Edinburgh journal of natural history Edinburgh journal of natural history and of the physical sciences edinburghjournal01macg Year: 1835 AND OF THE PHYSICAL SCIENCES. 47 tact. The two great iron bars being made magnetical by position, the interposed bar of steel will, therefore, when thrown into a state of vibration by percussion, receive a portion of their magnetism. In like manner, a magnet, when struck in the air with a piece of flint, or upon a body of inferior magnetic quality, will have its magnetism diminished. ^ MISCELLANEOUS. LAWS OF HARMONIOUS COLOURING. According to the theory of S
Edinburgh journal of natural history Edinburgh journal of natural history and of the physical sciences edinburghjournal01macg Year: 1835 AND OF THE PHYSICAL SCIENCES. 47 tact. The two great iron bars being made magnetical by position, the interposed bar of steel will, therefore, when thrown into a state of vibration by percussion, receive a portion of their magnetism. In like manner, a magnet, when struck in the air with a piece of flint, or upon a body of inferior magnetic quality, will have its magnetism diminished. ^ MISCELLANEOUS. LAWS OF HARMONIOUS COLOURING. According to the theory of Sir Isaac Newton, there are seven primary colours, viz. violet, indigo, blue, green, yellow, orange, and red. Artists, however, have long considered that there are only three, namely, red, yellow, and blue; and this opinion has recently been adopted by Sir David Brewster and other philosophers. It is quite certain that, by a combination of these three colours, every other can be made. ' If we look steadily (says Mr Hay *) for a considerable time upon a spot of any given colour, placed on a white or black ground, it will appear surrounded by a border of another colour. And this colour will uniformly be found to be that which makes up tlie triad; for if the spot be red, the border will be green, which is composed of blue and yellow; if blue, the border will be orange, composed of yellow and red; and if yellow, the border will be purple, being in all cases the complement of the three colours called by artists homogeneous. ' It is well known to all who have studied music, that there are three fundamental notes, viz. C, E, and G, which compose the common chord, or harmonic triad, and that they are the foundation of all harmony. So also there are three fundamental colours, the lowest number capable of uniting in variety, harmony, or system. *'By the combination of any two of these primary colours, a secondary colour of a distinct kind is produced; and as only one absolutely distinct d
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