,transcriber's ,notes3 ,underscores 80 before and after a word or phrase indicate italics in the original text4 ,equal signs 80 before and after a word or phrase indicate bold in the original text4 ,small capitals have been converted to ,,solid capitals4 ,illustrations have been moved so they do not break up paragraphs4 ,deprecated spellings have been preserved4 ,typographical and punctuation errors have been silently corrected4 ,for the lines #ghh to #hhh1 the quote marks have been replaced with the actual text so that the lines can be broken up to fit within the #gb column width requirement4 ,illustration3 ,,plate ,,ix4 ,,the ,,laws ,,of ,,contrast ,,of ,,colour3 ,,and ,,their ,,application ,,to ,,the ,,arts ,,of ,,painting1 ,,decoration ,,of ,,buildings1 ,,mosaic ,,work1 ,,tapestry ,,and ,,carpet ,,weaving1 ,,calico-,,printing1 ,,dress1 ,,paper-,,staining1 ,,printing1 ,,military ,,clothing1 ,illumination1 ,landscape1 and ,flower ,gardening1 c4 ,,by ,m4 ,e4 ,,chevreul1 ,,director ,,of ,,the ,,dye ,,works ,,of ,,the ,,gobelins1 ,,etc4 ,,etc4 ,,translated ,,from ,,the ,,french ,,by ,,john ,,spanton4 ,,new ,,edition1 ,with ,illustrations printed in ,colours4 ,,london3 ,,routledge1 ,,warne1 ,,and ,,routledge1 ,,farringdon ,,street4 ,,new ,,york3 #ef1 ,,walker ,,street4 #ahfa4 ,,contents4 ,,page ,,introduction #a ,,part ,,the ,,first4 ,,section ,i4--,,on ,,the ,,law ,,of ,,simultaneous ,,contrast ,,of ,,colours1 ,,and ,,of ,,its ,,demonstration ,,by ,,means ,,of ,,experiment #d ,,chap4 ,i4--,manner of observing the ,phenomena of the ,simultaneous ,contrast of ,colours4 ,definition of ,simultaneous ,contrast #d ,,chap4 ,,ii4--,the ,law of the ,simultaneous ,contrast of ,colours1 and the ,formula which represents it #h ,,chap4 ,,iii4--,the ,law of ,simultaneous ,contrast of ,colours demonstrated by the ,juxtaposition of a certain ,number of ,coloured ,bodies #aj ,,chap4 ,,iv4--,on the ,juxtaposition of ,coloured ,surfaces with ,white #ah ,,chap4 ,v4--,on the ,juxtaposition of ,coloured ,bodies with ,black #ai ,,chap4 ,,vi4--,on the ,juxtaposition of ,coloured ,bodies with ,grey #ba ,,chap4 ,,vii4--,on the ,juxtaposition of ,coloured ,bodies belonging to the ,colours of the same ,group of ,coloured ,rays #bd ,,chap4 ,,viii4--,on the ,application of the ,law of ,contrast to the ,hypothesis that ,red1 ,yellow1 and ,blue are the only ,primary ,colours2 and that ,orange1 ,green1 ,indigo1 and ,violet are ,secondary or ,composite ,colours #be ,,section ,,ii4--,,on ,,the ,,distinction ,,between ,,simultaneous1 ,,successive1 ,,and ,,mixed ,,contrast ,,of ,,colours1 ,,and ,,on ,,the ,,connexion ,,between ,,the ,,experiments ,,made ,,by ,,the ,,author1 ,,and ,,those ,,previously ,,made ,,by ,,other ,,observers4 ,,distinction ,,between ,,simultaneous1 ,,successive1 ,,and ,,mixed ,,contrast ,,of ,,colours #bi ,,part ,,the ,,second4 ,,on ,,the ,,application ,,of ,,the ,,law ,,of ,,simultaneous ,,contrast ,,of ,,colours #cd ,introduction #cd ,definition of the words ,tones1 ,scales1 and ,hues #cd ,of ,diagrams designed to represent and define ,colours and their ,modifications #cf ,harmony of ,colours #df ,assortments of ,red1 ,orange1 ,yellow1 ,green1 ,blue1 and ,violet with ,white1 ,black1 and ,grey #di ,colours with ,white #ej ,colours with ,black #ed ,colours with ,grey #eh ,,first ,,division4--,,imitation ,,of ,,coloured ,,objects ,,with ,,coloured ,,materials ,,in ,a ,,state ,,of ,,infinite ,,division #fh ,introduction #fh ,painting on the ,system of ,chiaro-'scuro #fi ,painting on the ,system of ,flat ,tints #ha ,,section ,,iii4--,,on ,,colouring ,,in ,,painting #hb ,,chap4 ,i4--,on ,colouring #hb ,of ,arial ,perspective #hc ,of ,colouring in respect to the ,harmony of the ,colours of the various ,objects composing the ,picture #he ,,chap4 ,,ii4--,utility of the ,law of ,simultaneous ,contrast of ,colours in the ,art of ,colouring #hg ,utility of this ,law in order to imitate promptly and surely the ,modification of ,light on the ,model #hi ,utility of the ,law in order to ,harmonize those ,colours of a ,composition which are inherent to the ,nature of the ,object represented #ie ,,second ,,division4--,,imitation ,,of ,,coloured ,,objects ,,by ,,materials ,,of ,a ,,definite ,,size1 ,,as ,,threads1 ,c4 #ajb ,,chap4 ,i4--,on the ,elements of ,gobelins ,tapestry #ajd ,,rule ,i4--,the ,binary ,mixture of ,primary ,colours #ajd ,,rule ,,ii4--,the ,mixture of ,complementary ,colours #aje ,,rule ,,iii4--,the ,mixture of the ,three ,primary ,colours in such proportions that they do not become neutralized1 because one or the other of them is in excess #ajh ,,third ,,division4--,,colour ,,printing #aah ,on ,calico-,printing1 and printing ,paper-hangings #aah ,false ,judgment of the ,value of ,recipes for ,colouring ,compositions #aai ,,chap4 ,,ii4--,on the ,law of ,simultaneous ,contrast of ,colours in relation to ,paper-hangings with ,figures1 ,landscapes1 or large ,flowers of varied ,colours #aba ,on the ,law of ,simultaneous ,contrast of ,colours relatively to the ,borders of ,paper-hangings #abc ,printed or written ,characters on ,papers of different ,colours #acf ,on the ,assortment of ,colours for reading by diffused ,daylight #ach ,,fourth ,,division4--,,employment ,,of ,,colours ,,in ,,architecture #ach #a4 ,on the ,employment of ,colours in ,egyptian ,architecture #ach #b4 ,on the ,employment of ,colours in ,greek ,architecture #aci #c4 ,on the ,employment of ,colours in ,gothic ,architecture #ada ,application to the ,interior of ,edifices #adc ,on the ,assortment of ,stuffs with the ,wood of ,seats #adc ,on the ,selection of ,frames for ,pictures and ,engravings #ade ,on the ,general ,decoration of the ,interiors of ,churches #adg ,on the ,decoration of ,museums and ,galleries #adi ,decorations of the ,interior of ,houses #aeb ,on the ,assortment of ,colours in ,interiors1 the ,walls of which are panelled or covered with ,marble1 ,stucco1 or ,painted ,wood #afc ,,fifth ,,division4--,,clothing #afe ,i4 ,,men',s ,,clothing #afe ,of the ,advantages of ,contrast1 considered with regard to the apparent ,cleanliness of ,cloth for ,clothing #afe ,,ii4 ,,female ,,clothing #afg ,colours for the ,dress of ,women with ,white ,skins #afg ,of the ,colours of the ,hair and ,head-dress #afh ,of the ,colours of the ,complexion and the contiguous ,drapery #afi ,the ,head-dress in relation to the ,coloured ,rays which it may reflect upon the ,skin #aga ,fair-haired ,type #age ,type with ,black ,hair #agf ,on the ,assortment of ,colours in the ,dress of ,women with ,copper-coloured ,skins #agg ,on the ,assortment of ,colours in the ,dress of ,women with ,black or ,olive ,skins #agg ,,applications ,,to ,,horticulture4 ,on the ,art of arranging ornamental ,plants in ,gardens1 so as to derive the greatest possible advantage from the ,colours of their ,flowers #ahj ,assortments of ,flowers where the ,plants are apart #aha ,assortments relating to the ,harmonies of ,contrast of ,hues #ahb ,assortments as to ,harmony of ,analogy #ahb ,on the ,art of assorting ,ligneous ,plants in ,gardens1 so as to derive the best possible advantage from the ,colour of their ,foliage #ahd ,on the ,distribution and ,planting of ,trees1 c41 in ,masses #ahe ,chap4 ,i4 ,of ,lines of ,plants #ahg ,of the ,lines of ,plants called ,screens #ahh ,of ,lines of ,plants considered as ,elements of ,masses #ahh ,of ,homogeneous ,masses #ahi ,of ,heterogeneous or ,varied ,masses #aij ,isolated #aij ,contrast of ,colours #aid ,repetition #aid ,symmetry #aif ,general ,harmony #aif ,,sixth ,,division4--,,intervention ,,of ,,the ,,preceding ,,principles ,,in ,,the ,,judgment ,,of ,,coloured ,,objects1 ,,relatively ,,to ,,their ,,colours1 ,,considered ,,individually1 ,,and ,,to ,,the ,,manner ,,in ,,which ,,they ,,are ,,associated #aig ,on the ,connexion of the ,law of ,simultaneous ,contrast of ,colours with the ,judgment we form upon all ,coloured ,bodies1 under the relations of the respective ,beauty or ,purity of their ,colours1 and of the ,equality of the ,distance of their ,tones if these bodies belong to the same scale #bje ,on the ,comparison of two ,samples of the same ,colour #bjf ,influence of a ,surrounding ,colour upon one ,colour when compared with another #bjf ,on the ,effect of ,contrast upon the ,browns and the ,lights of most of the ,scales of ,wood and ,silk employed in ,tapestry and ,carpets #bjh ,means afforded by ,contrast for ascertaining whether the ,tones of a ,scale of ,colour are equidistant #bji ,of the ,binary ,associations of ,colours1 critically considered #baj ,of the ,complex ,association of ,colours1 reviewed critically #bad ,of the ,arts which address the ,eye by employing ,coloured ,materials of a certain size1 considered relativelyto the ,physical ,condition of these ,materials1 and to the ,peculiarity of the ,art employing them #bah ,tapestries1 ,carpets1 ,mosaics1 and ,coloured ,glass ,windows1 corresponding to ,paintings in ,chiaro-'scuro #bai ,of the ,disposition of the ,mind of the ,spectator in respect to the ,judgment he forms of an ,object of ,art which attracts his eye #bbe ,,on ,,the ,,colours ,,of ,,military ,,uniforms #bbg ,,index #bce ,,list ,,of ,,illustrations4 ,,engraved ,,and ,,printed ,,in ,,colours ,,by ,,edmund ,,evans4 ,in referring to the illustrations1 it will be necessary to cover with white paper all but the example immediately under notice4 ,,note4--,in ,plates #h1 #i1 and #aj1 the examples are in rows of #ac circles arranged lengthwise4 ,,plate ,,page #a4 ,,diagrams1 ,,various #d #b4 ,,experimental ,,demonstrations ,,of ,,contrast ,,of ,,colour #g #c4 ,,modifications ,,which ,,the ,,principal ,,colours #d4 ,,induce ,,in ,,contiguous ,,colours #ag #e4 #f4 ,,simple ,,and ,,compound ,,colours #bf #g4 ,,chromatic ,,diagram #cf #h4 ,,assortments ,,of ,,coloured ,,circles3-- ,,colours ,,with ,,white #ea #i4 ,,do4 ,,do4 ,,black #ed #aj4 ,,do4 ,,do4 ,,grey #eh #aa4 ,,elements ,,of ,,gobelins ,,tapestry3-- ,,the ,,binary ,,mixture ,,of ,,primary ,,colours #ajd #ab4 ,,do4 ,,the ,,mixture ,,of ,,complementary ,,colours #aje #ac4 ,,black ,,ornaments ,,on ,,various ,,coloured ,,grounds #abj #ad4 ,,grey ,,do4 ,,do4 ,,do4 #abc #ae4 ,,metallic ,,gilt ,,ornaments ,,on ,,do4 #abd #af4 ,,border ,,of ,,blue ,,flowers ,,on ,,do4 #acj #ag4 ,,border ,,of ,,roses ,,and ,,leaves ,,on ,,do4 #aca ,,preface ,,to ,,the ,,third ,,edition4 ,the present edition has been entirely revised2 some obscurities cleared up1 and a chapter on ,military ,clothing added4 ,the application of ,chevreul's reasoning will doubtless tend to a rational view of this much debated question4 ,it affords much satisfaction to all concerned in the diffusion of the principles enunciated in this work1 to observe that they are being generally applied in this country1 thus realizing the hopes originally expressed by the translator4 ,,translator',s ,,preface4 ,colour1 a universal source of enjoyment1 so essential an element of decorative art1 has not been hitherto the subject of such investigations as to place its powers1 harmonies1 and discordances among matters of scientific certainty4 ,a few traditionary dogmas have been the only guide of ordinary workmen1 while success in design1 as well as in the higher regions of art1 has been dependent upon that rare union of faculties vaguely denoted by the indefinite1 unsatisfactory term1 8taste40 ,the arrangement of colours in manufactures of ,english design--since the decline of medival art--has commonly been condemned as notoriously arbitrary1 destitute of any reference to principle1 and deficient in that satisfying richness and beauty which result from harmonious combinations4 ,although often overcharged with colour1 and of costly elaboration1 our manufactures have too often proved that the designer--in ignorance of a true1 infallible standard--has mistaken gaudiness for splendour1 and capricious strangeness for improvement2 and1 for want of a better claim to popular favour1 has constantly sought it by 8leaning on novelty1 his fickle1 frail support40 ,the established preference of ,french designs was shown1 by the ,great ,exhibition of #ahea1 to be1 in the main1 well-founded2 and one of the leading causes of the perfect success of some objects was found in the fact1 that they had been designed and executed in accordance with a well-defined set of principles1 extensively taught in ,france to designers1 workmen1 and others4 ,these principles it is the purpose of this book to set forth1 to illustrate1 and to apply to every art of which the choice and arrangement of colours is an element4 ,the author1 ,m4 ,chevreul1 before the publication of this work1 had gained high reputation by his researches in organic chemistry4 ,in his 8,considerations sur l',analyse ,organique10 he enunciated principles which1 carried into practice in his 8,recherches sur les ,corps ,gras d'origine animal10 opened the path which has been rendered illustrious by ,liebig and others4 ,but1 being appointed ,director of the ,dye ,works of the ,gobelins1 he was compelled to abandon these researches--the field in which1 8having sown1 he had1 as it were1 only to reap10--that he might fully investigate the principles involved in the assortment of colours4 ,m4 ,chevreul's earnest attention to this inquiry was continued during ten years1 with ample opportunities for investigation4 ,for twenty-five years he has been in the habit of lecturing to workmen1 artists1 c4 ,the undisputed superiority of those ,french manufactures in which these instructions have been fully carried out1 has evinced his success and rewarded his exertions4 ,aware of the important influence of such knowledge1 the ,chamber of ,commerce of ,lyons solicited and obtained from the ,french ,government permission for ,m4 ,chevreul to lecture there to the artisans especially1 to whom printed copies of the lectures were afterwards gratuitously distributed4 ,as the present ,work contains the substance of these instructions1 we may hope that our own industrious countrymen may not long be without a similar advantage4 ,the value of this book has been universally recognised1 and it has already been translated into several languages1 although but recently into our own4 ,a recent critic has said1 with equal truth and eloquence1--8,rarely has a subject of inquiry1 so fraught with beautiful and ready applications1 been presented to us4 ,to be familiar with this book is to possess a new sense4 ,every object in art and nature speaks a new and exciting language4 ,colour becomes music to the eye4 ,we become impatient of any violent infringement of the principles of harmony1 and seek every opportunity of putting our newly-acquired knowledge into practice4 ,the minuteness of investigation1 and the copiousness of illustration which characterize this volume are truly remarkable2 the most untutored mind cannot fail to understand it1 if steady attention be given4 ,as a preparation for a course of scientific study1 it is invaluable1 for it is an excellent example of the ,baconian method of investigation40 ,,extracts ,,from ,,the ,,author',s ,,preface4 ,in seeking to discover the causes of the complaint made of the quality of certain colours prepared in the dyeing laboratory of the ,gobelins1 ,i was at once convinced1 that1 although the complaints concerning the instability of the light blues1 greys1 and browns1 might be well founded1 there were others1 especially those of a want of vigour in the blacks employed for the shadows of blue and violet draperies1 which were not so2 for1 having procured black-dyed wools from the most celebrated dye works in ,france and other countries1 and having found that they were not superior to those of the ,gobelins1 ,i saw that the want of vigour alleged against the blacks was owing to the colours contiguous to them1 and that the matter was involved in the phenomena of the contrast of colours4 ,it was thus demonstrated to me that ,i had two absolutely distinct subjects to investigate1 in order to fulfil my duties as ,director of the ,dye ,works2 the first being the contrast of colours1 considered in the most general manner1 both in relation to science and to its applications3 the second--the chemistry of dyeing4 ,these are the two centres around which have converged all my researches during the last ten years4 ,in fact1 numerous observations made during several months1 on the view of coloured objects1 which were verified by my pupils and others1 much accustomed in their profession to judge of colours and to appreciate the least differences between them1 have been collected and described as well-known facts4 ,upon reflecting on the mutual relations of these facts1 and in seeking the principle of which they were the results1 ,i was led to the discovery of that which ,i have named the 8,law of ,simultaneous ,contrast of ,colours40 ,thus this work is the fruit of the method posteriori3 facts are observed1 defined1 described1 then generalized in a simple expression1 which has all the characters of a law of nature4 ,this law1 once demonstrated1 becomes a means1 priori1 of assorting coloured objects so as to obtain their best possible effect1 according to the taste of the person who arranges them2 it becomes also a means of estimating whether the eyes are well organized for seeing and judging of colours2 and whether painters have copied exactly the colours of known objects4 ,in reviewing the ,law of ,contrast with regard to its application1 and in submitting to experiment all the laws which appear to me to result from it1 ,i have been led to extend it to the arts of tapestry1 to the various sorts of painting and printing1 to illuminating1 horticulture1 c4 ,but1 in order to anticipate the judgments of some readers1 upon the value of the opinions ,i have advanced 7#bnd part1 #bnd division7 respecting the ,gobelins and ,beauvais tapestry and the ,savonnerie carpets1 ,i must state1 that1 being an entire stranger to the inspection and direction of the works which are executed in the ,royal manufactories1 as well as to the choice of models1 my views and opinions should be regarded only as those of an individual who has had frequent occasion to see and examine various artistic productions1 on the preparation of which he could exercise no influence1 the duties which attach me to the ,gobelins being exclusively those of ,director of its ,dye ,works4 ,,the ,,laws ,,of ,harmony and ,contrast of ,colours4 ,,introduction4 #a4 ,a ray of solar light is composed of an indeterminate number of variously coloured rays1 which are distributed into groups1 termed red rays1 orange rays1 yellow rays1 green rays1 blue rays1 indigo rays1 violet rays4 #b4 ,but all the rays comprised in the same group1 the red for example1 are not identical in colour2 on the contrary1 they may be considered as differing more or less among themselves1 although we recognise the impression they produce separately1 as comprised in that which we ascribe to red light4 #c4 ,when light is reflected by an opaque white body1 it is not modified in proportion to the variously coloured rays which constitute white light2 but1 #a4 ,if the body is not polished1 every point of its surface is to be considered as dispersing the white light which falls upon it1 in all directions1 into the surrounding space2 so that the point becomes visible to an eye placed in the direction of one of its rays4 ,we may easily conceive that the image of the body1 in a given position1 is composed of the sum of the physical points1 which send to the eye so placed1 a portion of the light which each point radiates4 #b4 ,if the body is polished1 as1 for example1 the surface of a mirror1 a portion of the light is irregularly reflected1 as in the preceding case2 while another portion is regularly reflected1 giving to the mirror the property of presenting to an eye1 