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Translated by J. Beare.
35 pages - You are on Page 10
(1) It is conceivable that the White and the Black should be juxtaposed in quantities so minute that [a particle of] either separately would be invisible, though the joint product [of two particles, a black and a white] would be visible; and that they should thus have the other colours for resultants. Their product could, at all events, appear neither white nor black; and, as it must have some colour, and can have neither of these, this colour must be of a mixed character- in fact, a species of colour different from either. Such, then, is a possible way of conceiving the existence of a plurality of colours besides the White and Black; and we may suppose that [of this 'plurality'] many are the result of a [numerical] ratio; for the blacks and whites may be juxtaposed in the ratio of 3 to 2 or of 3 to 4, or in ratios expressible by other numbers; while some may be juxtaposed according to no numerically expressible ratio, but according to some relation of excess or defect in which the blacks and whites involved would be incommensurable quantities; and, accordingly, we may regard all these colours [viz. all those based on numerical ratios] as analogous to the sounds that enter into music, and suppose that those involving simple numerical ratios, like the concords in music, may be those generally regarded as most agreeable; as, for example, purple, crimson, and some few such colours, their fewness being due to the same causes which render the concords few. The other compound colours may be those which are not based on numbers. Or it may be that, while all colours whatever [except black and white] are based on numbers, some are regular in this respect, others irregular; and that the latter [though now supposed to be all based on numbers], whenever they are not pure, owe this character to a corresponding impurity in [the arrangement of] their numerical ratios. This then is one conceivable hypothesis to explain the genesis of intermediate colours.
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