IL SYMBOLICAL SIGNIFICANCE OF COLOURS.
Throughout antiquity colour occupied an impor tant place in the symbology both of sentiment and of worship. Of the analogies on which these sym bolical meanings were founded, some lie on the surface, while others are more recondite. Thus white was everywhere the symbol of purity and the emblem of innocence; hence it was the dress of the high priest on the clay of atonement, his holy dress (Lev. xvi. 4, 32) ; the angels as holy (Zech. xiv. 5 ; Job xv. 15), appear in white clothing (Mark xvi. 5 ; John xx. 12) ; and the bride, the Lamb's wife, was arrayed in white, which is explained as emblematical of the Sucaulmara dylcov (Rev. xix. 8). White was also the sign of festivity (Eccl. ix. 8; comp. the albatus of Horace, Sat. ii. 2. 6) and of triumph (Zech. vi. 3 ; Rev. vi. 2 ; see Wetstein, N. T. in loc.) As the light colour (comp. Matt. xvii. 2, etc.) white was also the symbol of glory and majesty (Dan. vii. 9 ; comp. Ps. civ. z ; Ezek. ix. 3, ff.; Dan. xii. 6, ff.; Matt. xxviii. 3 ; John xx. 12 ; Acts x. 3o). As the opposite of white, black was the emblem of mourn ing, affliction, calamity (Jer. xiv. 2; Lam. iv. 8 ; v. to ; comp. the atratus and toga pulla of Cicero in Valhi. 13); it was also the sign of humilia tion (Mal. iii. 14) and the omen of evil (Zech.
vi. 2 ; Rev. vi. 5). Red indicated, poetically, bloodshed and war (Nah. ii. 4 (A. V. 3) ; Zech. vi. ; Rev. vi. 4). Green was the emblem of fresh ness, vigour, and prosperity (Ps. xcii. 15 ; lii. to ; xxxvii. 35). Blue, or hyacinth, or carulean, was the symbol of revelation; it was pre-eminently the ccelestial colour, even among heathen nations (comp. e.g., Jer. ix. to of the idols of Babylon, and what Eusebius says, Prap. Ewing. iii. II, of
the &lagoon& livr) , and the Crishna of the Hin doo mythology) ; and among the Hebrews it was the Jehovah colour, the symbol of the revealed God (comp. Exod. xxiv. to ; Ezek. i. 26). Hence it was the colour predominant in the Mosaic cere monial ; and it was the colour prescribed for the ribbon of the fringe in the border of the garment of every Israelite, that as they looked on it they might remember all the commandments of Jehovah (Num. xv. 38, 39). With purple, as the dress of kings, were associated ideas of royalty and majesty (Judg. viii. 26 ; Est]. viii. 15 ; Song iii. ICI ; vii. 5 ; Dan. v. 7, 16, 29 ; comp. Odyss. xix. 225, the palliner purpureum of the Jupiter Capitolinus at Rome, the purpurea vestis of Phoebus (Ovid. Aldan& ii. 1, 23), the xXaua'3es ropOpac of the Dioscuri (Pausan. iv. 27), the ropqmpo-yevvriros of the Byzantines, etc.) Crimson and scarlet, from their resemblance to blood (probably) became symbolical of life ; hence it was a crimson thread which Rahab was to bind on her window as a sign that she was to be saved alive when Jericho was destroyed (Josh. ii. IS; vi. 25), and it was crimson which the priest was to use as a means of restoring those who had contracted defilement by touching a dead body (Num. xix. 6-22). From its intensity and fixedness this colour is also used to symbolize what is indelible or deeply engrained (Is. i. 18). The colours chiefly used in the Mosaic ritual were white, hyacinth (blue), purple, and crimson. It is a superficial view which con cludes that these were used merely from their brilliancy (Braun, de Vest. Sa. Heb.; Bahr, Sym.
d. hiss. Cult.)—W. L. A.