suitably placed1 the image of the body which sends its light to the reflector4 ,one consequence of this distinction is1 that if we regard two plane surfaces which reflect white light1 and differ from each other only in polish1 it will happen that where the unpolished surface is visible1 all its parts will be equally1 or almost equally1 illuminated2 while the eye1 when in a position to receive only the light which it reflects irregularly1 will receive very little light from the polished surface2 but it will receive much more light when in a position to receive that which is regularly reflected4 #d4 ,if the light which falls on a body is completely absorbed by that body1 so that it disappears from sight1 as in falling into a perfectly dark cavity1 then the body appears to us black2 and it becomes visible only because it is contiguous to surfaces which reflect or transmit light4 ,we know of no bodies which are perfectly black1 and it is only because they reflect a little white light that we judge they have relief1 like other material objects4 #e4 ,when light is reflected by an opaque coloured body1 there is always a reflection of white light1 and a reflection of coloured light2 the latter is owing to the fact that the body absorbs or extinguishes within itself some of the coloured rays1 and reflects the others4 ,it is evident that the absorbed coloured rays are of a different colour from the reflected coloured rays2 and farther1 that if these be reunited with the former1 white light will be reproduced4 ,it is evident1 also1 that unpolished opaque bodies reflect irregularly white light1 and the coloured light which makes them appear coloured2 and that those which are polished reflect irregularly a portion only of these two lights1 while they reflect regularly the other portion4 #f4 ,it thus appears1 by what has been said concerning the physical composition of solar light1 that if the whole of the coloured light which is absorbed by a coloured body were reunited with the whole of the light which it reflects1 white light would result4 ,now1 it is this property of two variously coloured lights1 taken in a certain proportion1 to reproduce white light1 that we express by the words coloured lights complementary to each other1 or complementary colours4 ,it is in this sense that we say1 ,red is complementary to ,green1 and vice vers4 ,orange 0 0 ,blue1 0 0 ,greenish-,yellow 0 ,violet1 0 0 ,indigo 0 0 ,orange-,yellow1 0 #g4 ,it must not be supposed that a red body1 a yellow body1 c4 reflects1 besides white light1 only the red rays or yellow rays1 c41 each of these bodies reflects also every sort of coloured rays2 but1 the rays which cause us to judge it to be red or yellow1 c41 being more numerous than the others1 produce more effect than they2 yet1 the latter have an undoubted influence in modifying the action of red and yellow rays upon the organ of sight4 ,this explains the innumerable diversities of colour observable among various red bodies1 various yellow bodies1 c4 ,it is difficult not to admit that among these diversely coloured rays reflected by bodies1 there are a certain number which1 complementary to each other1 must reproduce white light upon reaching the retina4 ,,part ,,the ,,first4 ,,section ,,the ,,first4 ,,of ,,the ,,law ,,of ,,simultaneous ,,contrast ,,of ,,colours1 ,,and ,,of ,,its ,,demonstration ,,by ,,means ,,of ,,experiment4 ,,chapter ,i4 ,manner of observing the ,phenomena of the ,simultaneous ,contrast of ,colours4--,definition of ,simultaneous ,contrast4 #h4 ,if we look at the same time at two stripes of unequal tints of the same colour1 or at two stripes of equal tints of different colours1 in juxtaposition1 that is to say1 contiguous by one of their edges1 the eye will perceive1 if the stripes be not too wide1 certain modifications2 in the first case affecting the intensity of the two tints1 in the second1 the optical composition of the two colours so placed4 ,now as these modifications cause the colours to appear1 when looked at together1 more different than they really are1 ,i have given to them the name of the simultaneous contrast of colours4 ,the modification which affects the intensity of colour1 ,i term contrast of tone2 and the modification which affects the optical composition of the contiguous colours1 ,i term contrast of colour4 ,the twofold phenomena of contrast of colour and contrast of tone may be readily shown by the following4 ,experimental ,demonstration of ,contrast of ,tone4 ,plate ,a ,a4 #i4 ,let the two halves of a sheet of unglazed paper1 about twenty inches square1 be coloured clear grey1 by a mixture of chalk and black2 fix them1 in any way1 upon a piece of unbleached linen1 placed across a window1 at the distance of twelve inches asunder4 ,take two halves of another piece of similar paper ,b ,b1 but of a darker grey1 and coloured with the same substances4 ,fix ,a next to ,b and place ,b twelve inches from ,b4 7,see ,fig4 #a47 ,illustration3 ,,plate ,i4 ,upon looking at the four half-sheets for a few seconds1 it will be seen that ,a contiguous to ,b will be lighter than ,a1 while ,b will seem darker than ,b4 #aj4 ,it is easy to demonstrate that the modification is not equally intense over the whole of the surfaces ,a ,a and ,b ,b1 but that it becomes gradually feebler from the line of contact4 ,this may be proved by placing a card1 so cut1 that ,o and ,p may each present three grey stripes1 as shown in ,fig4 #b1 ,plate #a4 ,the stripes #a #a are more modified than the stripes #b #b1 and these are more so than the stripes #c #c4 ,however1 in order that this modification may be effected1 it is not absolutely necessary that ,o and ,p should touch2 for if the stripes #a #a be covered1 the stripes #b #b1 #c #c will be modified4 #aa4 ,the following experiment1 which is simply the result of the two preceding 7#i and #aj71 is well suited to demonstrate the extent of contrast of tone4 ,upon a sheet of cardboard divided into ten stripes1 each about a quarter of an inch broad1 lay a uniform tint of ,indian ink4 ,as soon as it is dry1 lay a second tint on all the stripes except the first4 ,as soon as the second is dry1 lay a third on all the stripes except the first and second1 and so on of all the rest1 so as to have ten flat tints1 gradually increasing in depth from the first to the last4 7,see ,fig4 #c47 ,if ten strips of paper of the same grey1 but each of a different tone1 be laid upon a cardboard1 in the preceding gradation1 it will serve the same purpose4 ,upon looking at the cardboard1 it will be seen that the strips1 instead of presenting flat tints1 will each appear of a tone diminishing in intensity from the edge a a to the edge b b4 ,in the stripe #a1 the contrast is produced simply by the contiguity of the edge b b with the edge a a of the stripe #b2 in the stripe #aj1 it is simply by the contiguity of the edge a a with the edge b b of the stripe #i4 ,but in each of the intermediate stripes #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 the contrast is produced by a double cause2 partly by the contiguity of the edge a a with the edge b b of the stripe which precedes it1 partly by the contiguity of the edge b b with the edge a a of the darker tint which follows it4 ,the first cause tends to raise the tone of the half of the intermediate stripe2 while the second cause tends to lower the tone of the other half of the same stripe4 ,in consequence of this contrast1 the stripes seen from a proper distance1 resemble channels rather than flat surfaces4 ,for1 in the stripes #b and #c for instance1 the grey is weakened from the edge a a to the edge b b1 presenting to the eye the same effect as if the light fell upon a channelled surface2 there is however this difference1 that in the real channelling the enlightened part would throw a reflection upon the dark portion4 #ab4 ,contrast of tone occurs with colours so called as well as with grey2 thus to repeat the experiment 7#i71 fig4 #a1 with the halves o o of a sheet of paper of a light tint of a certain colour1 and the two halves p p of a sheet of paper of a darker tint of the same colour1 it will be seen that o contiguous to p will be lighter than o1 and p darker than p4 ,in short1 it may be demonstrated as has been done 7#aj7 that the modification of colours in juxtaposition becomes weaker in proportion to their distance from the line of contact2 and in order to observe this effect in bodies which are not contiguous1 it is only necessary to experiment as described in 7#aj74 ,illustration3 ,,plate ,,ii4 ,the colours experimented upon must be as nearly as possible of equal intensity4 #ac4 ,experimental ,demonstration of ,contrast of ,colour4--,if we arrange as before1 the two halves of an unglazed coloured sheet of paper1 and two halves of another sheet of a different colour1 but as nearly as possible of equal intensity1 or rather of tone 7#h71 upon looking at the four half-sheets o o1 p p for a few seconds1 we shall see that o differs from o and p from p2 consequently the two half-sheets1 o p1 seem to undergo a reciprocal modification of tint1 which is rendered apparent by comparing their colours with those of o and p4 #ad4 ,no #a4 ,red inclines to ,violet4 ,orange 0 ,yellow4 #b4 ,red 0 ,violet4 ,yellow 0 ,green4 #c4 ,red 0 ,yellow4 ,blue 0 ,green4 #d4 ,red 0 ,yellow4 ,indigo 0 ,blue4 #e4 ,red 0 ,yellow4 ,violet 0 ,indigo4 #f4 ,orange 0 ,red4 ,yellow 0 ,bright ,green4 #g4 ,orange 0 ,bright ,red4 ,green 0 ,blue4 #h4 ,orange 0 ,yellow4 ,indigo 0 ,blue4 #i4 ,orange 0 ,yellow4 ,violet 0 ,indigo4 #aj4 ,yellow 0 ,bright ,orange4 ,green 0 ,blue4 #aa4 ,yellow 0 ,orange4 ,blue 0 ,indigo4 #ab4 ,green 0 ,yellow4 ,blue 0 ,indigo4 #ac4 ,green 0 ,yellow4 ,indigo 0 ,violet4 #ad4 ,green 0 ,yellow4 ,violet 0 ,red4 #ae4 ,blue 0 ,green4 ,indigo 0 ,deep ,violet4 #af4 ,blue 0 ,green4 ,violet 0 ,red4 #ag4 ,indigo 0 ,blue4 ,violet 0 ,red4 #ae4 ,it thus appears from the experiments described in this chapter that two coloured surfaces in juxtaposition1 viewed simultaneously1 present to the eye two modifications--one relative to the depth of tone of their respective colours1 and the other relative to the physical composition of those colours4 ,,chapter ,,ii4 ,the ,law of the ,simultaneous ,contrast of ,colours1 and the ,formula which represents it4 #af4 ,after ,i had assured myself that the preceding phenomena were constant for my sight when it was not fatigued1 and that many persons1 accustomed to judge of colours1 saw them as ,i did1 ,i sought to reduce them to an expression sufficiently general to render it possible to predicate the effect which would be produced upon the organ of vision by the juxtaposition of two given colours4 ,all the phenomena that ,i have observed seem to depend upon a very simple law1 which in its most general sense may be enunciated in these terms3 ,when two contiguous colours are seen at the same time1 they appear as dissimilar as possible1 both with regard to their optical composition and their depth of tone4 ,therefore there may be at once simultaneous contrast of colour1 properly so called1 and simultaneous contrast of tone4 #ag4 ,now two colours in juxtaposition1 o and p1 will differ from each other in the greatest possible degree when the complementary of o is added to p1 and the complementary of p is added to o2 indeed by the juxtaposition of o and p1 the rays of the colour p1 which o reflects when it is seen alone1 and which are active in that case1 cease to be so when o and p are in juxtaposition4 ,now under these circumstances1 each of the two colours1 losing what it has analogous to the other1 must be so much more different from it4 #ah4 ,the following formul will illustrate this3-- ,let us represent-- ,the colour of the stripe ,o by the colour a plus white ,b1 0 0 ,p 0 a plus white ,b1 the complementary colour of a by ,c1 0 0 a0 c1 the colours of the two stripes seen separately are-- ,colour of ,o a ,b2 colour of ,p a ,b2 by juxtaposition they become-- ,colour of ,o a ,b c1 ,p a ,b c4 ,we will now show that this expression amounts to taking away the rays of a from the colour a of ,o 7#ae71 and to taking away the rays of the colour a from a of ,p4 ,for let us suppose-- ,b reduced into two portions1 white b white 7a c71 ,b reduced into two portions1 white b white 7a c74 ,the colours of the two stripes seen separately are-- ,the colour of ,o a b a c1 and the colour of ,p a b a c4 ,by juxtaposition they become-- ,the colour of ,o a b c1 and the colour of ,p a b c4 ,an expression which is evidently the same as the former1 except for the values of ,b and ,b4 #ai4 ,i have said that simultaneous contrast may at the same time affect the optical composition of colours1 and the depth of their tone2 consequently1 when colours are not of the same depth1 that which is deep appears deeper1 and that which is light appears lighter2 that is to say1 the former appears to lose white light1 while the latter seems to reflect more of it4 ,thus there may be1 in looking at two contiguous colours1 simultaneous contrast of colours and simultaneous contrast of tone4 ,,chapter ,,iii4 ,the ,law of ,simultaneous ,contrast of ,colours demonstrated by the ,juxtaposition of a certain ,number of ,coloured ,bodies4 #bj4 ,let us now apply the above formula to the seventeen observations of ,chapter ,i41 and we shall see that the modifications of contiguous colours are precisely those which would result from the addition to each of them of the complementary of the contiguous colour 7#ah74 ,the rank these colours occupy in ,chapter ,i4 may be readily noted1 as ,i have attached to each the number applied to it in that chapter4 ,and for the complementary of each colour see 7#f74 7,see ,plate ,,ii47 ,orange and ,green1 #g4 #ba4 ,orange1 the complementary of ,blue1 being added to ,green1 makes it ,bluer or less ,yellow4 ,green the complementary of ,red being added to ,orange makes it ,redder less ,yellow4 ,orange and ,indigo1 #h4 #bb4 ,orange1 the complementary of ,blue1 being added to ,indigo1 makes it ,bluer or less ,red4 ,green the complementary of ,red being added to ,orange makes it ,redder less ,yellow4 ,orange and ,violet1 #i4 #bc4 ,orange1 the complementary of ,blue1 being added to ,violet1 makes it ,blue or less ,red4 ,violet the complementary of ,orange-yellow being added to ,orange makes it ,yellower less ,red4 ,green and ,indigo1 #ac4 #bd4 ,green1 the complementary of ,red1 being added to ,indigo1 makes it ,redder or more ,violet4 ,indigo the complementary of ,orange-yellow being added to ,green makes it ,yellow4 ,green and ,violet1 #ad4 #be4 ,green1 the complementary of ,red1 being added to ,violet1 makes it ,redder4 ,violet the complementary of ,green-yellow being added to ,green makes it ,yellower4 ,orange and ,red1 #a4 #bf4 ,orange1 the complementary of ,blue1 being added to ,red1 makes it ,violet or ,crimson4 ,red the complementary of ,green being added to ,orange makes it ,yellower4 ,violet and ,red1 #e4 #bg4 ,violet1 the complementary of ,green-yellow1 being added to ,red1 makes it ,orange-yellow4 ,red the complementary of ,green being added to ,violet makes it ,indigo4 ,indigo and ,red1 #d4 #bh4 ,indigo1 the complementary of ,orange-yellow1 being added to ,red1 makes it ,orange4 ,red the complementary of ,green being added to ,indigo makes it ,blue4 ,orange and ,yellow1 #f4 #bi4 ,orange1 the complementary of ,blue1 being added to ,yellow1 makes it ,greener4 ,yellow the complementary of ,indigo being added to ,orange makes it ,redder4 ,green and ,yellow1 #aj4 #cj4 ,green1 the complementary of ,red1 being added to ,yellow1 makes it ,orange4 ,yellow the complementary of ,indigo-violet being added to ,green makes it ,blue4 ,green and ,blue1 #ab4 #ca4 ,green1 the complementary of ,red1 being added to ,blue1 makes it ,indigo4 ,blue the complementary of ,orange being added to ,green makes it ,yellower4 ,violet and ,blue1 #af4 #cb4 ,violet1 the complementary of ,greenish-yellow1 being added to ,blue1 makes it ,greenish4 ,blue the complementary of ,orange being added to ,violet makes it ,redder4 ,indigo and ,blue1 #ae4 #cc4 ,indigo1 the complementary of ,orange-yellow1 being added to ,blue1 makes it ,green4 ,blue the complementary of ,orange being added to ,indigo makes it ,violet4 ,red and ,yellow1 #b4 #cd4 ,red1 the complementary of ,green1 being added to ,yellow1 makes it ,green4 ,yellow the complementary of ,indigo-violet being added to ,red makes it ,violet4 ,red and ,blue1 #c4 #ce4 ,red1 the complementary of ,green1 being added to ,blue1 makes it ,green4 ,blue the complementary of ,orange being added to ,red makes it ,orange4 ,yellow and ,blue1 #aa4 #cf4 ,orange-yellow1 the complementary of ,indigo-violet1 being added to ,blue1 makes it ,indigo4 ,blue the complementary of ,orange being added to ,yellow makes it ,orange4 ,indigo and ,violet1 #ag4 #cg4 ,indigo1 the complementary of ,orange-yellow1 being added to ,violet1 makes it ,red4 ,violet the complementary of ,greenish-yellow being added to ,indigo makes it ,bluer4 #ch4 ,it is evident that1 all other things being equal1 the modifications of contiguous colours will be so much the more marked1 as the complementary colour ,c or ,c1 which is added to each of them1 differs more from them2 for the complementary ,c which is added to the colour ,o1 is identical with it1 as the complementary ,c is identical with the colour ,p to which it is added2 and the modifications of ,o and ,p will simply augment the intensity of their colours4 ,but are there yet any two bodies known which present to the observer two pure colours perfectly complementary to each other8 ,certainly not2 all those which are coloured by reflection reflect 7#g71 besides white light1 a great number of rays of various colours4 ,we cannot instance a red body and a green body1 or an orange and a blue1 or an orange-yellow and an indigo1 or a greenish-yellow and a violet1 which reflect pure or mixed colours1 absolutely complementary to each other4 ,so that the juxtaposition of these colours produces only a simple augmentation of their intensity4 ,hence1 although it is less easy to verify the law of contrast with respect to red and green1 or orange and blue1 c41 than with respect to those which are the object of the seventeen experiments just described 7#ae71 yet1 upon applying it to the former1 it will be seen that their colours acquire a most remarkable brilliancy1 strength1 and purity4 ,this result1 perfectly conformable to the law1 may be easily understood3 for example1 an orange-coloured object reflects blue rays1 as a blue object reflects orange rays 7#g74 ,hence1 when a blue stripe is put in contact with an orange stripe1 although it is admitted that the first appears to the eye to receive blue from the orange of the second1 as this appears to receive orange from the blue of the blue stripe2 or what is the same thing1 that the blue stripe appears to destroy the effect of the blue rays of the second stripe1 as these appear to destroy the effect of the orange rays of the blue stripe--it is evident that the two colours so contrasted must purify each other1 and become more intense4 ,but the blue may incline to green or violet1 and the orange to yellow or red2 that is to say1 the modification may not only affect the intensity of the colour1 but also its physical composition4 ,however1 if this latter effect take place1 it is always much more feeble than the first4 ,besides1 if you look several times at the same coloured stripes1 you will see that the blue which at first had appeared to you greenish will afterwards appear inclining to violet2 and that the orange1 which had appeared at first yellowish1 will incline to red2 so that the phenomena of modification1 as it affects the physical composition of colour1 will not have the constancy of those which are the subject of the preceding seventeen observations 