Besant, Annie; Leadbeater, Charles W.: Thought-Forms (London, 1905)

THREE CLASSES OF THOUGHT-FORMS 65

if to embrace him. The rose colour naturally betokens
the affection felt, the light green shows the depth of the
sympathy which exists, and the clear yellow is a sign of
the intellectual pleasure with which the creator of the
thought anticipates the revival of delightful reminiscences
of days long gone by.

The Appreciation of a Picture.—In Fig. 36 we have
a somewhat complex thought-form representing the
delighted appreciation of a beautiful picture upon a
religious subject. The strong pure yellow marks the
beholder's enthusiastic recognition of the technical
skill of the artist, while all the other colours are
expressions of the various emotions evoked within him
by the examination of so glorious a work of art. Green
shows his sympathy with the central figure in the
picture, deep devotion appears not only in the broad
band of blue, but also in the outline of the entire
figure, while the violet tells us that the picture has
raised the man's thought to the contemplation of a
lofty ideal, and has made him, at least for the time,
capable of responding to it. We have here the first
specimen of an interesting class of thought-forms of which
we shall find abundant examples later—that in which
light of one colour shines out through a network of lines
of some quite different hue. It will be noted that in
this case from the mass of violet there rise many
wavy lines which flow like rivulets over a golden
plain; and this makes it clear that the loftiest aspira-
tion is by no means vague, but is thoroughly supported
by an intellectual grasp of the situation and a clear
comprehension of the method by which it can be put

into effect.

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