rest upon the measures of the intensity of sensible qualities took place mainly in the course of the last century. Perhaps we may consider Lambert, a mathematician who resided in Switzerland, and published about 1750, as the person who first clearly felt the importance of establishing such sciences. His Photometry, Pyrometry, Hygrometry, are examples of the systematic reduction of sensible qualities (light, heat, moisture) to modes of numerical measurement.

We now proceed to speak of such modes of measurement with regard to the most obvious properties of bodies.

SECT. II.-The Musical Scale.

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3. THE establishment of the Harmonic Canon, that is, of a Scale and Measure of the musical place of notes, in the relation of high and low, was the first step in the science of Harmonics. The perception of the differences and relations of musical sounds is the office of the sense of hearing; but these relations are fixed, and rendered accurately recognizable by artificial means. Indeed, in all the senses," as Ptolemy truly says in the opening of his Harmonics, "the sense discovers what is approximately true, and receives accuracy from another quarter: the reason receives the approximately-true from another quarter, and discovers the accurate truth." We can have no measures of sensible qualities which do not ultimately refer to the sense; whether they do this immediately, as when we refer Colours to an assumed Standard; or mediately, as when we measure Heat by Expansion, having previously found by an appeal to sense that the expansion increases with the heat. Such relations of sensible qualities cannot be described in words, and can only be apprehended by their appropriate faculty. The faculty by which the relations of sounds.

are apprehended is a musical ear in the largest acceptation of the term. In this signification the faculty is nearly universal among men; for all persons have musical ears sufficiently delicate to understand and to imitate the modulations corresponding to various emotions in speaking; which modulations depend upon the succession of acuter and graver tones. These are the relations now spoken of, and these are plainly perceived by persons who have very imperfect musical ears, according to the common use of the phrase. But the relations of tones which occur in speaking are somewhat indefinite; and in forming that musical scale which is the basis of our science upon the subject, we take the most definite and marked of such relations of notes; such as occur, not in speaking but in singing. Those musical relations of two sounds which we call the octave, the fifth, the fourth, the third, are recognized after a short familiarity with them. These chords or intervals are perceived to have each a peculiar character, which separates them from the relations of two sounds taken at random, and makes it easy to know them when sung or played on an instrument; and for most persons, not difficult to sing the sounds in succession exactly, or nearly correct. These musical relations, or concords, then, are the groundwork of our musical standard. But how are we to name these indescribable sensible characters? how to refer, with unerring accuracy, to a type which exists only in our own perceptions? We must have for this purpose a Scale and a Standard.

The Musical Scale is a series of eight notes, ascending by certain steps from the first or key-note to the octave above it, each of the notes being fixed by such distinguishable musical relations as we have spoken of above. We may call these notes C, D, E, F, G, A, B, C ; and we may then say that G is determined by its being a

fifth above C; D by its being a fourth below G; E by its being a third above c; and similarly of the rest. It will be recollected that the terms a fifth, a fourth, a third, have hitherto been introduced as expressing certain simple and indescribable musical relations among sounds, which might have been indicated by any other names. Thus we might call the fifth the dominant, and the fourth the subdominant, as is done in one part of musical science. But the names we have used, which are the common ones, are in fact derived from the number of notes which these intervals include in the scale obtained in the above manner. The notes C, D, E, F, G, being five, the interval from c to G is a fifth, and so of the rest. The fixation of this scale gave the means of describing exactly any note which occurs in the scale, and the method is easily applicable to notes above and below this range; for in a series of sounds higher or lower by an octave than this standard series, the ear discovers a recurrence of the same relations so exact, that a person may sometimes imagine he is producing the same notes as another when he is singing the same air an octave higher. Hence the next eight notes may be conveniently denoted by a repetition of the same letters, as the first; thus, C, D, E, F, G, A, B, c, d, e, f, g, a, b; and it is easy to devise a continuation of such cycles. And other admissible notes are designated by a further modification of the standard ones, as by making each note flat or sharp; which modification it is not necessary here to consider, since our object is only to show how a standard is attainable, and how it serves the ends of science.

We may observe, however, that the above is not an exact account of the first, or early Greek scale; for this scale was founded on a primary division of the interval of two octaves (the extreme range which it admitted)

into five tetrachords, each tetrachord including the interval of a fourth. All the notes of this series had different names borrowed from this division*; thus mese was the middle or key-note; the note below it was lichanos mesôn, the next below was parypate mesôn, the next lower, hypate mesôn. The fifth above mese was nete diazeugmenôn, the octave was nete hyperbolæôn.

4. But supposing a complete system of such denominations established, how could it be with certainty and rigour applied? The human ear is fallible, the organs of voice imperfectly obedient; if this were not so, there would be no such thing as a good ear or a good voice. What means can be devised of finding at will a perfect concord, a fifth or a fourth? Or supposing such concords fixed by an acknowledged authority, how can they be referred to, and the authority adduced? How can we enact a Standard of sounds?

A

A Standard was discovered in the Monochord. musical string properly stretched, may be made to produce different notes, in proportion as we intercept a longer or shorter portion, and make this portion vibrate. The relation of the length of the strings which thus sound the two notes G and c is fixed and constant, and the same is true of all other notes. Hence the musical interval of any notes of which we know the places in the musical scale, may be reproduced by measuring the lengths of string which are known to give them. If c be of the length 180, D is 169, E is 144, F is 135, G is 120; and thus the musical relations are reduced to numerical relations, and the monochord is a complete and perfect Tonometer.

We have here taken the length of the string as the measure of the tone: but we may observe that there is in us a necessary tendency to assume that the ground * Burney's History of Music, Vol. 1. p. 28.

of this measure is to be sought in some ulterior cause; and when we consider the matter further, we find this cause in the frequency of these vibrations of the string. The truth that the same note must result from the same frequency of vibration is readily assented to on a slight suggestion of experience. Thus Mersenne*, when he undertakes to determine the frequency of vibrations of a given sound, says "Supponendum est quoscunque nervos et quaslibet chordas unisonum facientes eundem efficere numerum recursuum eodem vel equali tempore, quod perpetuâ constat experientiâ." And he proceeds to apply it to cases where experience could not verify this assertion, or at least had not verified it, as to that of pipes.

The pursuit of these numerical relations of tones forms the science of Harmonics; of which here we do not pretend to give an account, but only to show, how the invention of a Scale and Nomenclature, a Standard and Measure of the tone of sounds, is its necessary basis. We will therefore now proceed to speak of another subject; colour.

SECT. III.-Scales of Colour.

5. The Prismatic Scale of Colour.-A SCALE of Colour must depend originally upon differences discernible by the eye, as a scale of notes depends on differences perceived by the ear. In one respect the difficulty is greater in the case of the visible qualities, for there are no relations of colour which the eye peculiarly singles out and distinguishes, as the ear selects and distinguishes an octave or a fifth. Hence we are compelled to take an arbitrary scale; and we have to find one which is fixed, and which includes a proper collection of colours. The prismatic spectrum, or coloured image produced Harmonia, Lib. 11. Prop. 19.

*