on a light one; and the delicate mantlings of colour, whether the result of action or emotion, are more perceptible for the same reason.
NOTE Z.—Par. 690.
The author appears to mean that a degree of brightness which the organ can bear at all, must of necessity be removed from dazzling, white light. The slightest tinge of colour to this brightness, implies that it is seen through a medium, and thus, in painting, the lightest, whitest surface should partake of the quality of depth. Goethe's view here again accords, it must be admitted, with the practice of the best colourists, and with the precepts of the highest authorities.—See Note C.
NOTE AA.—Par. 732.
Ample details respecting the opinions of Louis Bertrand Castel, a Jesuit, are given in the historical part. The coincidence of some of his views with those of Goethe is often apparent: he objects, for instance, to the arbitrary selection of the Newtonian spectrum; observing that the colours change with every change of distance between the prism and the recipient surface.—Farbenl. vol. ii. p. 527. Jeremias Friedrich Gülich was a dyer in the neighbourhood of Stutgardt: he published an elaborate work on the technical details of his own pursuit.—Farbenl. vol. ii. p. 630.
NOTE BB.—Par. 748.
Goethe, in his account of Castel, suppresses the learned Jesuit's attempt at colorific music (the claveçin oculaire), founded on the Newtonian doctrine. Castel was complimented, perhaps ironically, on having been the first to remark that there were but three principal colours. In asserting his claim to the discovery,