196 Sloan's Architectural Revieio and Builders' Journal. [Sept., white. Black, very properly, was deemed the absence or negation of color; and was attributed to the spirit of darkness. Red stands for divine love, and white for divine wisdom. Sj^mbolic — not al- ways natural — secondary colors arise from different combinations of the two symbolic primaries. Yellow, emanating from red and white,* symbolizes the revelation of the love and wisdom of God. Blue, likewise, emanating from red and white, f is the symbol of the spirit of truth. It indicates divine wis- dom, manifested by life through air or azure, the spirit or the breath of God. Green is really, as well as symbolically, formed by the union of yellow and of blue, and signifies the active manifesta- tion of love and wisdom. It was also the symbol of charity, and of the regen- eration of the soul by works. Yellow and gold were in Christian symbolism the emblem of Faith. Saint Peter was represented by the illuminators and in the miniatures of the middle ages in a golden yellow robe, with the rod or key in his hand. Some writers claim that when Chris- tianity restored truth to the world, it also"" reinstated symbolic color-language in its original purity." That its sym- bolic attribu tings to color were noble and pure in conception, and in that re- spect closely approximating those of the Adamite regime, there is good ground for supposing ; but that the Christian import of any color at all corresponded with the ancient general or .heathen im- port of that color is very doubtful. With regard to whatever of symbolical coloring may have passed into the science of heraldry, the old armorists mostly expatiate to this extent :|
- The true results of blending red and white are pinks
or flesh tints. f Consistency in mistaken reasoning would have de- duced it from red and black. In the heavens it arises from the interposition of the atmosphere between us and the blackness of absolute space. + And, for that matter, far beyond ; but the details will be given in our article ou Heraldry. The different old author-heralds, in their vanity of book-making, ascribed so many different symbolical meanings to these colors that at last they signified nothing at all. C J. L. Gold, technically Or, from the Latin aurum, through the French or, signifies wisdom, riches, magnanimity, joyfulness, and elevation of mind. White, technically Argent, from the French argent, typifies purity, conti- nence, virginity, chastity, a clear con- science, and charity. Bed, technically gules — of doubtful etymology, but referred to the Latin gula, throat, because the word gills is thence derived, and the gills of fish are always red — betokens strength, boldness, and hardiness ; martial prowess ; with gold, a desire to conquer ; with silver, an intent toward the avengement of the innocent and the abasement of the envious ; and, finally, the power of the Almighty. Blue, technically Azure — b} r a cor- ruption from the Latin lazulus, a sort of blue stone, I and r being convertible letters, shows a godly disposition and a perpetual renown. Black, technically Sable, attributed to the Latin word sabulum, coarse sand or gravel, imports constancy, divine doc- trine, and loss of friends. Green, technically Yert, from the Latin viridus, through the French verd, modern vert, conveys the sense of youth- ful love, bountiful mirth and gladness, and continence. Purple, technically Purpure, from the Latin purpura, a kind of shell-iish, out of which was first manufactured this color, imparts the idea of j urisdic- tion and of justice. Orange, technically Tenne, meaning tawny, from the French lanne, tan-color, or the Italian tanetto, chestnut-color, by some heralds called also bruske, hints an addiction to vain-glory. Murrey, technically Sanguine, that is, blood-red, from the Latin sanguineus, sanguine; sanguis, blood — implies tardi- ness in battle, attended with final suc- cess. It requires little penetration to see that the armorists had no well-digested symbolism of colors; and that their