7#ae74 ,i now proceed to state the observations ,i have made on colours which are most nearly complementary to each other4 ,red and ,green4 #ci4 ,red1#a the complementary of ,green1 placed by the side of ,green1 increases its intensity4 ,green1 the complementary of ,red1 placed by the side of ,red1 increases its intensity4 #a ,in the original ,french ,edition there is evidently a confusion of terms in this and the two following articles 7#ci1 #dj1 #da1 #db74 ,the ,red is there represented as placed in juxtaposition with red1 and green with green1 and so on with the other instances2 orange and blue2 orange-yellow and indigo2 greenish-yellow and violet2 instead of being made by contrast with their respective complementaries to intensify each other4 ,such is the theoretical result1 the experimental result entirely agrees with it4 ,when we place a green1 inclining more to yellow than to blue1 side by side with1 #ast1 a slightly orange-red1 #bnd1 a slightly crimson-red1 and #crd1 an intermediate red1 and repeat our observations several times on each of these assemblages of colour1 we shall observe different results2 that is to say1 in one case the red will appear more orange and the green yellower1 and in another the red will appear more violet and the green bluer4 ,we shall find also that the change may be attributed as much to a difference in the intensity of the light upon the colours as to fatigue of the eye4 ,when we place a green1 inclining rather to blue than to yellow1 side by side with1 #ast1 a slightly orange-red1 #bnd1 a slightly crimson-red1 and #crd1 an intermediate red1 the results are the same as with the first green1 but with this difference1--that in the assemblage of bluish-green and of slightly crimson-red1 observed several times1 the green and the red appear almost constantly yellower than they are separately4 ,a result very easily understood4 ,orange and ,blue4 #dj4 ,blue1 the complementary of ,orange1 placed by the side of ,orange1 increases its intensity4 ,orange1 the complementary of ,blue1 placed by the side of ,blue1 increases its intensity4 ,upon repeating these observations with a deep blue and an orange which is not too red1 the two colours appear commonly to become redder4 ,orange-,yellow and ,indigo4 #da4 ,orange-yellow1 the complementary of ,indigo1 placed by the side of ,indigo1 increases its intensity4 ,indigo1 the complementary of ,orange-yellow1 placed by the side of ,orange-yellow1 increases its intensity4 ,illustration3 ,,plate ,,iii4 ,greenish-,yellow and ,violet4 #db4 ,greenish-yellow1 the complementary of ,violet1 placed by the side of ,violet1 increases its intensity4 ,violet1 the complementary of ,greenish-yellow1 placed by the side of ,greenish-yellow1 increases its intensity4 ,the result of observation is almost always in conformity with this law4 #dc4 ,according to the law of the simultaneous contrast of colours1 and the insensible gradation of modification1 beginning at the contiguous edges of the colours in juxtaposition 7#aa71 we may show1 by means of coloured circular spaces1 the modifications which the principal colours induce in those which are contiguous to them4 ,place wafers1 circular pieces of paper1 or any other convenient material about an inch and a half in diameter1 coloured red1 green1 orange1 blue1 greenish-yellow1 violet1 indigo1 and orange-yellow1 each separately upon a sheet of white paper2 then tint the white paper around the circle with its complementary colour1 gradually softening it off from the coloured circle1 when it will be found that ,the ,red circle tends to colour the surrounding space with its complementary ,green4 ,green 0 0 ,red4 ,orange 0 0 ,blue4 ,blue 0 0 ,orange4 ,greenish-yellow 0 ,violet4 ,violet 0 0 ,greenish-yellow4 ,indigo 0 0 ,orange-yellow4 ,orange-yellow 0 ,indigo4 ,these figures are designed to exhibit the effects of contrast to those persons who1 not having studied physical laws1 are1 notwithstanding1 desirous of understanding these effects4 ,,chapter ,,iv4 ,on the ,juxtaposition of ,coloured ,surfaces with ,white4 #dd4 ,when white bodies are viewed simultaneously with coloured bodies contiguous to them1 they are sensibly modified4 ,i confess that the modification is too feeble to be determined with absolute certainty while we are ignorant of the law of contrast2 but1 understanding that1 and knowing the modifications that white undergoes in connexion with certain colours1 we shall not fail to recognise this modification in special cases1 provided the colours opposed to the white be not too deep4 ,red and ,white4 #de4 ,green1 complementary to ,red1 being added to ,white1 the ,red appears more brilliant and deeper4 ,orange and ,white4 #df4 ,blue1 complementary to ,orange1 being added to ,white1 the ,orange appears more brilliant and deeper4 ,greenish-,yellow and ,white4 #dg4 ,violet1 complementary to ,greenish-yellow1 being added to ,white1 the ,yellow appears more brilliant and deeper4 ,green and ,white4 #dh4 ,red1 complementary to ,green1 being added to ,white1 the ,green appears more brilliant and deeper4 ,blue and ,white4 #di4 ,orange1 complementary to ,blue1 being added to ,white1 the ,blue appears more brilliant and deeper4 ,illustration3 ,,plate ,,iv4 ,indigo and ,white4 #ej4 ,yellowish-orange1 complementary to ,indigo1 being added to ,white1 the ,indigo appears more brilliant and deeper4 ,violet and ,white4 #ea4 ,yellowish-green1 complementary to ,violet1 being added to ,white1 the ,violet appears more brilliant and deeper4 ,black and ,white4 #eb4 ,black and white1 which may be considered in some respects complementary to each other1 become1 conformably to the law of contrast of tone1 more different than when seen separately4 ,this results from the effect of the white light1 which is reflected by the black 7#d71 being more or less destroyed by the light of the white stripe4 ,by an analogous action1 the white heightens the tone of the colours to which it is contiguous4 ,,chapter ,v4 ,on the ,juxtaposition of ,coloured ,bodies with ,black4 7,see ,plate #i1 ,page #ed47 #ec4 ,a black surface being deeper than that which is contiguous to it1 the contrast of tone tends to deepen it still more1 while it tends to lower the tone of the contiguous colour2 as on the other hand white1 placed in juxtaposition with it1 would heighten it4 ,so much for contrast of tone4 #ed4 ,black surfaces reflect a small quantity of white light 7#d71 and this falling upon the retina simultaneously with the coloured light of a contiguous body1 it is evident that the black surface must appear tinted with the complementary of the coloured light2 but it will be a weak tint1 since it is displayed upon a ground which has but a feeble power of reflecting light4 ,so much for the contrast of colour4 #ee4 ,the lowering of the tone of the colour contiguous to the black is constantly observed2 but a very remarkable fact is the weakening of the black itself1 when the contiguous colour is deep1 and of a nature to give a luminous complementary1 as orange1 orange-yellow1 greenish-yellow1 c4 ,red and ,black4 #ef4 ,green 7the complementary of ,red71 when placed by the side of ,black1 makes it appear ,reddish4 ,the ,red looks clearer1 partaking less of ,orange4 ,orange and ,black4 #eg4 ,a ,blue 7the complementary of ,orange71 when placed by the side of ,black1 causes it to appear less brilliant1 or somewhat rusty1 while ,orange by the side of ,black appears more brilliant in colour4 ,greenish-,yellow and ,black4 #eh4 ,greenish-yellow 7the complementary of ,violet71 when placed by the side of ,black1 gives it a ,violet tint1 whilst the ,greenish-yellow becomes clearer and more ,green2 but there are some kinds of ,yellow which are weakened by the side of ,black4 ,green and ,black4 #ei4 ,red 7the complementary of ,green71 when placed by the side of ,black1 causes the ,black to appear more ,violet or ,reddish2 whilst ,green by the side of ,black becomes slightly ,yellower4 ,illustration3 ,,plate ,v4 ,blue and ,black4 #fj4 ,orange 7the complementary of ,blue71 when placed by the side of ,black1 causes it to appear brighter1 while the ,blue becomes clearer and somewhat ,greener4 ,indigo and ,black4 #fa4 ,orange-yellow 7the complementary of ,indigo71 placed by the side of ,black1 causes it to look much brighter4 ,the ,indigo also appears brighter4 ,violet and ,black4 #fb4 ,violet 7the complementary of ,greenish-yellow71 when placed by the side of ,black1 lightens it up2 whilst the ,violet becomes more brilliant and clear1 and somewhat ,reddish4 ,,chapter ,,vi4 ,on the ,juxtaposition of ,coloured ,bodies with ,grey4 7,see ,plate #aj1 ,page #eh47 #fc4 ,as the brilliancy of the light reflected by white bodies is one of the principal causes which render the sight insensible to the modifications produced in white by the juxtaposition of coloured bodies2 and1 on the other hand1 as the feeble light reflected from black bodies is unfavourable to our perception of the modifications which they sustain from the proximity of coloured bodies1 especially when the complementary of the colour of these bodies is but slightly luminous1 it may be conceived that grey bodies1 judiciously selected with regard to their depth of tone1 would1 by contiguity to coloured bodies1 exhibit the phenomena of contrast of colour in a more striking manner than either black or white bodies would4 ,red and ,grey4 #fd4 ,grey appears ,greenish by receiving the influence of its complementary ,red4 ,the ,red appears purer1 less ,orange perhaps4 ,orange and ,grey4 #fe4 ,grey appears ,bluer by receiving the influence of its complementary ,orange4 ,the ,orange appears purer1 more brilliant1 ,yellower perhaps4 ,yellow and ,grey4 #ff4 ,grey appears to incline to ,violet by receiving the influence of its complementary ,yellow4 ,the ,yellow appears more brilliant1 and yet less ,green4 ,green and ,grey4 #fg4 ,grey appears to incline to ,red by receiving the influence of its complementary ,green4 ,the ,green appears more brilliant1 ,yellower perhaps4 ,blue and ,grey4 #fh4 ,grey appears to incline to ,orange by receiving the influence of its complementary ,blue4 ,the ,blue appears more brilliant1 ,greener perhaps4 ,indigo and ,grey4 #fi4 ,grey appears to incline to ,orange by receiving the influence of its complementary ,blue4 ,the ,blue appears more brilliant1 ,greener perhaps4 ,violet and ,grey4 #gj4 ,grey appears ,yellowish by receiving the influence of its complementary ,violet4 ,violet appears fresher1 less dull4 #gj;a4 ,the grey1 which was the subject of the above experiments1 was as free as possible from every colouring matter foreign to black2 it belonged to the scale of normal black 7see ,part ,,ii41 #afd7--that is to say1 it resulted from a mixture of the purest possible black and white materials4 ,by juxtaposition with white1 it appeared deeper1 and the white appeared more pure2 while by juxtaposition with black1 it appeared lighter and more rusty1 and the black appeared deeper4 #gj;b4 ,one result of the complementaries of colours in juxtaposition with grey being more perceptible than when these colours are juxtaposed with white or black1 is1 that if instead of a normal grey1 we juxtapose a grey1 tinted either with red1 orange1 yellow1 c41 these tints will be greatly heightened by the complementaries added to them4 ,for example1 a bluish grey will receive a very perceptible increase of blue from its proximity to orange1 and a yellowish-grey will take a perceptible green tint from the same proximity4 ,,note4--,the chemical nature of coloured substances has no influence upon the phenomena of simultaneous contrast4 #ga4 ,the chemical nature of coloured bodies in juxtaposition has no influence upon the modifications of their colours4 ,whatever may happen to be the chemical composition of the coloured bodies1 provided they be identical to the sight1 they yield the same results4 ,i need only cite the following examples3--,indigo1 ,prussian blue1 cobalt1 ultramarine1 as nearly alike as possible1 gave the same sort of modification2 orange prepared from red lead1 annotto1 or a mixture of woad and madder1 caused the same modification of the colours to which they were adjacent4 ,,chapter ,,vii4 ,on the ,juxtaposition of ,coloured ,bodies belonging to the ,colours of the same ,group of ,coloured ,rays4 #gb4 ,whenever there is a great difference between two contiguous colours1 the difference becomes still more appreciable by putting the same colour successively in juxtaposition with the various colours belonging to the same group4 ,for example1 orange and red4 ,orange being placed beside scarlet-red1 pure red and crimson-red1 it will be seen that the red acquires a purple and the orange a yellow tint4 ,violet being placed beside scarlet-red1 pure red and crimson-red1 gives analogous results3 the violet always appears bluer1 and the red yellower or less purple4 #gc4 ,these observations explain why we obtain results in accordance with the formula1 even when such coloured substances are used as are far from exhibiting pure colours1 namely1 stained papers or stuffs4 #gd4 ,the juxtaposition of coloured stripes is a means of demonstrating the difficulty of determining the types of pure colours by common pigments2 at least1 if we do not take into consideration the law of simultaneous contrast4 ,for instance-- #a4 ,place red in contact with orange-red2 the first will appear purple and the second yellower1 as above2 but if the first red be placed beside purplish-red1 the latter will appear bluish1 and the former more yellow or orange2 so that the same red will be purple in one case and orange in the other #b4 ,place yellow beside orange-yellow1 the former will appear greenish and the latter redder2 but if you put the first yellow beside a greenish-yellow1 the last will appear greener1 and the yellow more orange2 so that the same yellow will incline to green in one case1 and to orange in the other4 #c4 ,place blue beside greenish-blue1 the former will incline to violet1 and the second will appear yellower4 ,put the same blue beside a violet-blue1 the former will incline to green1 and the second will appear redder2 so that the same blue will be violet in one case and greenish in the other4 #ge4 ,hence we see that the colours which painters term simple--red1 yellow1 and blue--pass insensibly by juxtaposition into the condition of compound colours1 since the same red is purple or orange2 the same yellow is orange or green2 and the same blue is green or violet4 ,,chapter ,,viii4 ,on the ,application of the ,law of ,contrast to the ,hypothesis that ,red1 ,yellow1 and ,blue are the only ,primary ,colours2 and that ,orange1 ,green1 ,indigo1 and ,violet are ,secondary or ,composite ,colours4 #gf4 ,the experiments to which ,i have just applied the principle of the modification which colours undergo by juxtaposition1 and the explanation consequent upon the manner in which white light has been considered1 are also clearly explained in the language of painters and dyers1 who admit of only three primary colours--red1 yellow1 and blue4 ,as there are persons who1 while they hold this opinion1 desire1 notwithstanding1 to give a reason for the phenomena resulting from the juxtaposition of colours1 ,i will explain them in accordance with this language2 and1 for greater clearness1 ,i make five groups of juxtaposed colours1 beginning with those which include the observations to which the preceding law is most easily applied4 ,i shall presume that orange is composed of red and yellow1 green of yellow and blue1 indigo and violet of red and blue4 ,,first ,,group4--,two ,secondary ,colours having a ,simple ,colour as a ,common ,element4 ,it is very easy to verify the law when we look at two colours which form part of the group3 we see that by their reciprocal influence they lose more or less of the colour which is common to them4 ,it is evident that they become more unlike each other in proportion to this loss4 #a4 ,orange and ,green4--,these colours having the element yellow in common1 lose it by juxtaposition4 ,the orange appears redder1 and the green bluer4 #b4 ,orange and ,indigo4--,these colours having the element red in common1 lose it by juxtaposition4 ,the orange appears yellower1 and the indigo greener4 #c4 ,orange and ,violet4--,like the preceding4 #d4 ,green and ,indigo4--,these colours having the element blue in common1 lose it by juxtaposition4 ,the orange appears yellower1 and the indigo bluer4 #e4 ,green and ,violet4--,like the preceding4 ,,second ,,group4--,a ,compound ,colour1 and a ,simple ,colour1 which is found in the ,compound4 ,plate #f4 #a4 ,orange and ,red4--,the orange loses red1 and appears yellower2 the red becomes bluer1 to differ as much as possible from the orange4 ,illustration3 ,,plate ,,vi4 #b4 ,violet and ,red4--,the violet loses red1 and appears bluer2 the red becomes yellower1 to differ as much as possible from the violet4 #c4 ,indigo and ,red4--,like the preceding4 #d4 ,orange and ,yellow4--,the orange loses yellow1 and appears redder2 the yellow becomes bluer1 to differ as much as possible from the orange4 #e4 ,green and ,yellow4--,the green loses yellow1 and appears bluer2 the yellow becomes redder1 to differ more from the green4 #f4 ,green and ,blue4--,the green loses blue1 and appears yellower2 the blue becomes redder1 to differ as much as possible from the green4 #g ,violet and ,blue4--,the violet loses blue1 and appears redder2 the blue must become yellower to differ as much as possible from the violet4 #h4 ,indigo and ,blue4--,like the two preceding4 ,,third ,,group4--,two ,simple ,colours4 7,see #f1 #g47 #a4 ,red and ,yellow4--,red in losing yellow appears bluer2 and the yellow losing red appears bluer2 or1 in other words1 the red inclines to purple1 and the yellow to green4 #b4 ,red and ,blue4--,the red in losing blue appears yellower2 and the blue losing red appears yellower2 or1 in other words1 the red inclines to orange1 and the blue to green4 #c4 ,yellow and ,blue4--,the yellow in losing blue appears redder2 and the blue losing yellow appears more violet2 or1 in other words1 the yellow inclines to orange1 and the blue to violet4 ,,fourth ,,group4--,two ,compound ,colours consisting of the same ,simple ,colours4 ,indigo and ,violet4--,as indigo differs from violet only in containing more blue in proportion to red1 it follows that the difference will be greatest when the indigo loses red and inclines to greenish blue1 while the violet1 by gaining red1 inclines toward that colour4 ,it is clear that1 if the violet lost red1 or if the indigo acquired it1 the two colours would approximate2 but1 as they differ from each other1 the first effect ensues4 ,we may further explain the preceding phenomena by considering indigo relatively to violet1 as blue2 then it will lose its blue1 which is common to both colours1 and incline to green2 while the violet1 also losing its blue1 will appear redder4 ,,fifth ,,group4--,a ,compound ,colour1 and a ,simple ,colour1 which is not found in the ,compound4 #a4 ,orange and ,blue4 #b4 ,green and ,orange4 #c4 ,violet and ,greenish ,yellow4 ,upon the hypothesis that orange1 green1 and violet are compound colours1 and that red1 blue1 and yellow are simple1 it follows that in opposing them in the order in which they are reciprocally complementary1 and supposing also that the colours so juxtaposed are entirely free from any foreign colour1 there appears no reason for the compound colour losing one of its elements rather than another1 or for the simple colour being unlike one of the elementary colours rather than another4 ,for instance1 in the juxtaposition of green and red1 we see no reason why green should pass into blue rather than into yellow1 or why the red should incline to blue rather than to yellow4 ,,section ,,ii4 ,,on ,,the ,,distinction ,,between ,,simultaneous1 ,,successive1 ,,and ,,mixed ,,contrast ,,of ,,colours1 ,,and ,,on ,,the ,,connexion ,,between ,,the ,,experiments ,,made ,,by ,,the ,,author1 ,,and ,,those ,,previously ,,made ,,by ,,other ,,observers4 ,,distinction ,,between ,,simultaneous1 ,,successive1 ,,and ,,mixed ,,contrast ,,of ,,colours4 #gg4 ,before speaking of the relation of my experiments to those made by others on the contrast of colours1 we must distinguish three classes of contrast4 ,the first includes those relating to the contrast which ,i term simultaneous2 the second to that which ,i term successive2 and the third to that which ,i term mixed4 #gh4 ,simultaneous contrast of colours includes that phenomena of modification which objects variously coloured seem to undergo in physical composition1 and in the depth of tone of their respective colours1 when seen at the same time4 #gi4 ,successive contrast of colours includes the phenomena observed when the eyes having looked for some time at one or more coloured objects1 perceive1 after having ceased to look at them1 images of those objects1 presenting the colour complementary to that of the actual object4 #hj4 ,this distinction also facilitates the understanding of the phenomena which maybe called mixed contrast2 for1 the retina having seen a certain colour for some time1 has an aptitude to see for a further time the complementary of that colour1 as well as any new colour presented by an external object2 the sensation perceived being the result of this new colour1 and the complementary of the first4 ,for want of this distinction1 one of the branches of optics most fertile in applications1 has not been treated with the clearness and precision which are necessary to show its importance to those who have not experimented upon it4 #ha4 ,the following is a simple mode of observing mixed contrast3--,having closed one eye1 the right for example1 look steadily with the left at a sheet of paper of a colour ,a2 when this colour seems to become dull1 look immediately at a sheet of paper of the colour ,b1 the eye then has the impression produced by the mixture of this colour ,b with the complementary 7,c7 of the colour ,a4 #hb4 ,to be convinced of this mixed sensation1 it is only necessary to shut the left eye1 and to look at the colour ,b with the right eye2 when the sensation perceived is not only that of the colour ,b1 but it may appear modified in the contrary way to that of the mixed sensation ,c ,b1 or what is the same1 it appears to be rather ,a ,b4 #hc4 ,upon shutting the right eye1 and looking again at the colour ,b with the left eye1 and that many times in succession1 different sensations are successively perceived1 but more and more feebly1 until at length the left eye returns to its normal state4 #hd4 ,i advise any person who thinks that one of his eyes is more able to perceive colours than the other1 to look at a sheet of paper alternately with the right and left eye2 if the sensations of each are identical1 he may conclude that he has deceived himself4 ,and even if the sensations be different1 the experiment should be repeated several times1 successively1 for the difference observed in a single experiment might be occasioned by one of the eyes having been previously modified or fatigued4 #he4 ,this practice appears to me especially useful to painters4 ,i now give some examples of mixed contrast4 #hf4 ,the left eye1 having looked for some time at red1 has an aptitude to see afterwards green1 the complementary of red4 ,if then it be attracted by yellow1 it perceives a sensation resulting from the mixture of green and yellow4 ,the left eye being shut1 and the right eye1 which has not been modified by the sight of red1 being opened1 it sees yellow1 and it is possible that this yellow may appear more orange than it is really4 #hg4 ,if the left eye and had the latter would had first seen afterwards seen have seemed ,yellow ,red ,violet4 #hh4 ,red ,blue ,greenish4 #hi4 ,blue ,red ,orange-red4 #ij4 ,yellow ,blue ,blue-violet4 #ia4 ,blue ,yellow ,orange-yellow4 #ib4 ,red ,orange ,yellow4 #ic4 ,orange ,red ,red-violet4 #id4 ,red ,violet ,deep blue4 #ie4 ,violet ,red ,orange-red4 #if4 ,yellow ,orange ,red4 #ig4 ,orange ,yellow ,greenish-yellow4 #ih4 ,yellow ,green ,bluish-green4 #ii4 ,green ,yellow ,orange-yellow4 #ajj4 ,blue ,green ,yellow-green4 #aja4 ,green ,blue ,blue-violet4 #ajb4 ,blue ,violet ,reddish-violet4 #ajc4 ,violet ,blue ,greenish-blue4 #ajd4 ,orange ,green ,bluish-green4 #aje4 ,green ,orange ,reddish-orange4 #ajf4 ,orange ,violet ,bluish-violet4 #ajg4 ,violet ,orange ,yellowish-orange4 #ajh4 ,green ,violet ,red-violet4 #aji4 ,violet ,green ,yellow-green4 #aaj4 ,red ,green ,bluer4 #aaa4 ,green ,red ,tinted-violet4 #aab4 ,yellow ,violet ,a little bluer4 #aac4 ,violet ,yellow ,greenish4 #aad4 ,blue ,orange ,yellower4 #aae4 ,orange ,blue ,more violet4 #aaf4 ,i should observe that all these colours1 at least to my eyes1 did not undergo equally intense or equally continuous modifications4 ,for instance1 the modification produced by the successive view of yellow and violet1 or of violet and yellow1 is stronger and more durable than that produced by the successive view of blue and orange1 and still more than that of orange and blue4 ,the modification produced by the successive view of red and green1 of green and red1 is but slight1 and not enduring4 ,i may also add that the depth of tone exercises some influence on the modification2 for1 if after looking at orange1 we look at dark-blue1 the latter will appear greenish rather than violet1 a result contrary to that afforded by a light blue4 #aag4 ,i have thought it the more necessary to mention under a special name the phenomenon which ,i call mixed contrast1 as it explains certain facts remarked by dealers in coloured fabrics1 as well as the inconvenience felt by painters1 who1 wishing to produce an exact imitation of their models1 look at them so long as to be unable to perceive their tones and modifications4 ,i will mention two facts which have been communicated to me by manufacturers1 referring the reader to ,part ,,ii4 for the application of the study of mixed contrast to painting4 #aah4 ,first ,fact4 ,when a purchaser has looked a long time at a yellow cloth1 and he is then shown an orange1 orange-red1 or scarlet one1 he finds it dull1 and judges it to be a dark or crimson-red2 because the retina affected by the yellow has a tendency to see violet2 and hence all the yellow of the orange colour disappears1 and the eye sees it as a red1 or a red inclining to violet4 #aai4 ,second ,fact4 ,if there be presented to a purchaser1 one after another1 fourteen pieces of a red fabric1 he judges the six or seven last pieces to be less beautiful than the first1 although they may be all identical4 ,what is the reason of this false judgment8 ,it is1 that the eyes which have seen six or eight red pieces in succession1 are in the same condition as if they had looked steadily for the same length of time at a single red stuff1--having a tendency to see the complementary of red1 that is green4 ,this tendency necessarily enfeebles the brilliancy of the red of the last pieces4 ,the dealer1 therefore1 that he may not be a sufferer from the fatigued eyes of his customer1 after showing him a few red pieces1 should present some green ones1 to restore the eyes to their normal state4 ,if the view of the green were sufficiently prolonged to pass the normal state1 the eyes would acquire a tendency to see red1 and then the pieces seen last would appear more beautiful than the rest4 ,,part ,,the ,,second4 ,,on ,,the ,,application ,,of ,,the ,,law ,,of ,,simultaneous ,,contrast ,,of ,,colours4 ,,introduction4 #abj4 ,before entering into the details of these applications1 ,i think it necessary to offer some considerations which will enable me to establish some propositions or principles1 to which ,i shall have frequent occasion to refer4 ,i propose to give-- #aba4 #a4 ,definitions of several expressions applicable to colours and their modifications4 #b4 ,the means of representing and defining colours and their modifications by the aid of diagrams4 #c4 ,a classification of the harmonies of colours4 #d4 ,a view of some arrangements of the primary colours with white1 black1 and grey4 ,,section ,i4 ,definition of the words ,tones1 ,scales1 and ,hues4 #abb4 ,the words ,tones and ,hues recur continually1 both in common language and in that of artists2 yet they are not so well defined as to be free from ambiguity1 or to be well understood4 #abc4 ,the word ,,tone of a colour will be employed exclusively to designate the various modifications which that colour1 in its greatest intensity1 is capable of receiving from white1 which lowers its tone1 or of black1 which heightens it4 #abd4 ,the word ,,scale will be applied to the assemblage of tones of the same colour1 thus modified4 ,the pure colour is the normal tone of the scale1 if the normal tone does not belong to a broken or reduced scale--i4e41 to a scale1 of which all the tones are made dull with black 7#adi74 #abe4 ,the word ,,hue will be applied exclusively to the modifications which a colour receives from the addition of a small quantity of another4 ,we shall speak1 for example1 of the tones of the blue scale1 the tones of the red scale1 c4 ,we say the hues of blue to designate all the scales whose colours1 still remaining blue1 yet differ from pure blue2 each hue comprehending the tones which constitute a scale more or less allied to the blue scale4 #abf4 ,i have defined the tones of a colour to be the various modifications1 which that colour at its maximum of intensity is capable of receiving from black and white2 it must be observed that the condition 8maximum of intensity for receiving black10 is absolutely essential to this definition2 for if black be added to a tone below the maximum1 it would pass into another scale4 ,artists distinguish colours as pure1 broken1 reduced1 grey1 or dull4 #abg4 ,pure colours are those termed simple1 red1 yellow1 blue1 and those which result from their binary compounds1 orange1 green1 violet1 and their hues4 7#aej47 ,broken colours are the pure colours mixed with black1 from the tone of the lightest to the deepest4 ,according to these definitions1 it is evident that in all the scales of simple and binary colours1 the tones which are above the pure colour are broken tones4 #abh4 ,artists1 and especially painters and dyers1 admit that the mixture of three primary colours1 in a certain proportion1 gives black2 hence1 when these three colours are so mixed that two predominate1 black will result1 formed from the union of the whole of the colour1 which is in small quantity1 within suitable proportions of the two predominant colours4 ,for example1 if blue be mixed with red and yellow1 a little black is produced1 which reduces or breaks the orange4 #abi4 ,we must remember that the primary colours of painters are not those of the prismatic spectrum1 but substances employed by them1 as red1 yellow1 and blue colours4 ,,section ,,ii4 ,of ,diagrams designed to ,represent and ,define ,colours and their ,modifications4 #acj4 ,various contrivances have been proposed under the titles of ,tables1 ,scales1 ,colour-,circles1 ,chromatometers1 c41 for representing either by numbers or a rational nomenclature1 colours and their modifications4 ,they are generally founded on these three propositions3--#a4 ,there are three primary colours4 #b4 ,equal portions of these colours being mixed1 produce pure secondary colours4 #c4 ,equal portions of the three primary colours produce black4 #aca4 ,but we know of no substance which exhibits pure colour2 that is1 which reflects only one kind of coloured rays1 whether pure red1 pure yellow1 or pure blue4 ,and since it is impossible to procure pure colouring matters1 how can it be said that orange1 green1 and violet are composed of two simple colours mixed in equal proportions8 ,or that black consists of a mixture of equal parts of three simple colours8 ,illustration3 ,,plate ,,vii4 ,these chromatic tables1 c41 point out mixtures which do not produce the results deducible from the principles on which they are said to be based4 #acb4 ,but most of the blue1 red1 and yellow colours with which we are acquainted1 give1 by their binary compounds1 violet1 green1 and orange inferior in brilliancy to the natural violet1 green and orange colours of objects4 ,this result would be explained by admitting that colours mixed two by two1 reflect at least two kinds of coloured rays2 and that where there is any mixture of colours which reflect separately red1 yellow1 and blue1 there is produced a certain amount of black which reduces the brilliancy of the mixture4 #acc4 ,conformably with this view1 the violet1 green1 and orange colours which result from a mixture of coloured matters1 are most brilliant when the respective colours of these materials approach each other4 ,for example1 a mixture of blue and red inclines more to violet than a mixture of blue and yellow inclines to green1 and that of red and yellow inclines still more to orange4 #acd4 ,in order to represent all the modifications that ,i have called tones and hues of colours1 as well as the relations which exist between those that are complementary to each other1 ,i have devised the following diagram 7,plate #g74 ,from a centre1 c1 ,i describe two circumferences1 y ,y4 ,i divide each of these by means of three rays1 c a1 c b1 c d1 into arcs of #abj degrees each4 ,i divide the portion of each ray comprised between the two circles y ,y into twenty parts1 which represent as many tones of the colours red1 yellow1 and blue4 #ace4 ,in each of the scales of these three colours there is one tone1 which1 when pure1 represents the colour of the scale to which it relates4 ,i therefore call it the normal tone of that scale4 ,if we represent a unit of surface s1 entirely covered by the pigment which reflects the normal colour1 and if we suppose that this colouring matter is equally distributed over the surface a #a1 we shall represent the tones superior to the normal tone by the unit of surface covered with #a of the normal colour1 plus the quantities of black increasing with the number of tones2 and we shall represent the inferior tones by the unit of surface covered with a fraction of the quantity #a1 constituting the normal tone1 mixed with 7----7 quantities of black1 as the tone has a less elevated number4 ,if the tone #ae of the red scale be the normal tone1 the normal tone of the yellow scale will have a lower number1 while the normal tone of the blue scale will have a higher number4 ,this depends upon the unequal lightness of the colours4 #acf4 ,if each arc of #abj be divided into two of #fj and if radii pass through the points of division1 beginning at y1 there will be represented twenty tones of the orange1 green1 and violet scales1 the colours at the extremities of each diameter being complementary to one another4 ,each arc of #fj might be divided into arcs of #cj1 and thus would be obtained radii representing twenty tones of scales1 which ,i shall call orange-red1 orange-yellow1 greenish-yellow1 greenish-blue1 bluish-violet1 and violet-red4 #acg4 ,by dividing each arc into five1 for example1 by means of five radii1 which ,i divide into twenty parts each1 beginning at the circumference y1 ,i shall obtain sixty new scales4 #ach4 ,beginning with red1 ,i designate them as follows3-- a ,red e ,yellow i ,blue #a ,red #a ,yellow #a ,blue #b ,red #b ,yellow #b ,blue #c ,red #c ,yellow #c ,blue #d ,red #d ,yellow #d ,blue #e ,red #e ,yellow #e ,blue #aci4 b ,red-orange f ,yellow-green k ,blue-violet #a ,red-orange #a ,yellow-green #a ,blue-violet #b ,red-orange #b ,yellow-green #b ,blue-violet #c ,red-orange #c ,yellow-green #c ,blue-violet #d ,red-orange #d ,yellow-green #d ,blue-violet #e ,red-orange #e ,yellow-green #e ,blue-violet #adj4 c ,orange g ,green l ,violet #a ,orange #a ,green #a ,violet #b ,orange #b ,green #b ,violet #c ,orange #c ,green #c ,violet #d ,orange #d ,green #d ,violet #e ,orange #e ,green #e ,violet #ada4 d ,orange-yellow h ,green-blue m ,violet-red #a ,orange-yellow #a ,green-blue #a ,violet-red #b ,orange-yellow #b ,green-blue #b ,violet-red #c ,orange-yellow #c ,green-blue #c ,violet-red #d ,orange-yellow #d ,green-blue #d ,violet-red #e ,orange-yellow #e ,green-blue #e ,violet-red ,i attach no importance to this nomenclature2 ,i employ it only as the simplest to distinguish the seventy-two scales just described4 ,the number may be increased indefinitely1 by inserting as many as we choose between the above4 #adb4 ,let us now represent the gradations of each colour in the scales of the circle by the addition to it of black1 progressively increasing till it becomes pure black4 ,imagine a quadrant whose radius is equal to that of the circle1 and arranged so as to turn upon an axis perpendicular to the plane of the circle4 ,divide this quadrant1 #ast1 by concentric arcs y y1 which coincide with the circles denoted by the same letters2 #bnd1 by ten radii1 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj4 ,divide each of these radii into twenty parts1 representing twenty tones1 corresponding to the tones of the scales represented on the circle4 #adc4 ,i suppose that the tenth radius comprises the gradations of normal black1 covering the half-circle described by the movement of the quadrant upon its axis2 this black mixed in decreasing quantities1 with increasing quantities of white1 gives the twenty tones of normal grey1 and ends by being lost in the white situated above the tone #a4 ,i suppose1 further1 that the normal tone of each of the scales taken upon each of the radii of the quadrant #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 is formed of the mixture of black with the colour of any of the scales that the circle contains1 and in such a proportion that the normal tone #ae of that scale is represented by the unit of surface covered with #a1 or _/ of red4 #add4 ,the tone #ae of the scale of the #ast ,radius _/ of ,red _/ of ,black4 #bnd 0 _/ 0 _/ 0 #crd 0 _/ 0 _/ 0 #dth 0 _/ 0 _/ 0 #eth 0 _/ 0 _/ 0 #fth 0 _/ 0 _/ 0 #gth 0 _/ 0 _/ 0 #hth 0 _/ 0 _/ 0 #ith 0 _/ 0 _/ 0 ,these proportions relate to the effect of the mixtures upon the eye1 and not to the material quantity of the red and black substances4 #ade4 ,we see then--#a4 ,that each of these tones1 #ae1 composed of colour and black1 reduced by white and deepened by black1 gives a scale of twenty tones1 so much the more broken as they are nearer the scale of normal black4 #b4 ,that the quadrant by its movement upon the axis of the circle1 represents the scales of every colour except red1 broken by black4 ,these broken scales are equidistant1 and are formed of equidistant tones4 #c4 ,that all the colours are thus contained in a circle1 whose plan comprehends the pure colours2 the central space1 black2 and the intermediate space the pure colours1 broken by the various proportions of black4 #adf4 ,the diagram1 as just described1 thus represents the lowering of pure colours by white1 and their gradation by black2 their modifications by their mutual mixtures1 the modification of hues1 and the modification of breaking4 ,we will presently inquire into the possibility of realizing it by means of coloured materials4 #adg4 ,we have presumed--#a4 ,that the normal tone of each of the scales is as pure as possible4 #b4 ,that the tones bearing the same number in all the scales1--both those of the pure colours and those of the broken colours1--are1 to the sight1 of equal depth4 #c4 ,that if three tones1 of the same number1 be taken in three consecutive scales1 the tone of the intermediate scale is the mean between the colours of the extreme scales4 ,it is thus easy to explain the modifications of a pure colour commencing