hominum Pecudurnque genus, vitseque volantum,
Et quae marmoreo fert Monstra sub aequore Pontus.
This is sufficient to give a general idea of this part of the Platonic philo-
sojihy. I shall only add, that it is not altogether repugnant to that of modern
times, for those two great Philosophers, Sir Isaac Newton, and Dr. Hartley,
countenance something like it, though conjectural and hypothetic.

I shall endeavour to shew in what manner the quadrat may be applied,
similar to this tertiam animam, by which matter and soul are united to the
circle and square, uniting them in like manner — I shall first quote Kircher. —
Si quaternarium sub hisce terminis 1, 2, 3, 4, expansum colligeris, habebis 10,
secundam monadem, et angelici mundi radium ; denarium si quadres, mox
occurret 100, tertia monas, animastici chori exordium; si denique secundam
monadem in tertiam, id est 10, in 100 duxeris, exurgit cubus, sive solidum
corpus, omnium quae visui patent, sensibilium rerum reconditorium. — In like
manner, if you take the successive numbers 1, 2, 3? 4, they will be found to
constitute the concords of the octave : from hence, according to the Platonists,
deriving a kind of intellectual power, thereby uniting in itself the principles of
matter and mind ; and therefore the quadrat might be here put, as the above
tertia ilia natura aut anima, connecting the circle and triangle, or the body and
mind; of which they are the symbols. — The numbers by which this quadrat
is said to be proportioned will further illustrate this :

Proportioned equally by seven and nine,

Nine was the circle set in heaven's place. —
Sir Kenelm Digby observes, " that hy this ive are to understand the
influences of the superior substances which govern the inferior; viz. the
stars (of which the seven planets were deemed most powerful), actuating the
body ; and of the angelic hierarchies^ divided into nine orders, actuating and
informing the soul of man : which, in his Astrophel, Spenser says, is.

By Sovereign choice from th' heavenly quires select.

And lineally deriv'd from angel's race.
The Platonists, you know, taught, that the human soul was an emanation
from the divine mind; and was conveyed into the body by the intelligences
that move the orbs of heaven (as Sir Kenelm Digby observes), who according

42 APPENDIX.

to their several natures do communicate their special influences^ hy which
both the body and soul are reciprocally affected ; and that hence the one takes
its peculiar temperament, and the other its peculiar genius*. Agreeably
hereto the poet ManiHus ;

Coelum scrutatur in alto,

Cognatumque sequens corpus se quaerit in astris.
Let us see further what the Platonist Plotinus says on this curious doctrine.
— " Animae dum a Deo creantur, a locos upercoelesti seu mundo intelligibili,
qui Jovis maximi seu mentis idealis et creatricis sedes est, procedunt, primo in
coelum : ibique corpus accipientes, per ipsum jam in corpora quoque magis
terrena labuntur. — Again, Corpus illud, seu quasi corpus aetherium, coeleste esse,
ejusdemque cum astris substantias Platonici existimabant; animaque in infe-
riora labenti adhibebant, ut esset non solum quod animaret anima (cui sem-
per adesse oporteat corpus quod animet) sed quemadmodum animae, qua ani-
malis est, spiritus ille, qui est h. puriori tenuiorique sanguinis substantia, pro
vehiculo est, quo ilia in omnes corporis partes diffunditur. Sic animae, qua
rationalis intellectualis est, in haec inferiora labenti, adesse corpus illud, ceu
quasi corpus, cceleste, seu aetherium volebant! quod tenuissimum cum sit, rect^
simplissimae animae vehiculujn est perhiberetur; quo ilia comite in Dei substan-
tiatumque intelligibilium cognitionem tolleretur. Ea enim separabilis a

* As the Poet thus expresses himself in his Hymn on heavenly Beauty :
For when the soul, the which derived was
At first, out of the great immortal spright.
By whom all live to love, whilome did pass
Downe from the top of purest heaven's hight.
To be embodied here, it then took light
And lively spirits from that fairest starre.
Which lights the world forth from his firie carre.

Which powre retayning still or more or lesse.
When she in fleshly seed is eft eni'aced.
Through every part she doth the same impresse,
V According as the heavens have her graced.

And frames her house, in which she will be placed.
Fit for hereelf, adorning it with spoile
Of th' heavenly riches, which she rob'd erewhile.

APPENDIX. 43

corpore cum sit, nihilque communionis utriusque actiones habeant, sequitur ^
illi corpus aliquod aliud adesse, quod purioris sit naturae quam terrenum, quod
nimirum sit intelligentiae capax, et quandam affinitatem cum corpore terreno
h'abeat.

Ex eo igitur divino et coelesti eleraento humanas animas, in earum descensu
corpus divinum et cceleste assumere in corpora inferiora labentes putabant, quod
intelligentibus illis esset intellectuale vehiculum, quod Plato vocat oLuyosihg,
rarum ac splendidum ; Proclus vero auXov, kou a^ialpsTov xat dtTraSsj, immate-
riatum, et individuum, et afFectionis expers.

