[Footnote 16: It is on grounds similar to these, that, in our translation of Durandus, we have adopted that conventional style which has been objected to by some recent critics:--not that anyone ever naturally conversed or wrote in it, but for the sake of producing the effect which the subject seems to require. The brilliancy of a summer's day is beautiful in its place: admitted into a cathedral, it would be totally out of character.] {xlviii} Music, however, has the strongest claims to our notice. We know, for example, that each instrument symbolises some particular colour. So, according to Haydn, the trombone is deep red--the trumpet, scarlet--the clarionet, orange--the oboe, yellow--the bassoon, deep yellow--the flute, sky blue--the diapason, deep blue--the double diapason, purple--the horn, violet:--while the violin is pink--the viola, rose--the violoncello, red--and the double-bass, crimson. This by many would be called fanciful:--therefore let us turn to a passage of Haydn's works, and see if it will hold. Let us examine the sun-rise in the 'Creation.' At the commencement, as it has been well observed, our attention is attracted by a soft-streaming sound from the violins, scarcely audible, till the pink rays of the second violin diverge into the chord of the second, to which is gradually imparted a greater fulness of colour, as the rose violas and red violoncellos steal in with expanding beauty, while the azure of the flute tempers the mounting rays of the violin: as the notes continue ascending to the highest point of brightness, the orange of the clarionet, the scarlet of the trumpet, the purple of the double diapason, unite in increasing splendour--till the sun appears at length in all the refulgence of harmony. This may serve as a specimen of the manner in which the expressions of one art may be translated into that of another, because they each and all symbolise the same abstraction. Again, the language of flowers is a case much in point. This is a species of symbolism which has prevailed among all nations, and which our devout ancestors were not slow in stamping with the impress of religion. Witness, for example, the _Herb Trinity_, now generally called _Heartsease_, the _Passion Flower_, and the _Lacrima Christi_. And in the present day, who knows not that {xlix} the rose is for beauty--the violet for modesty--the sunflower for faithfulness--the forget-me-not for remembrance--the pansy for thought--the cypress for woe--the yew for trueheartedness--the everlasting for immortality? The flowers introduced into the ornament of churches we shall consider presently.