with its normal tone4 #adh4 ,these modifications are so produced that--#a4 ,the ,pure ,colour never leaves its ,scale4--,the modification is in the direction of the radius of the circle--proceeding from the normal tone towards the centre1 it gains white2 while proceeding from the normal tone towards the circumference1 it gains black4 #adi4 #b4 ,the ,pure ,colour leaves its ,scale by the addition of ,black4--,in this case the various scales comprised in the quadrant perpendicular to the circle1 begin at the normal tone of one of the pure scales of the circle with which the quadrant coincides4 ,this normal tone1 resulting from a quantity of colour represented by unity1 covering a unit of surface s1 the normal tones of the quadrant result from the mixture of black and a fraction of unity of the colour4 ,these mixtures constitute broken colours1 each covering a unit of surface s1 and are of the same depth as the normal tone of the pure colour4 ,the fraction of the quantity of colour is1 in the broken normal tones1 so much less1 as the scales1 to which these tones belong1 approximate to the vertical axis of the semicircle4 ,besides1 each normal tone of the scales of the quadrant is modified1 like the normal tones of the scales of the circle1 by increasing quantities of white towards the centre1 and of increasing quantities of black towards the circumference4 #aej4 #c4 ,a ,pure ,colour is modified by the addition of another ,pure ,colour4--,in this case hues are formed so much more resembling each other1 as the quantities of the second colour are smaller4 ,these modifications are made circularly1 so that the tones retain their numbers4 ,thus admitting1 with painters and dyers1 that there are only three primary colours1 and that by combining these two by two1 we obtain all the pure complex colours2 and by combining them in threes1 all the broken colours2 we find that it is possible to represent by this hypothesis1 all the modifications of colours4 #aea4 ,another advantage of this construction is that of giving to all artists who may make applications of the law of simple contrast1 the complementaries of all the pure colours2 since the colours of the circular plan which are found at the extremities of the same diameter are complementary to each other4 ,for example1 not only are red and green1 blue and orange1 yellow and violet on the same diameter1 but it is so with orange-red and bluish-green1 and yellowish-green and violet-red2 of red ,no4 #a and of green ,no4 #a2 so that all the colours opposed to each other are mutually complementary4 #aeb4 ,the complementary of a colour contiguous to another being once known1 it is easy1 according to the principles of combination1 to determine the modification that the second must receive from the first2 since this modification is the result of the mixture of the complementary with the contiguous colour4 ,in fact1 if there is no difficulty when the result is that of the non-complementary mixture with a simple colour1 red1 yellow1 and blue1 with a binary colour1 orange1 green1 violet 7using the language of painters1 #gf71 there is no greater difficulty when the result is that of the mixture of two binary colours4 ,for1 the complementary being much less intense than the colour with which it is mixed1 the result will be found by subtracting from the last binary colour the portion of its simple colour1 which with the complementary forms white1 or in other words1 neutralises it4 #aec4 ,examples4--#a4 ,orange being added as a complementary to green1 neutralises a portion of its blue1 and consequently makes it appear less blue or more yellow4 #b4 ,orange being added as complementary to violet1 neutralises a portion of its blue1 and consequently makes it appear less blue or more red4 #c4 ,green being added as complementary to violet1 neutralises a portion of its red1 and consequently makes it appear less red or more blue4 #aed4 ,these three examples are easily explained by subtracting from the binary colour a portion of its simple colour which is identical with that contiguous to it4 ,thus3-- #a4 ,blue subtracted from ,green1 makes it appear more ,yellow4 #b4 ,blue 0 0 ,violet 0 0 ,red4 #c4 ,red 0 0 ,violet 0 0 ,blue4 #aee4 ,to put the diagram into practice we must adopt invariable types of colour1 either in the solar spectrum1 or in polarized light1 or coloured rings1 or colours developed in a constant manner1 by any process whatever2 then imitate them with the utmost fidelity1 by means of colouring matters which should be applied to the circular plan of our chromatic diagram4 ,these types must be sufficiently numerous to reproduce the principal colours1 in order that a practised eye may without difficulty insert all the tones of the same scale and all the hues of which types are wanting4 ,in fact the diagram thus established1 should present terms so near that the various colours of the natural bodies might be referred to them4 #aef4 #a4 ,that it represents all the ,modifications resulting from the ,mixture of ,colours4--,thus any colour lowered by white and deepened with black may1 retaining its place in the scale1 give rise to an infinite variety of tones2 infinite1 inasmuch as an unlimited number may be inserted from tone #a to tone #bj4 #aeg4 #b4 ,pure colours1 by their mutual modifications1 may produce an infinite variety of hues2 for between two adjacent hues we may insert as many as we desire4 #aeh4 #c4 ,the normal tone of a pure colour represented by a quantity equal to #a1 covering the unit of surface1 is the commencement of the normal tones and scales proceeding towards black2 these normal tones being represented by black and a quantity of colour less than unity1 constituting the mixtures which cover a unit of surface s1 and colour it of a tone which has the same number as the normal tone of the pure scale to which it relates4 ,it is understood that in proceeding from this tone to the corresponding tone of normal black1 we may insert an unlimited number of mixtures of colour and black4 #aei4 ,the modifications of colours1 thus indicated by the diagram1 render it extremely easy to understand the definitions given above 7#abc7 of the words1 scales1 tones1 hues1 pure and broken colours4 #afj4 #b4 ,it affords the means of knowing the complementaries of every colour1 since the names written at the two extremities of any one diameter indicate the colours complementary to each other4 #afa4 ,,examples4--a4 ,suppose it be required to know the mutual influence of blue and yellow2 at one extremity of a diameter we read the word blue1 and at its opposite end1 the word orange2 showing that blue tends to give orange to yellow4 ,again1 at the end of another diameter we read the word yellow1 and at its opposite1 the word violet2 by which we see that yellow tends to give violet to blue4 #afb4 b4 ,suppose green and blue be contiguous2 at one extremity of a diameter we read the word green1 and at its opposite end1 red2 showing that green tending to give red to blue1 must render it more violet4 ,again1 at one end of a diameter we read the word blue1 and at its opposite end1 orange4 ,but what arises from the mixture of green and orange8 ,the orange will tend to neutralize its complementary1 blue1 in the green2 and as it is always too feeble to neutralize all the blue1 its influence will be limited to neutralizing a portion of it2 whence it results that green1 contiguous to blue1 will appear more yellow than it really is4 #afc4 c4 ,let green and yellow be contiguous1 we shall see in like manner that the green1 by imparting red to the yellow1 will render it orange2 and that violet1 the complementary of yellow1 by neutralizing some yellow in the green1 will make the green appear bluer1 or less yellow4 #afd4 #c4 ,a third advantage of this diagram1 which distinguishes it from other chromatic diagrams1 is1 that it affords the preceding advantages1 without being coloured4 #afe4 #d4 ,a fourth advantage is that of its manifesting to all artists who use coloured materials of a definite size1 especially the workers of tapestry1 carpets and the like1 the relation of number which must exist between the tones of the various scales which they work together4 ,,section ,,iii4 ,harmony of ,colours4 #aff4 ,the eye has an undoubted pleasure in seeing colours1 independently of the design and every other quality of the object which displays them4 ,a suitable example to demonstrate this1 is the wainscoting of an apartment in one or more flat tints which only attract the eyes and affect them more or less agreeably1 as the colours are well or badly chosen4 #afg4 ,first ,case4 ,agreeable ,colour4--,every one1 whose eyes are well organized1 derives pleasure from looking at the coloured rays transmitted through a coloured glass1 whether it be red1 orange1 yellow1 green1 blue1 or violet4 #afh4 ,second ,case4 ,different ,tones of the same ,scale of ,colour4--,the simultaneous view of the series of tones of the same scale1 which commences with white and ends with dark brown1 gives undoubtedly an agreeable sensation1 especially if the tones have equal and sufficiently numerous intervals2 for example1 from eighteen to thirty4 #afi4 ,third ,case4 ,view of ,different ,colours1 belonging to adjacent ,scales1 assorted conformably to ,contrast4--,the simultaneous view of different colours1 belonging to scales more or less allied to each other1 may be agreeable2 but the assortment of scales producing this effect is very difficult to obtain1 because the more nearly the scales approach1 the more frequently it happens that one of the colours injures that which is adjacent to it1 and even both are reciprocally injurious4 ,the painter may1 however1 take advantage of this harmony1 by sacrificing one of the colours1 which he subdues1 to make the other more brilliant4 #agj4 ,fourth ,case4 ,view of very different ,colours1 belonging to very distant ,scales1 arranged conformably to ,contrast4--,the simultaneous view of complementary colours1 or of binary assemblages of colours1 which1 without being complementary1 are yet very different1 is also an undoubtedly agreeable sensation4 #aga4 ,fifth ,case4 ,view of various ,colours1 assorted more or less according to the ,law of ,contrast1 being seen through a glass of a colour not deep enough to allow all the colours peculiar to the glass to be visible1 afford a spectacle which is not without its charm1 and which is placed between that produced by the tones of the same scale1 and that which is produced by various colours2 for it is evident1 that if the glass were of a deeper colour1 it would cause objects to be seen of the colour peculiar to it4 #agb4 ,hence we infer that there are six distinct harmonies of colour1 comprised in two species4 ,,first ,,species--,,harmonies ,,of ,,analogy4--#a4 ,the harmony of scale1 produced by the simultaneous view of different tones of the same scale1 more or less approximating4 #b4 ,the harmony of hues1 produced by the simultaneous view of tones of the same1 or nearly of the same depth1 belonging to neighbouring scales4 #c4 ,the harmony of a dominant coloured light1 produced by the simultaneous view of various colours assorted according to the law of contrast1 but one of them predominating1 as would result from the view of these colours through a slightly-coloured glass4 #agc4 ,,second ,,species--,,harmonies ,,of ,,contrast4--#a4 ,the harmony of contrast of scale1 produced by the simultaneous view of two very distant tones of the same scale4 #b4 ,the harmony of contrast of hues1 produced by the simultaneous view of tones of different depths1 belonging1 to neighbouring scales4 #c4 ,the harmony of contrast of colours1 produced by the simultaneous view of colours1 belonging to very distant scales1 assorted according to the law of contrast4 ,the difference in the depth of the adjacent tones may further augment the contrast of colours4 ,,section ,,iv4 ,assortments of ,red1 ,orange1 ,yellow1 ,green1 ,blue1 ,violet with ,white1 ,black1 and ,grey4 #agd4 ,it will not be useless to the object of this work to introduce some observations relative to the degree of beauty of certain arrangements of the primitive colours with black1 white1 and grey4 ,but ,i cannot too strongly insist upon the fact1 that they are not given as a rigorous deduction from scientific rules1 for they are only the expression of my particular taste2 yet ,i hope that many classes of artists1 especially dressmakers1 decorators of all kinds1 designers of patterns for woven fabrics1 paper-hangings1 c41 will find advantage in consulting them4 #age4 ,the ground1 as well as the interval between the colours1 having influence upon their effect1 all my observations were made with white1 black1 grey1 and coloured circles1 _/ of an inch in diameter1 separated by intervals of _/ of an inch2 thirteen circles arranged in a straight line forming a series4 #agf4 ,the series designed to show the effect of white were on a ground of normal grey2 those to show the effect of black and of grey were upon a white ground1 slightly tinged with grey4 ,it is necessary to remark that the coloured circles placed apart1 were upon black grounds1 which must have exercised some influence4 #agg4 ,the colours which have been under my notice are red1 orange1 yellow1 green1 blue1 violet4 ,their differences in regard to brilliancy are so great as to admit of their being divided into two groups1 one comprising red1 orange1 yellow1 and bright green1 the other blue and violet1 which1 with the same depth of tone1 have not the brilliancy of the former4 ,i shall call the first group luminous colours1 and the second sombre colours4 ,but the deep and broken tones of the luminous scales may in many cases be assimilated to the sombre group1 as the light tones of blue and violet may sometimes be employed as luminous colours4 ,,article ,i4 ,colours with ,white4 ,plate #h4 ,a4 ,binary ,assortments4 #agh4 ,all the primary colours gain by their juxtaposition with white1 but the binary arrangements which result from them are not equally agreeable2 and it is to be remarked that the depth of tone of a colour has a great influence upon the effect of its assortment with white4 ,the binary assortments in the order of their greatest beauty1 are as follows3--light blue and white1 rose and white1 deep yellow and white1 bright green and white1 violet and white1 orange and white4 ,dark blue and dark red produce1 with white1 too strong a contrast of tone to allow of their assortment being as agreeable as that of their light tones4 ,on the contrary1 yellow being a light colour1 we must take the normal or deepest tone of yellow to produce its most beautiful effect4 ,dark green and violet contrast too much in tone with white for their combination to be as agreeable as those which are made with the light tones of these colours4 ,the objection which can be made to the combination of orange and white is that of too much brilliancy2 yet ,i should not be surprised to find that many persons preferred it to that of violet and white4 ,b4 ,tertiary ,assortments of ,colours complementary to each other with ,white4 #agi4 ,it is to me impossible to establish an order of beauty among binary combinations of primary complementary colours4 ,i shall therefore only describe the effect of white interposed between the binary complementary assortments1 or between each of the complementary colours4 ,illustration3 ,,plate ,,viii4 #ahj4 #a4 ,red and ,green are of all complementary colours the most equal in depth2 for red1 as regards its brilliancy1 is midway between yellow and blue2 and in green these two extremes are united4 #b4 ,the arrangement1 white1 red1 green1 white1 c41 is not decidedly superior to the preceding1 at least when the colours are not deep4 #c4 ,the arrangement white1 red1 white1 green1 white1 c41 seems to me inferior to the preceding4 #aha4 #a4 ,blue and ,orange are more opposed to each other than red and green1 because the least brilliant colour blue1 is separated1 while the most brilliant are combined in orange4 #b4 ,the arrangement1 white1 orange1 blue1 white1 c41 is agreeable4 #c4 ,the arrangement1 white1 orange1 white1 blue1 white c41 is also agreeable4 #ahb4 #a4 ,yellow and ,violet form an arrangement which1 as regards depth of tone1 is most distinct1 since the least intense or lightest colour1 the yellow1 is separated from the others4 ,because of this great contrast of tone1 the deep1 but pure1 greenish-yellow combines better with light violet1 than light yellow and deep violet4 #b4 ,the arrangement1 white1 yellow1 violet1 white1 c41 appears to me inferior to the preceding arrangement 7#a74 #c4 ,the arrangement1 white1 yellow1 white1 violet1 white1 c41 seems to me inferior to #b4 ,c4 ,ternary ,assortments of ,colours not complementary with ,white4 #ahc4 #a4 ,red and orange do not accord well4 #b4 ,the arrangement1 white1 red1 orange1 white1 c41 is scarcely preferable4 #c4 ,the arrangement1 white1 red1 white1 orange1 white1 c41 is not so bad as the preceding1 because white being favourable to all the colours1 its interposition between the colours which injure each other1 can only produce an advantageous effect4 #ahd4 ,red and ,yellow accord pretty well1 especially if the red is purple-red rather than scarlet1 and the yellow rather greenish than orange4 #b1 ,the arrangement1 white1 red1 yellow1 white1 is preferable to the preceding4 #c4 ,the arrangement white1 red1 white1 yellow1 white1 is still better4 #ahe4 #a4 ,red and ,blue accord passably1 especially if the red incline rather to scarlet than to crimson4 ,deep tones are preferable to light ones4 #b4 ,the arrangement white1 red1 blue1 white1 c41 is preferable to #a4 #c4 ,the arrangement white1 red1 white1 blue1 white1 is preferable to the second4 #ahf4 #a4 ,red and ,violet do not accord well1 yet they are found in some natural productions1 as the sweet pea4 #b4 ,the arrangement white1 red1 violet1 white1 is not so bad as the preceding4 #c4 ,the arrangement white1 red1 white1 violet1 white1 is preferable4 #ahg4 #a4 ,orange and ,yellow accord incomparably better than red and orange4 #b4 ,the arrangement white1 orange1 yellow1 white1 is agreeable4 #c4 ,the arrangement white1 orange1 white1 yellow1 white1 is not so good as #b1 and perhaps #a1 because there is too much white4 #ahh4 #a4 ,orange and ,green do not accord well4 #b4 ,the arrangement white1 orange1 green1 white1 is preferable to #a4 #c4 ,the arrangement white1 orange1 white1 green1 white1 is perhaps preferable to #b4 #ahi4 #a4 ,orange and ,violet accord passably1 yet not so well as orange and green2 the contrast1 in the latter case1 is greater than in the arrangement orange and violet4 #b4 ,the arrangement white1 orange1 violet1 white1 c41 is preferable to the preceding4 #c4 ,the arrangement white1 orange1 white1 violet1 white1 c41 is preferable to #b4 #aij4 #a4 ,yellow and ,green form an agreeable combination4 #b4 ,the arrangement white1 yellow1 green1 white1 c41 is still more agreeable4 #c4 ,the arrangement white1 yellow1 white1 green1 white1 c41 is inferior to the preceding1 and perhaps to the first4 ,the inferiority of #c seems to me to be caused by too much light for the green4 #aia4 #a4 ,yellow and ,blue4 ,the arrangement of yellow and blue is more agreeable than that of yellow and green1 but it is less lively4 #b4 ,the arrangement white1 yellow1 blue1 white1 c41 is perhaps preferable to the preceding4 #c4 ,the arrangement white1 yellow1 white1 blue1 c41 is perhaps inferior to the preceding4 #aib4 #a4 ,green and ,blue produce an indifferent effect1 but better when the colours are deep4 #b4 ,the arrangement white1 green1 blue1 white1 c41 is preferable4 #c4 ,the arrangement white1 green1 white1 blue1 white1 c41 has a still better effect1 because the light is more equally distributed4 #aic4 #a4 ,green and ,violet1 especially when