" Quod dogma non Platonici philosophi mode, sed et Christianorum multi
primis seculis amplexati sunt." Hence the Poets have been enabled to exalt
their theme by the noblest descriptions. Thus Ovid ;

Est Deus in nobis, sunt et commercia coeli,
Sedibus setheriis spiritus ille venit :
And Virgil also, as in the following :

Igneus est ollis vigor et coelestis origo
Seminibus.
I trust you will excuse a longer, as it is a more full and sublime, description
from Manilius, Lib. IV.

An dubium est habitare animas sub pectore nostro
In coelumque redire animas, caelo venire ?
Utque est ex omni constructus corpore mundus
Aeris, atque ignis summi, terraeque marisque :
Sic esse in nobis terrenae corpora sortis,
Spiritum et in toto rapidum quicunque gubernat,
Dispensatque hominem ? quid mirum noscere mundum
Si possunt homines, quibus est et mundus in ipsis ?
Exemplumque Dei quisque est in imagine parva ?

But T fear I shall tire you with so much Platonism : I will therefore con-
clude, after just observing what the Pythagoreans and Platonists say on the
numbers seven and nine ; and offering a few words on the concluding line of
the Poet, in which he sums up the whole of his description of this noble struc-
ture of man, by calling it a work divine.

44 APPENDIX.

*' Septenarius non gignit, nee gignitur, cum non habet infra se numerum a
quo gignitur, neque intra denarium ullus sit quem gignat. Hinc apposite h.
veteribus Pythagorseis symbolum fuit Ducis et Rectoris omnium, ut qui cum
immobilis sit, nee gigni, nee gignere perhibeatur ; quae Plutarehus bis verbis
describit : Est dux et princeps rerum omnium Deus, semper unus, stabilis, motu
carens, ipse sui similis, aliorum dissimilis, septuple entium choro, stipatus.
Earn ob causam Pythagorici hunc numerum Minervae et Jovis capite genitae,
semper Virgini, sine matre natae, symbolum posuerunt. Hunc -3Egyptii prae
caeteris in summa semper veneratione habuerunt, rerum omnium sigillum sta-
tuentes : hie enim in universo septem entium genera denotat. Vides igitur,
quomod^ ex monade ilia suprema et archetypa septem principalium geniorum
regirnine munitus prodierit ; quomodo ilia deind^ evoluta et veluti in circulum
acta, mundum ccelestem, septem Planetarum choro decoratum produxerit ;
postea mundum inanimatorum ; tandem hominem microcosmum omnium
complementum condiderit." — Vide Mystag. Numer. Kircheri.

The same learned author observes of the Number g, as follows :

" Nonarius ex triade in se ducta resultat; tant6 arcanior est, quanto triadem
triniter involvens, dum ejus efficit quadratum, majora iii se continet mysteria.
Angelicae substantias a Deo immediate productae primae creaturarum propa-
ginis, ac novenae distinctionis symbolum sunt convenientissimum."

For proof of the poet being a disciple of Plato, Sir Kenelm Digby refers to
the 6th canto of the 3d book, especially the 2d and 32d stanzas ; and the last
of his Epithalamion. To these he might have added, his four exquisite Hymns
on Heavenly Beauty and Love. — ^We come now to the closing line,
All which compacted made a goodly diapase.

Though all the divine works furnish proofs of infinite wisdom, yet as the
whole seem formed for man, and for his use, and tend to him as to one com-
mon centre ; and the perfections every where scattered, as it were, abroad^
unite in man*, not only respecting the elements of which his body is com-

* " Homo microcosmus post reliqua factus est, ut divina bonitas in ipso sub brevi quodam
compendio, qiiicquid diffusfe ant^ fecerat, exprimeret ; si enim exactam singulorura comparationem
insiituamus, reperimus nihil in mundo majori, cujus proprietas non etiam in homine mundi
filio, tanquam in omnium rerum mensura et compendio elucescat." — ^Vide Kirch. Musurg. torn. 2,
page 403.

APPENDIX. 45

posed, but of that supreme intelligence by which his soul is inspired : and as
his corporeal frame is literally harmonically* formed, and his mind capable,
by the improvement of reason, and the exaltation of virtue, of assimilating
itself to the divine mind, by keeping all in perfect union thereto, by preserving
the affections in perfect concord and agreement, not only with each other, but
with the divine mind : all this I say is not only a proof of eternal wisdom in
forming this work divine, but also, that in man the harmony of this lower
world is as it were summed up and complete ; and that the great Diapason of
Nature is perfected in Man. Farewell.

* " Certe veteres in microcosmo intuentes perfectissimse figurse molem^ diversam coelestium
elementariumque varietatem, elegantem magnificentissimarum rerum ordinem, pulchrum venus-
tissimarum rerum consensum et harmoniam, ex structura mirifica numeros, mensuras, propor-
tiones et harmonias dum omnium membrorum iuvieem mirum in modum proportionatas eonso«
nantias et commensurationes observant, invenerunt.*' Vide Kirch. Musurg. Tom. 2, page 404.

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