light1 form a combination preferable to the preceding1 green and blue4 #b4 ,the arrangement white1 green1 violet1 white1 c41 is not decidedly superior to the preceding4 #c4 ,the arrangement1 white1 green1 white1 violet1 white1 c41 is not decidedly superior to it4 #aid4 #a4 ,blue and ,violet accord badly4 #b4 ,the arrangement1 white1 blue1 violet1 white1 c4 is scarcely preferable to the preceding 7#a74 #c4 ,the arrangement white1 blue1 white1 violet1 white1 c41 is not so bad as the preceding 7#b74 ,,article ,,ii4 ,colours and ,black4 ,plate #i4 7,frontispiece47 #aie4 ,i do not know whether the use of black for mourning1 prevents the use of it1 in numberless cases1 where it would produce excellent effects2 it may be combined most advantageously1 not only with sombre colours to produce the harmony of analogy1 but also with light and brilliant colours to produce the harmony of contrast4 #aif4 ,chinese artists appear to have made excellent use of it1 for ,i have often seen furniture1 painting1 ornaments1 c41 where it has been most judiciously employed4 ,i recommend those artists for whom this paragraph is particularly designed1 to attend to the following observations1 not doubting that many will be profitable to them4 ,a4 ,binary ,combinations4 #aig4 ,no combination of primary colours with black is disagreeable1 but there exists among these a generic difference of harmony1 which is not shown1 at least to nearly the same degree1 in the binary combinations of white with the same colours4 ,in fact the brilliancy of white is so predominant1 that whatever may be the difference of lightness or brilliancy observed between the various associated colours1 there will always be the harmony of contrast1 according to what has been said 7#dd-eb7 of the influence of white in raising the tone and augmenting the intensity of the colour adjacent to it4 #aih4 ,if the binary combinations of black be examined in this point of view1 it will be seen that the deep tones of all the scales1 and even of the blue and violet scales 7which are not1 properly speaking1 deep71 form with it harmonies of analogy and not of contrast4 ,so likewise do the unbroken tones of the red1 orange1 yellow-green scales1 and the very light tones of the violet and blue scale4 ,we may add1 according to what has been said 7#ee71 that the combinations of black with sombre colours1 such as blue and violet1 whose complementaries1 orange and greenish-yellow1 are luminous1 may diminish the contrast of tone if the colours be juxtaposed with black or one not far from it1 and in this case the black loses much of its vigour4 #aii4 ,blue and ,black1 ,violet and ,black1 make combinations which may be employed successfully when only dark colours are required4 ,the first is superior to the second4 #bjj4 ,light combinations which exhibit the harmonies of contrast1 appear to me in the order of beauty thus3-- ,red or ,rose and ,black1 ,orange and ,black1 ,yellow and ,black1 lastly1 ,bright ,green and ,black4 ,as to yellow1 ,i repeat that it must be brilliant and intense1 inasmuch as black tends to impoverish its tone4 ,b4--,ternary ,combinations of ,colours mutually ,complementary with ,black4 #bja4 #a4 ,red1 ,green1 c4 #b4 ,black1 ,red1 ,green1 ,black1 c4 ,this arrangement being quite different from the former1 it is difficult to decide respecting their comparative beauty4 #c4 ,black1 ,red1 ,black1 ,green1 ,black1 c41 appear to me inferior to the preceding1 because there is too much black4 #bjb4 #a4 ,blue1 ,orange1 c4 #b4 ,black1 ,blue1 ,orange1 ,black4 ,i prefer the first to the second2 the proportion of dark colour being too strong relatively to the orange4 #c4 ,black1 ,blue1 ,black1 ,orange1 ,black1 c4 ,this pleases me less than the first4 ,the effect of black with blue and orange is inferior to that of white4 #bjc4 #a4 ,yellow1 ,violet1 c4 #b4 ,black1 ,yellow1 ,violet1 c4 #c4 ,black1 ,yellow1 ,black1 ,violet1 ,black1 c4 ,the second is superior to the third1 because the proportion of sombre colours with the yellow is too strong in the latter4 ,the first appears to me superior to the second4 ,c4--,ternary ,combinations of ,colours not ,complementary with ,black4 #bjd4 #a4 ,red1 ,orange1 c4 #b4 ,black1 ,red1 ,orange1 ,black1 c4 #c4 ,black1 ,red1 ,black1 ,orange1 ,black1 c4 ,as orange and red injure each other1 there is an advantage in separating them by black4 ,the third arrangement is preferable to the second2 and both are preferable to those in which black is replaced by white4 #bje4 #a4 ,red1 ,yellow1 c4 #b4 ,black1 ,red1 ,yellow1 ,black4 #c4 ,black1 ,red1 ,black1 ,yellow1 ,black1 c4 ,the two last arrangements appear to me superior to the first1 and many persons would prefer them to the arrangement in which white replaces black4 ,i cannot too strongly recommend the arrangement #b and #c to artists1 for whom these observations are especially designed4 #bjf4 #a4 ,red1 ,blue1 c4 #b4 ,black1 ,red1 ,blue1 ,black4 #c4 ,black1 ,red1 ,black1 ,blue1 ,black1 c4 ,no4 #b is preferable to ,no4 #c1 because there are too many sombre colours in the latter1 and because these differ too much from the red4 ,the effect of black upon the binary arrangement1 red and blue1 is inferior to that of white4 #bjg4 #a4 ,red1 ,violet1 c4 #b4 ,black1 ,red1 ,violet1 ,black1 c4 #c4 ,black1 ,red1 ,black1 ,violet1 ,black1 c4 ,the red and violet injure each other1 it is therefore advantageous to separate them by black2 but the latter does not produce so good an effect as white4 ,it is difficult to say whether ,no4 #c is preferable to #b2 because1 if there be in the latter red near violet1 this defect is more than compensated in #c1 by the predominance of sombre colours over the red4 #bjh4 #a4 ,orange-,yellow1 c4 #b4 ,black1 ,orange-,yellow1 c4 #c4 ,black1 ,orange1 ,black1 ,yellow1 ,black1 c4 ,the orange and yellow being very luminous1 the black allies itself to them very well in the arrangement #b and #c2 and if the arrangement1 white1 orange1 yellow1 white1 be preferred to ,no4 #b1 ,i think that in the arrangement #c1 the black produces a superior effect to the white4 #bji4 #a4 ,orange1 ,green1 c4 #b4 ,black1 ,orange1 ,green1 c4 #c4 ,black1 ,orange1 ,black1 ,green1 ,black1 c4 ,black combines well with orange1 and with bright green4 ,in like manner it combines well with orange and yellow4 ,if1 in the arrangement #b1 white be preferred to black1 ,i think it cannot be in #c4 ,i recommend to artists the combination of black with the binary arrangements orange and yellow1 orange and green4 #baj4 #a4 ,orange1 ,violet1 c4 #b4 ,black1 ,orange1 ,violet1 ,black1 c4 #c4 ,black1 ,orange1 ,black1 ,violet1 ,black1 c4 ,black does not combine so well as white with orange and violet1 because the proportion of dark colours relatively to orange1 a very vivid colour1 is too great4 #baa4 #a4 ,yellow1 ,bright ,green1 c4 #b4 ,black1 ,yellow1 ,green1 ,black1 c4 #c4 ,black1 ,yellow1 ,black1 ,green1 ,black1 c4 ,yellow and light green being luminous colours1 black combines very well with them2 and if in the arrangement #b the effect of white be preferred to that of black1 ,i think that it cannot be in the arrangement #c4 #bab4 #a4 ,yellow1 ,blue1 c4 #b4 ,black1 ,yellow1 ,blue1 ,black1 c4 #c4 ,black1 ,yellow1 ,black1 ,blue1 ,black1 c4 ,if the arrangement #b be preferable to #c1 ,i think it inferior to #a4 ,the black does not appear to combine so well as the white in the group yellow and blue4 #bac4 #a4 ,green1 ,blue1 c4 #b4 ,black1 ,green1 ,blue1 ,black1 c4 #c4 ,black1 ,green1 ,black1 ,blue1 ,black1 c4 ,although green and blue do not well accord1 yet the combination with black is not decidedly advantageous4 ,because of the augmentation of the proportion of sombre colours1 the white has a superior effect to the black4 #bad4 #a4 ,green1 ,violet1 c4 #b4 ,black1 ,green1 ,violet1 ,black4 #c4 ,black1 ,green1 ,black1 ,violet1 ,black1 c4 ,if the black unite better with green and violet than with green and blue1 yet these ternary combinations are inferior to the binary combinations2 and inferior to the ternary combination where it is replaced by white4 #bae4 #a4 ,blue1 ,violet1 c4 #b4 ,black1 ,blue1 ,violet1 ,black1 c4 #c4 ,black1 ,blue1 ,black1 ,violet1 ,black1 c4 #baf4 ,although blue and violet are colours which do not accord well1 and although there is an advantage in separating them1 yet it must be remembered that black in isolating them1 does not relieve their sombre colour1 but1 on the other hand1 the harmony of the arrangements of #b and #c is more agreeable as a harmony of analogy than the harmony of contrast presented by white with the same colours4 ,thus there are cases in which the assemblage of black1 blue1 and violet1 may be advantageous1 when it is desired to produce diversified1 but not striking effects4 ,,article ,,iii4 ,colours with ,grey4 ,plate #aj4 ,illustration3 ,,plate ,x4 #bag4 ,all the primary colours gain purity and brilliancy by the proximity of grey2 yet the effects are far from being like or even analogous to those which result from the proximity of the same colours with white4 ,this will not create surprise1 if it be remembered that while white preserves the character of each colour and exalts it by contrast1 it can never be taken for a colour properly so called2 grey1 on the contrary1 may be2 it happens that the latter makes with the most sombre colours1 as blue1 violet1 and deep tones in general1 assortments which belong to the harmonies of analogy2 while1 with colours naturally brilliant1 such as red1 orange1 yellow1 and the light tones of green1 they form analogies of contrast4 ,but1 although white contrasts more with sombre colours than with those that are naturally luminous1 there is not observed between white and those two kinds of colours the difference observable between grey and the same colours4 ,this result confirms what ,i have said of the binary combinations of black4 7#bjc47 ,a4--,binary ,combinations4 #bah4 ,grey and ,blue1 ,grey and ,violet1 form arrangements of which the harmony of analogy is agreeable1 yet less so than that of black with the same colours4 #bai4 ,grey and ,orange1 ,grey and ,yellow1 ,grey and ,bright ,green1 form equally agreeable arrangements of harmony of contrast2 perhaps they are less so than those in which grey is replaced by black4 #bbj4 ,grey and ,rose are a little dull and inferior to ,black and ,rose4 ,all the binary arrangements of grey1 except1 perhaps1 that of orange1 are inferior to those of white4 ,b4--,ternary ,combinations of ,complementary ,colours with ,grey4 #bba4 ,red1 ,green1 c4--#a4 ,red1 ,green1 c4 #b4 ,grey1 ,red1 ,green1 ,grey1 c4 #c4 ,grey1 ,red1 ,grey1 ,green1 ,grey1 c4 ,if it be doubtful whether the binary assortment of grey1 red1 and green1 be favourable1 it cannot be called injurious4 ,the third assortment is1 perhaps1 inferior to that in which the grey is replaced by black4 #bbb4 ,blue and ,orange4--#a4 ,blue1 ,orange1 c4 #b4 ,grey1 ,blue1 ,orange1 ,grey4 #c4 ,grey1 ,blue1 ,grey1 ,orange1 ,grey1 c4 ,i prefer the first arrangement to the two others4 #bbc4 ,yellow and ,violet4--#a4 ,yellow1 ,violet1 c4 #b4 ,grey1 ,yellow1 ,violet1 ,grey1 c4 #c4 ,grey1 ,yellow1 ,grey1 ,violet1 ,grey1 c4 ,although the arrangements #b and #c are lighter than the arrangements in which grey is replaced by black1 yet the binary arrangement appears to me preferable to the ternary4 ,c4--,ternary ,assortments of ,colours not ,complementary to each other with ,grey4 #bbd4 ,red and ,orange4--#a4 ,red1 ,orange1 c4 #b4 ,grey1 ,red1 ,orange1 ,grey1 c4 #c4 ,grey1 ,red1 ,grey1 ,orange1 ,grey1 c4 ,the arrangements #b and #c are preferable to the binary4 ,the third is preferable to the second4 ,in short1 the grey produces1 with red and orange1 a better effect than white1 but the effect is inferior to that of black4 #bbe4 ,red and ,yellow4--#a4 ,red1 ,yellow1 c4 #b4 ,grey1 ,red1 ,yellow1 ,green1 c4 #c4 ,grey1 ,red1 ,grey1 ,yellow1 ,grey1 c4 ,although the grey combines well with the red and the yellow1 it has not so decidedly advantageous an effect as black in the binary arrangement4 #bbf4 ,red and ,blue4--#a4 ,red1 ,blue1 c4 #b4 ,grey1 ,red1 ,blue1 ,grey1 c4 #c4 ,grey1 ,red1 ,grey1 ,blue1 ,grey1 c4 ,the arrangement #b is preferable to #c4 ,i dare not say to #a4 ,the effect of grey is inferior to that of white4 #bbg4 ,red and ,violet4--#a4 ,red1 ,violet1 c4 #b4 ,grey1 ,red1 ,violet1 ,grey1 c4 #c4 ,grey1 ,red1 ,grey1 ,violet1 ,grey1 c4 ,the assortment #c appears to me superior to #b1 and the second to the first2 but it is difficult to say whether grey is superior to black4 ,i am certain it is superior to white4 #bbh4 ,orange and ,yellow4--#a4 ,orange1 ,yellow1 c4 #b4 ,grey1 ,orange1 ,yellow1 ,grey1 c4 #c4 ,grey1 ,orange1 ,grey1 ,yellow1 ,grey1 c4 ,the assortment #c appears to me preferable to #b2 the harmony of contrast is less intense than with black4 ,the assortment #c is1 perhaps1 superior to the assortment of white1 orange1 white1 yellow1 white4 #bbi4 ,orange and ,green4--#a4 ,orange1 ,green1 c4 #b4 ,grey1 ,orange1 ,green1 ,grey1 c4 #c4 ,grey1 ,orange1 ,grey1 ,green1 ,grey1 c4 ,grey combines well with orange and green1 but it does not contrast so agreeably as black or white4 #bcj4 ,orange and ,violet4--#a4 ,orange1 ,violet1 c4 #b4 ,grey1 ,orange1 ,violet1 ,grey1 c4 #c4 ,grey1 ,orange1 ,grey1 ,violet1 ,grey1 c4 ,the binary assortment appears to me preferable to the other two4 ,the assortment #b is preferable to #c4 ,if the grey is a little dull with orange and violet1 it has not the same disadvantage as black1 in causing too great a predominance of sombre colour4 #bca4 ,yellow and ,green4--#a4 ,yellow1 ,green1 c4 #b4 ,grey1 ,yellow1 ,green1 ,grey1 c4 #c4 ,grey1 ,yellow1 ,grey1 ,green1 ,grey1 c4 ,grey combines well with yellow and green1 but the assortments #b and #c are a little dull1 and inferior to those in which black replaces grey4 #bcb4 ,yellow and ,blue4--#a4 ,yellow1 ,blue1 c4 #b4 ,grey1 ,yellow1 ,blue1 ,grey1 c4 #c4 ,grey1 ,yellow1 ,grey1 ,blue1 ,grey1 c4 ,the two assortments1 two and three1 are inferior to the first4 ,the grey is heavy to yellow and blue2 its effect is inferior to that of white1 and perhaps also to that of black4 #bcc4 ,green and ,blue4--#a4 ,green1 ,blue1 c4 #b4 ,grey1 ,green1 ,blue1 ,grey1 c4 #c4 ,grey1 ,green1 ,grey1 ,blue1 ,grey1 c4 ,grey1 in its combination with green and blue1 has not the same objection as black1 but it has an inferior effect to white4 #bcd4 ,green and ,violet4--#a4 ,green1 ,violet1 c4 #b4 ,grey1 ,green1 ,violet1 ,grey1 c4 #c4 ,grey1 ,green1 ,grey1 ,violet1 ,grey1 c4 ,grey is not employed advantageously with green and violet1 it is inferior to white in the ternary arrangements1 and perhaps ,i should also give preference to black4 #bce4 ,blue and ,violet4--#a4 ,blue1 ,violet1 c4 #b4 ,grey1 ,blue1 ,violet1 ,grey1 c4 #c4 ,grey1 ,blue1 ,grey1 ,violet1 ,grey1 c4 ,the remarks made 7#bah7 in the assortment of black with blue and violet are applicable to the arrangement with grey1 taking into account the difference of tone which exists between grey and black4 ,recapitulation4 #bcf4 ,i will now give a summary of the observations which appear the most striking on reading the foregoing paragraphs1 premising1 however1 that ,i do not pretend to establish laws fixed upon scientific principles1 but to state general propositions which express my own peculiar taste4 #bcg4 #ast4 ,in the harmony of contrast the complementary arrangement is superior to every other4 ,the tones must be as nearly as possible of the same depth to produce the finest effect4 ,the complementary arrangement in which white associates most advantageously1 is that of blue and orange1 and that of yellow and violet is the least advantageous4 #bch4 #bnd4 ,the ,primaries1 ,red1 ,yellow1 and ,blue associated in pairs assort better together1 as a harmony of contrast1 than an arrangement formed of one of these primaries1 and of a binary colour in juxtaposition with it1 having the same primary as one of its elements4 ,examples4 ,red and ,yellow accord better than ,red and ,orange4 ,red and ,blue 0 0 ,red and ,violet4 ,yellow and ,red 0 0 ,yellow and ,orange4 ,yellow and ,blue 0 0 ,yellow and ,green4 ,blue and ,red 0 0 ,blue and ,violet4 ,blue and ,yellow 0 0 ,blue and ,green4 #bci4 #crd4 ,the arrangement of ,red1 ,yellow1 or ,blue with a binary colour containing the former1 contrasts the better1 as the simple colour is essentially more luminous than the binary4 ,whence it follows1 that in this arrangement1 it is an advantage for the red1 yellow1 or blue to be of lower tone than the binary colour4 ,examples4 ,red and ,violet accord better than ,blue and ,violet4 ,yellow and ,orange 0 0 ,red and ,orange4 ,yellow and ,green 0 0 ,blue and ,green4 #bdj4 #dth4 ,when two colours accord badly together1 it is always advantageous to separate them by ,white4 ,in this case it is more advantageous to place each colour next to white1 than in an assortment where the two colours are together beside white4 #bda4 #eth4 ,black never produces a bad effect when it is associated with two luminous colours4 ,it is therefore often preferable to ,white1 especially in an assortment where it separates the colours from each other4 ,examples4 #a4 ,red and ,orange4 ,black is preferable to white in the arrangements #b and #c of these two colours4 #b4 ,red and ,yellow4 #c4 ,orange and ,yellow4 #d4 ,orange and ,green4 #e4 ,yellow and ,green4 ,black1 with all these binary assortments1 produces harmony of contrast4 #bdb4 #fth4 ,black in combination with sombre colours1 such as blue and violet1 and with broken tones of luminous colours1 produces harmony of analogy1 which1 in many instances1 may have a good effect4 ,the harmony of analogy of black1 associated with blue and violet1 is preferable to the harmony of contrast of the assortment white1 blue1 violet1 white1 c41 the latter being too crude4 #bdc4 #gth4 ,black does not accord so well with two colours1 one of which is luminous1 the other sombre1 as when it is associated with two luminous colours4 ,in the first instance the combination is so much the less agreeable as the luminous colour is more brilliant4 ,with all the following assortments ,black is inferior to ,white4 #a4 ,red and ,blue4 #b4 ,red and ,violet4 #c4 ,orange and ,blue4 #d4 ,orange and ,violet4 #e4 ,yellow and ,blue4 #f4 ,green and ,blue4 #g4 ,green and ,violet4 ,with the assortment yellow and violet1 if it is not inferior to white1 it produces only a mediocre effect4 #bdd4 #hth4 ,although ,grey never produces exactly a bad effect in its association with two luminous colours1 yet in most cases its assortments are dull1 and it is inferior to ,black and ,white4 ,among the assortments of two luminous colours1 there are scarcely any besides those of red and orange with which grey associates more happily than white4 ,but it is inferior to it1 as also to black1 in the arrangements red and green1 red and yellow1 orange and yellow1 orange and green1 yellow and green4 ,it is also inferior to white1 with yellow and blue4 #bde4 #ith4 ,grey1 in combining with sombre colours1 such as ,blue and ,violet1 and with broken tones of luminous colours1 produces harmonies of analogy1 which have not the vigour of those with black2 although the colours do not combine well together1 it has the advantage of separating them from each other4 #bdf4 #ajth4 ,when ,grey is associated with two colours1 one of which is luminous the other sombre1 it will perhaps be more advantageous than ,white1 if this produces too strong a contrast of tone2 on the other hand1 it may be more advantageous than ,black1 if that increases too much the proportion of sombre colours4 ,examples4 ,grey associates better than ,black with-- #a4 ,orange and ,violet4 #b4 ,green and ,blue4 #c4 ,green and ,violet4 #bdg4 #aath4 ,if1 when two colours accord badly1 there is in principle an advantage in separating them by ,white1 ,black1 or ,grey1 it is important to the effect to take into consideration--#a4 ,the height of tone of the colours4 #b4 ,the proportion of sombre to luminous colours1 including1 in the first1 the broken brown tone of the brilliant scales1 and in the luminous colours1 the light tones of the ,blue and ,violet scales4 ,consider the height of tone of the colours4 #bdh4 ,the effect of white with red and orange is inferior as their tones become higher1 especially in the assortment white1 red1 orange1 white1 c42 the effects of the white being too crude4 ,on the contrary1 black unites very well with the normal tones of the same colours1 that is to say1 the highest tones without any mixture of black4 ,although grey does not associate so well as black with red and orange1 it has the advantage of producing a less crude effect than white4 ,consider the proportion of sombre to luminous colours4 #bdi4 ,whenever colours differ very much1 either in tone or in brilliancy1 from the black or white with which we wish to associate them1 that arrangement where each of the two colours is separated from the other by black or white1 is preferable to that in which the black or the white separate each pair of colours4 ,thus the assortment white1 blue1 white1 violet1 white1 c41 is preferable to the assortment white1 blue1 violet1 white1 c41 because the separation of the brilliant from the sombre is more equal in the first than in the second4 ,i should add that this is somewhat more symmetrical as to the position of the two colours1 and the principle of symmetry influences our judgment of things more than is generally recognised4 ,it is also in conformity with the above1 that the assortment black1 red1 black1 orange1 black1 c41 is preferable to the assortment black1 red1 orange1 black1 c4 #bej4 ,some remarks appear to me also necessary to prevent false deductions from the above propositions4 ,in the preceding examples1 the colours1 including white1 black1 and grey1 are supposed to occupy an equal extent of surface1 and to be placed at equal distances apart1 for without these conditions the results will be different2 for example1 ,i have preferred the assortment white1 red1 white1 yellow1 white1 to the assortment white1 red1 yellow1 white4 ,there are some cases in which the latter is preferable to the former1 as in the arrangement of flowers in gardens1 especially yellow and rose flowers1 which present less coloured surface than the white flowers with which they are associated4 #bea4 ,i have spoken of the good effects of black and green separated1 and ,i may add that green designs upon a black ground are also agreeable2 but it does not follow that black lace upon a green stuff will have a good effect1 at least on the optical quality of black1 for this acquires a rusty tint1 which resembles a faded colour4 #beb4 ,the more colours are opposed1 the easier it is to assort them2 because they do not experience by their mutual juxtaposition1 any modification which renders them disagreeable1 as generally happens to colours which are very nearly alike4 ,must we then conclude that with two colours which have in this case been indicated to an artist to be employed1 with some liberty to modify them1 he should endeavour to increase the effect of contrast rather than that of analogy8 ,certainly not2 for frequently the latter is preferable to the former4 ,for example3--,take orange-red and a pure red1 instead of increasing the yellow in the orange-red1 or of giving a violet hue to the red1 it sometimes will be preferable to incline towards the harmony of scale or of hue1 by endeavouring to make the orange one of the light tones of a scale whose red will be brown4 #bec4 ,in conformity with this manner of observing1 when we would avoid the bad effect of two adjacent colours by white1 black1 or grey1 we must see whether1 instead of a harmony of contrast1 it may not be better to obtain the harmony of analogy4 #bed4 ,finally1 when we bring into combination not normal grey1 but a coloured grey1 we are always sure of obtaining an effective harmony of contrast by taking a grey coloured with a complementary of that opposed to it4 ,thus an orange-grey or carmelite-brown or maroon has a good effect with light blue4 ,,first ,,division4--,,imitation ,,of ,,coloured ,,objects ,,with ,,coloured ,,materials ,,in ,a ,,state ,,of ,,infinite ,,division4 ,,introduction4 #bee4 ,coloured materials1 such as ,prussian blue1 chrome-yellow1 vermilion1 c41 are infinitely divided1 so to speak1 either when ground pure1 or mixed with a white material1 in a gummy or oily liquid4 ,the reproduction of the images of coloured objects with these pigments is called the ,art of ,painting4 #bef4 ,there are two systems of ,painting--the one consists in representing as accurately as possible upon a flat surface an object in relief in such a way that the image makes an impression upon the eye of the spectator similar to that which the object itself would produce4 ,this is termed the ,art of ,chiaro-'scuro4 #beg4 ,there is a means of imitating coloured objects much simpler in its facility of execution than the preceding4 ,it consists in tracing the outline of the different parts of the model1 and in colouring them uniformly with their peculiar colours4 ,there is no relief1 no projection2 it is the plane image of the object1 since all the parts receive a uniform tint3 this system of imitating is ,painting in ,flat ,tints4 ,,painting ,,on ,,the ,,system ,,of ,,chiaro-',,scuro4 #beh4 ,are the modifications perceived in a single coloured object1 for example1 in a blue or red stuff1 c41 indeterminable1 when these draperies are seen as draperies of a vestment or furniture1 with more or less distinct folds1 or are they determinable1 in given circumstances8 ,this is a question of which ,i am about to attempt a solution4 #bei4 ,firstly1 let us distinguish three circumstances in which modifications of colours may be observed3-- #a4 ,modifications produced by coloured lights falling upon the model4 #b4 ,modifications produced by two different lights--as1 for example1 the light of the sun and diffused daylight--each illuminating different parts of the same object4 #c4 ,modifications produced by diffused daylight4 #bfj4 ,we will suppose that in the two first cases the lighted surfaces are plane1 and that all their superficial parts are homogeneous1 and in the same conditions1 except that of light4 ,in the third case1 we shall consider the position of the spectator viewing an object lighted by diffused daylight1 the surface of which is not so disposed as to act equally in all its parts upon the light which it reflects to the eye of the spectator4 #bfa4 ,modifications produced by coloured lights4 ,red rays falling on ,black make it appear ,purple-black4 0 ,white 0 ,red4 0 ,red 0 ,redder4 0 ,orange 0 ,redder4 0 ,yellow 0 ,orange4 0 ,deep ,green 0 ,red-black4 0 ,light ,green 0 ,reddish-grey4 0 ,light ,blue 0 ,violet4 0 ,violet 0 ,purple4 #bfb4 ,modifications produced by ,orange light4 ,orange rays falling on-- ,black make it appear ,maroon1 or ,carmelite-brown4 ,white 0 ,orange4 ,orange 0 ,more vivid4 ,red 0 ,scarlet4 ,yellow 0 ,yellow-orange4 ,light ,green 0 ,yellow-green4 ,deep ,green 0 ,rusty-green4 ,light ,blue 0 ,orange-grey4 ,deep ,blue 0 ,grey1 slightly ,orange-grey4 ,indigo ,blue 0 ,orange-maroon4 ,violet 0 ,red-maroon4 #bfc4 ,modifications produced by ,yellow light4 ,yellow rays falling on-- ,black make it appear ,yellow-olive4 ,white 0 ,light ,yellow4 ,yellow 0 ,orange-yellow4 ,red 0 ,orange4 ,orange 0 ,yellower4 ,green 0 ,greenish-yellow4 ,light ,blue 0 ,yellow-green4 ,deep ,blue 0 ,green-slate4 ,indigo 0 ,orange-yellow4 ,violet 0 ,yellow-maroon4 #bfd4 ,modifications produced by ,green light4 ,green rays falling on-- ,black make it appear ,greenish-brown4 ,white 0 ,green4 ,green 0 ,more intense and brilliant4 ,red 0 ,brown4 ,orange 0 ,faint ,yellow1 a little ,green4 ,green 0 ,greener1 according to its depth4 ,indigo 0 ,dull ,green4 ,violet 0 ,bluish-green ,brown4 #bfe4 ,modifications produced by ,blue light4 ,blue rays falling on ,black make it appear ,blue-black4 ,black 0 ,white 0 ,blue4 0 0 ,blue 0 ,more vivid4 0 0 ,red 0 ,violet4 ,brown1 having a 0 0 ,orange 0 pale tint of ,violet4 ,blue 0 ,yellow 0 ,green4 0 0 ,green 0 ,blue-green4 0 0 ,indigo 0 ,dark-blue ,indigo4 0 0 ,violet 0 ,dark-blue ,violet4 #bff4 ,modifications produced by ,violet light4 ,very faint ,violet rays falling on ,black make it appear ,violet-black4 0 0 ,white 0 ,violet4 0 0 ,violet 0 ,deeper ,violet4 ,red-violet 0 0 ,red 0 ,purple4 0 0 ,orange 0 ,light ,red4 ,brown1 with a 0 0 ,yellow 0 very slight tint of ,red4 0 0 ,green 0 ,light ,purple4 ,fine ,blue 0 0 ,blue 0 ,violet4 ,deep ,blue 0 0 ,indigo 0 ,violet4 #bfg4 ,it is understood that to represent the preceding phenomena exactly1 we must take into account the facility with which coloured light penetrates every kind of glass1 the more or less intense colour of the stuff1 and the kind of scale to which the coloured stuff and that of the transmitted coloured light respectively belong4 #bfh4 ,these observations were made by partially exposing coloured stuffs to the sun's rays transmitted through coloured glasses4 ,the portion of stuff not exposed to these rays1 was lighted by the direct light of the sun4 ,the portion of stuff which received the action of the coloured rays being exposed to diffused daylight1 reflected also rays of that light which it would have reflected in case it had been protected from the influence of the rays transmitted to it through coloured glasses4 #bfi4 ,,ii4 ,modifications produced by two lights of different intensity4 #bgj4 #a4 ,the modification by the light of the sun falling upon one part of the surface of a coloured body1 while the other part is enlightened by diffused daylight4 #b4 ,the modification produced when two parts of the same object are unequally illuminated by diffused daylight4 ,an object lighted partly by the sun1 and partly by diffused daylight4 #bga4 ,to observe this kind of modification properly1 let us expose to the sun a square piece of stuff ,a ,b1 two and a half inches broad 7,plate ,i41 fig #d7 and place in the middle a piece of black wire f1 f2 then put parallel to this1 and in the middle between ,a and ,b1 two wires e1 e and g1 g1 of about three-tenths of an inch in width4 ,the extremity g is fixed upon a perpendicular plane1 so high1 that all the part ,b f1 f may be in shadow4 #bgb4 #a4 ,if the stuff is red1 the lighted portion ,a is more orange or less blue than the part ,b1 which is in shade2 and the portion a is more orange than the portion a1 as the portion b is bluer than the portion b4 #bgc4 #b4 ,if the stuff is orange1 ,a is more orange or less grey than ,b2 and the portion a is deeper1 more vivid than a1 as b is more grey and duller than b4 #bgd4 #c4 ,if the stuff is yellow1 ,a is more vivid1 more orange than ,b2 a is more so than a1 as b is duller than b4 #bge4 #d4 ,if the stuff is green1 ,a is less blue or more yellow than ,b2 and a is of a yellower green than a1 as b is bluer than b4 #bgf4 #e4 ,if the stuff is blue1 ,a is less violet and more green than ,b2 and a is greener than a1 as b is more violet or less green than b4 #bgg4 #f4 ,if the stuff is indigo1 ,a is redder or less blue than ,b2 and a is redder than a1 as b is deeper or bluer than b4 #bgh4 #g4 ,if the stuff is violet1 ,a is less blue than ,b2 and a is redder than a as b is bluer than b4 #bgi4 #bnd4 ,two contiguous parts of the same object unequally illuminated by the same light1 when viewed simultaneously1 differ from each other1 not only in depth of tone1 but also in optical composition of colour4 ,place half-a-sheet of coloured paper 7,plate ,i41 fig4 #e7 upon the partition b1 of a chamber receiving diffused daylight by a window f3 place another half-sheet upon the partition a1 in such a manner that it will be lighted directly by the diffused light1 while the other is only indirectly lighted by reflection from the walls1 floor1 and ceiling3 the diffused light thus reflected being only white light1 then stand at c1 so as to see both half-sheets at once4 ,i shall designate that which is upon the partition a1 and most lighted1 by ,a1 and the other1 which is upon the partition b1 and less lighted1 by ,b4 ,these letters in the plate indicate the respective positions of the half-sheets4 #bhj4 ,the inference from these observations is1 that the colour of the same body varies1 not only in intensity of tone1 but also of hue1 according as it is lighted directly by the sun1 by diffused daylight1 or by diffused reflected light4 ,this result must never be overlooked whenever we define the colours of material objects4 #crd4 ,modifications produced by diffused daylight reflected by a surface all the parts of which are not in the same position relatively to the eye of the spectator4 #bha4 ,distant bodies are rendered perceptible to the eye only in proportion as they radiate or reflect1 or transmit the light which acts upon the retina4 ,according to the laws of reflection1 it happens that those portions of a surface which are in relief1 or hollow1 must reflect the light in such a manner1 that the eye of the spectator1 in a given position1 will see these parts very variously lighted1 in respect to the intensity of reflected light1 so that the parts of this surface will be1 relatively to the eye1 in the same condition as the homogeneous parts of a plane surface1 which are illuminated by lights of unequal intensity4 ,there will be this difference1 however1 that the parts of the surface of a body which appears to us hollow1 and especially in relief1 being but feebly varied in the greater number of contiguous parts1 there will be generally a gradual diminution of the effects observed in the case in which we have studied the modifications of two plane homogeneous surfaces1 lighted by diffused lights of unequal intensity4 ,the sphere presents a remarkable example of the manner in which light is distributed over a convex surface1 relatively to the eye of an observer1 who views it from a given position4 #bhb4 ,i shall not occupy myself with this gradation of white light1 from parts illuminated to those which do not appear so4 ,i regard only the principal modifications1 and take for examples the cases where they are as evident as possible4 ,these modifications can be reduced to the four following3-- ,first modification1 produced by the maximum of white light which the surface of a coloured body is capable of reflecting4 #bhc4 ,other things being equal1 the more highly the surface of a body is polished1 the more it will reflect white and coloured light4 ,if we observe the surface of a stick of sealing-wax1 suitably placed1 we shall perceive a white stripe parallel to the axis of the cylinder1 produced by so large a quantity of colourless reflected light that the red light reflected from this stripe is not appreciable by the eye4 ,thus the white light reflected by a coloured body may be of sufficient intensity to render the colour of the body in some of its parts imperceptible4 ,second modification1 produced by those parts of a coloured surface which send to the eye1 in proportion to the coloured light1 less white light than the other parts differently lighted1 or differently placed in relation to the spectator4 #bhd4 ,when the eye sees certain parts of the surface of a polished or uniformly coloured object which reflects to it proportionally to the coloured light less of white light than the other parts1 the first parts will appear in most cases of a more intense tone of colour than the second4 ,we will cite the following3-- ,example #a4--;,a cylinder of red sealing-wax presents1 proceeding from the white stripe mentioned above1 a red colour deeper in proportion as less white light reaches the eye4 ,thus1 in a certain position where the white stripe appears to be in the middle of the cylinder1 the part most lighted will appear coloured1 reflecting a red inclining to scarlet1 while that which is the least lighted reflects a red inclining to crimson4 ,example #b4--;,if the eye is directed into a gold vase of sufficient depth1 the gold does not appear yellow as on the exterior surface1 but of a red-orange2 because less white light1 in proportion to coloured light1 reaches the eye in the first case than in the second4 ,it is for this reason that the concave parts of gold ornaments appear redder than the convex4 ,example #c4--,the spiral thread of a piece of twisted silk or wool held perpendicularly before the eye1 appears in the part opposite to the light1 of a much more decided colour than on the rest of the surface4 ,example #d4--,the folds of bright draperies present the same modification to an eye properly placed2 the effect is particularly remarkable in yellow silk stuffs1 and in sky-blue2 for we can easily understand that it is less marked when the stuffs are less bright and of dark colours4 ,example #e4--,there are some stuffs which appear to be of two tones of the same scale of colour1 and sometimes also of two tones of two contiguous scales1 although the weft and the warp of these stuffs are of the same tone and the same colour4 ,the cause of this appearance is very simple2 the threads which1 parallel to each other1 form the designs1 are in a different direction to the threads which constitute the ground of the stuff4 ,hence1 whatever may be the position of the spectator with regard to the stuff1 the threads of the design will always reflect coloured and white light in a different proportion to that reflected by the threads of the ground1 and1 according to the position of a spectator1 the design will appear to be lighter or darker than the ground4 ,third modification4--,the colour complementary to that of a coloured object developed in one of its parts1 in consequence of simultaneous contrast4 #bhe4 ,a natural consequence of the law of simultaneous contrast in general1 and of the effect of a colour upon grey and black in particular1 is1 that since the same object presents some parts more or less dark1 contiguous to some parts where we see the colour peculiar to the object1 the first parts will appear tinted with the complementary to this colour4 ,but to observe this effect1 it is necessary that the grey part should reflect to the eye white light1 and little or none of the coloured light which the object naturally reflects4 ,fourth modification1 in a single coloured stuff4 #bhf4 ,for example1 if the eye is directed towards a window which admits daylight1 and a person clothed in a new blue coat1 dyed with indigo or ,prussian blue1 be at the window1 the eye will see one part of the coat will appear different from the other part1 because the nap of the cloth is disposed in a contrary direction2 one being of a fine blue1 while the other is of an orange-grey1 by the effect of contrast of the blue part with a part that reflects very little white light to the eye1 without1 or almost without1 blue light4 #bhg4 ,but as the pile of the nap loses its regular position by wear1 the cloth becoming dull and soiled1 the coloured light is reflected irregularly from all points2 and the effect is either absolutely destroyed or much weakened4 ,if the garment be of a deep green1 the grey part will appear reddish2 if it be of a violet1 maroon1 or claret1 the grey part will appear yellow4 #bhh4 ,the complementary is only developed upon cloths of dark and sombre colours2 thus red1 scarlet1 orange1 yellow1 and light blue garments do not exhibit it1 because they have always too much of the essential colour which is reflected4 ,the modification occurs only when one of the parts is more strongly illuminated than the other by diffused light 7#bgi74 #bhi4 ,there is also one circumstance where the fourth modification will appear evident2 it is when we look at a series of light tones--blues1 rose1 c4 7belonging to the same scale7--of a skein of silk or wool1 placed upon an easel1 that one-half of the same skein presents to the eye the threads disposed in a contrary direction to those of the other half4 ,the half of the skein which does not reflect coloured light to the eye1 appears tinted with the complementary of the other half which does reflect it4 #bij4 ,fourth modification in a stuff presenting a dark and a light tone belonging to the same scale4 ,if we place in juxtaposition a dark tone and a light tone of the same scale1 well assorted1 the light tone will appear of the colour complementary to the scale to which it belongs4 ,this modification is too important to allow me to pass it over hastily4 #bia4 ,when we look for several seconds on a fabric dyed with a coloured ground1 and on which therefore patterns intended to be white1 but which1 owing to the imperfection of the process employed1 have received a light tone of the colour of the ground1 the patterns will appear of the colour complementary to the latter4 ,thus1 upon a ground of yellow-chromate of lead1 they will appear violet2 upon a ground of orange-chrome1 they will appear blue2 upon a green ground1 rose1 c4 ,to dispel the illusion1 and to recognise the true tint of the pattern1 it is only necessary to cover the ground with a white paper so perforated as to leave visible only the pattern coloured like the ground4 ,the influence of a dark tone upon a feeble tone is such1 that not only is the latter neutralized1 but the place it occupies upon the cloth appears also tinted with its complementary colour4 #bib4 ,from the preceding observations it follows that there may be a printed cotton1 the design of which1 although coloured1 will appear to most eyes white1 and not of the complementary of the ground4 ,for those eyes which see it thus1 the perception of the phenomenon of contrast will correct the imperfection of the art of the calico-printer4 #bic4 ,in the ,lectures upon ,contrast1 which ,i delivered in #ahcf1 at the ,gobelins1 ,i remarked1 that in applying paper 7cut for the purpose7 upon the lights of a blue drapery of the ,virgin in a tapestry representing the ,holy ,family1 after ,raphael1 they appeared of a light blue1 although1 when they were seen surrounded with darker tones1 they appeared of an orange tint4 #bid4 ,we can conceive without difficulty that if the modification is not manifested with monochromous objects of vivid colours1 as yellow1 scarlet1 c41 it is because that part of the surface of these objects which reflects the least light to the eye1 always reflects enough of its peculiar colour to neutralize the complementary which the coloured light of the illuminated portion tends to develop4 ,i believe that this effect tends to enfeeble the coloured light of the shaded part4 #bie4 ,although1 in this chapter1 ,i do not propose to treat of the modifications shown by coloured stuffs with white designs2 yet1 as it is a case so connected with the preceding considerations1 ,i cannot avoid mentioning them in this place4 #bif4 ,if we observe a sky-blue silk with white flowers1 the weft of which is in an opposite direction to the weft of the blue ground1 we shall see the flowers white1 if they are placed in the most favourable manner to receive the white light reflected by them2 while1 in the contrary position1 we shall see these flowers absolutely orange4 ,there is still much white light reflected1 but it is not sufficiently vivid to neutralize the development of the complementary of the ground4 ,,painting ,,on ,,the ,,system ,,of ,,flat ,,tints4 #big4 ,in painting by flat tints1 the colours are neither shaded1 blended together1 nor modified by the coloured rays coming from the surrounding parts of the picture4 ,in pictures which belong to this kind of painting1 the representation of the model is reduced to the observance of linear perspective1 to the employment of vivid colours in the nearer parts1 and of pale and grey colours in the more distant4 ,if the choice of contiguous colours has been made conformably to the law of simultaneous contrast1 the effect of the colour will be greater than if it had been painted on the system of chiaro-'scuro4 #bih4 ,in every instance where painting is an accessory1 and not a principal feature1 painting in flat tints is in every respect preferable to the other kind4 #bii4 ,the essential qualities of painting in flat tints necessarily reside in the good choice of colours and well drawn outlines4 ,these outlines contribute to render the impressions of colours stronger and more agreeable1 when1 circumscribing forms clothed in colours1 they concur with them in suggesting to the mind a graceful object1 when even the imitation of it does not give a faithful representation4 #cjj4 ,we may1 in conformity with what has been said1 consider that painting in flat tints may be advantageously employed1 #a4 ,when the objects represented are at such a distance that the finish of an elaborate picture would disappear4 #b4 ,when a picture is an accessory1 decorating an object whose use would forbid too elaborate finish1 and which would also be too costly4 ,such are the paintings which ornament screens1 work-boxes1 tables1 c42 in this case the objects preferable as models1 are those whose beauty of colours and simplicity of form are so remarkable as to attract the eye by simplicity of outline1 and by vivid colours3 such are birds1 insects1 flowers1 c4 ,,section ,,iii4 ,,on ,,colouring ,,in ,,painting4 ,,chapter ,i4 ,on ,colouring4 #cja4 ,true or absolute colouring is the faithful reproduction in painting of the modifications that light enables us to perceive in the objects taken for models4 #cjb4 ,in the ordinary use of the word colouring1 we allude to the more or less perfect manner in which the painter has complied with the rules1 #a4 ,of arial perspective4 #b4 ,of the harmony of local colours1 and of the colours of the different objects composing the picture4 ,,article ,i4 ,of ,arial ,perspective4 #cjc4 ,we must not believe that the employment of many colours in a composition is indispensable to give the epithet of colourist to the artist1 for in pictures painted in one colour only1 the simplest of all1 in which we only distinguish two colours including white1 the artist may be honoured with the title of colourist1 if his work presents lights and shades distributed as they are upon the model4 ,to convince ourselves of the justice of the expression1 it will suffice to remark that the model might very well appear to the painter coloured with a single colour1 modified by light and shade4 ,in the same sense this epithet may be applied to the engraver1 who1 by means of his burin1 reproduces a picture as faithfully as possible1 in respect both to the arial perspective of its different planes1 and to the relief of each particular object4 #cjd4 ,a painter who has faithfully reproduced the arial perspective1 with all its modifications of white and coloured light and of shades1 has effected a true or absolute colouring1 which1 however1 may not be universally deemed as perfect as that in which this quality of absolute colouring is not found1 at least in the same degree of perfection4 ,imperfectly faithful imitation4 #cje4 ,a painter may have perfectly seized upon all the modifications of white and coloured light1 but in his imitation1 some of these modifications are more strongly marked than in nature4 ,it almost always happens that true but exaggerated colouring is more agreeable than absolute colouring2 and that many persons who experience pleasure in seeing the modifications of exaggerated coloured light which a picture may exhibit1 do not feel the same pleasure from the sight of a model1 because the modifications corresponding to those which are imitated in excess are not sufficiently prominent to be evident to them4 ,besides the relish of the eye for an excess of an exciting cause1 is essentially analogous to the inclination we have for food and drink of a pungent flavour and odour4 #cjf4 ,a painter may have perfectly seized all the modifications of light which bring forward the planes and the relief of objects2 the modifications of the coloured light of his picture may be true1 but the colours may not be those of his model4 ,as in pictures in which there is a dominant colour1 not found in the model1 which is often called the tone of such a picture1 and the tone of such a painter1 if he uses it habitually4 #cjg4 ,we may form a very just idea of these pictures1 by supposing the artist to have painted them while looking at his model through a glass of precisely the colour1 to enable him to see the tint which predominates in his imitation4 ,we may mention as an example1 of this kind of imitation1 a landscape painted from its reflection in a black mirror1 the effect of which is very soft and harmonious4 ,thus we speak of brilliant or warm1 cold or dull colouring4 ,of ,colouring in respect to the ,harmony of the ,colours of the various objects composing the ,picture4 #cjh4 ,the colouring of the picture may be true or absolute1 and yet not agreeable in effect because the colours of the objects are not harmonious4 ,on the contrary1 a picture may please by the harmony in the local colours of each object1 and by that of the colours of objects contiguous to each other1 and yet may offend in its gradation of lights and shades1 and by the fidelity of its colours4 ,in a word1 it offends by true or absolute colouring1 while a picture in flat tints1 the colours of which are perfectly assorted for the eye1 although not those which belong to the objects imitated1 produces1 with regard to general harmony of colours1 an extremely agreeable effect4 #cji4 ,the general conclusion resulting from the analysis just made of the word colouring1 is1 that the epithet colourist may be applied to painters endowed1 in very different degrees1 with the faculty of imitating coloured objects by means of painting4 #caj4 ,they who know the difficulties of chiaro-'scuro and drawing1 may give the name of colourists to painters remarkable for the skill with which they bring out objects placed upon the different planes of their pictures1 by means of correct drawing and a skilful gradation of light and shade1 even when their pictures do not exactly produce every modification of coloured light1 and have not this harmony of different colours properly distributed to complete the effects of perfect colouring4 #caa4 ,persons unaccustomed to judge of painting1 or chiaro-'scuro1 are generally inclined to refuse the title of colourist to such painters1 while they unhesitatingly accord it to others who reproduce the modifications of coloured light1 and who tastefully distribute the different colours of their pictures4 ,besides1 the eye is so powerfully influenced by colour1 that frequently those who are strangers to painting can only conceive a colourist to be skilful whose tints are vivid1 although his works may evince a want of observation4 #cab4 ,we see by this how judgments will differ according to the importance respectively attached to one quality of colouring rather than to another4 #cac4 ,for a painter to be a perfect colourist1 he must not only imitate the model by reproducing the image faithfully1 with respect to the variously coloured light1 but also with regard to harmony of tints in the local colours1 and in the colours of the different objects imitated4 ,and although there are colours inherent to the model1 which the painter cannot change without being unfaithful to nature1 yet1 in every composition1 there are also colours at his disposal which must be chosen so as to harmonize with the rest4 ,we shall return to this subject in the next chapter4 #cad4 ,it is thus evident1 that when a change in the colours of a picture has been effected by time1 it is impossible to decide whether the artist who painted it should be called a perfect colourist 7#caj74 ,but if we refer to what ,i have said of the painter who has correctly seized all the modifications of light adapted to bring out the distances and relief of objects1 who has truly represented the modifications of coloured light1 but which are not those of the model 7#cab71 we may very easily conceive how1 at the present day1 after the lapse of centuries1 we may apply the name of colourist to ,albano1 ,titian1 ,rubens1 and others4 ,in fact1 the pictures of these great masters now present to us gradations1 more or less perfect1 of light and shade1 and such harmonies of colours1 that it is impossible to mistake or not to admire them2 and the idea that many pictures1 not more than twenty or five-and-twenty years old1 painted by artists of undoubted ability1 have failed in colour more than the preceding1 also increases our admiration of the latter4 ,,chapter ,,ii4 ,utility of the ,law of ,simultaneous ,contrast of ,colours in the ,art of ,colouring4 #cae4 ,as to the advantages the painter will find in it when it is required1-- #a4 ,to perceive and to imitate promptly and surely the modifications of the light on the model4 #b4 ,to harmonize those colours of a composition which are essentially inherent to the nature of the objects to be produced4 #caf4 ,we learn by the law of simultaneous contrast of colours1 that when we regard attentively two coloured objects at the same time1 neither of them appears of the colour peculiar to it2 that is to say1 such as it would appear if viewed separately1 but of a tint resulting from the peculiar colour and the complementary of the colour of the other object4 ,on the other hand1 if the colours of the objects be not of the same tone1 the lightest tone will be lowered1 and the darkest tone will be heightened4 #cag4 ,the first conclusion from this is1 that the painter will rapidly appreciate in his model the colour peculiar to each part1 and the modifications of tone and of colour which they receive from contiguous colours4 ,he will also perceive and be prepared to imitate modifications in them1 which1 if they had not always escaped him because of their feeble intensity1 might have been disregarded1 because the eye is peculiarly susceptible of fatigue when it seeks to disentangle modifications1 the cause of which is unknown1 and which are not very prominent4 #cah4 ,let us now return to mixed contrast 7#gg et seq471 in order to make it evident that the painter is liable to see the colours of his model inaccurately4 ,as the eye1 after observing one colour for a certain time1 has acquired a tendency to see its complementary1 and as this tendency is of some duration1 it follows1 not only that the eyes of the painter thus affected cannot see correctly the colour which he had for some time looked at1 but also whatever colour he sees while this modifying influence lasts4 ,so that1 conformably to what we know of mixed contrast1 he will see1--not the colour which is before him1--but the result of this colour1 and of the complementary of that seen previously4 ,it must be remarked1 that besides the want of clearness of view which will arise1 in most cases1 from the want of exact coincidence of the second image with the first--for example1 when the eye has seen a sheet of green paper ,a 7,plate ,,iii41 fig4 #d71 in the first place1 and1 in the second place1 a sheet of blue paper1 ,b1 of the same dimensions1 but placed differently1 this second image1 not being coincident in all its surface with the first1 ,a1 as represented in the figure1 the eye will see the sheet ,b violet only in the part where the two images coincide4 ,consequently1 this defect of perfect coincidence of images will affect the outline of the second image1 as well as the colour which it really possesses4 #cai4 ,we can establish three conditions in the appearance of the same object relatively to the state of the eye2 in the first1 the organ simply perceives the image of the object without taking into account the distribution of colours1 light1 and shade2 in the second1 the spectator1 seeking to understand this distribution1 observes it attentively1 when the object presents to him all the phenomena of simultaneous contrast of tone and colour that it is capable of exciting in him4 ,in the third case1 the organ1 from the prolonged impression of the colours1 possesses in the highest degree a tendency to see the complementary of these colours2 these different states of the organ being continuous4 ,i have no doubt that the dull colouring with which many artists of merit have been reproached is partly due to this cause1 as ,i shall show more minutely hereafter4 ,utility of this ,law to facilitate the prompt ,imitation of ,modifications of ,light on the ,model4 #cbj4 ,the painter1 knowing that the impression of one colour beside another is the result of the mixture of the first with the complementary of the second1 has only to estimate mentally the intensity of the influence of this complementary1 to reproduce faithfully in his imitation the complex effect which he has before his eyes4 #cba4 ,a painter wishing to imitate a white stuff with two contiguous borders1 one red1 the other blue1 perceives each of them changed by the influence of their reciprocal contrast2 thus the red becomes more and more orange1 in proportion as it approaches the blue1 as this latter becomes more and more green as it approaches the red4 ,the painter1 therefore1 making the borders of a single red and a single blue1 reduced in some parts by white or by shade1 will reproduce the effects he wishes to imitate4 ,whenever it is found that the painting is not sufficiently marked1 he is sure of what he must add without departing from the truth1 farther than by exaggerating a little 7#cje74 #b4 ,a grey pattern drawn upon a yellow ground3 the ground may be of paper1 silk1 cotton or wool2 according to its contrast1 the design will appear of a lilac or a violet colour 7#ff74 ,the painter who would imitate this object1 can reproduce it faithfully with grey4 ,but if a painter1 ignorant of the reciprocal influence of blue and red1 convinced that he must represent what he sees1 adds green to his blue1 and orange to his red2 as in the second example1 he will trace a pattern more or less violet upon the yellow ground4 ,now1 supposing that the painter had perfectly seized the modifications of the model1 and1 subsequently1 had retouched his copy sufficiently to produce a perfectly faithful effect1 it is evident it would have been perfect only after a number of trials1 since he must have effaced what was first done4 #c4 ,i cite a third example of the influence of contrast1 not relating to colours1 like the two preceding1 but to the different tones of the same colour1 contiguous to each other4 ,suppose several bands in juxtaposition1 #a1 #b1 #c1 #d1 7,plate #a1 fig4 #c71 of different tones in flat tints of the same scale1 to form part of an object3 to imitate it perfectly1 it is evident that it must be painted in flat tints2 but this object will appear to the eye a channeled surface1 the lines where the two bands touch will appear like a relief by the effect of contrast of tone 7#i-aa72 therefore1 if the painter is ignorant of this1 he will reproduce1 not an absolute copy of the model1 but an exaggerated one4 ,i the more willingly cite this example1 because it gave me an opportunity of enabling a most skilful paperstainer to appreciate the utility of the law of simultaneous contrast4 ,in going with him over his factory1 he showed me a chimney-board representing a child whose figure stood out from a ground formed of two circular bands in grey flat tints2 #a and #b 7,plate ,i41 fig4 #g72 the first was higher than the second2 the phenomenon of contrast of tone was manifested at the borders1 a a1 of the two bands1 so that the part of the band #b1 contiguous to the band #a1 was darker than the rest1 as the part of the band #a1 contiguous to #b1 was lighter than the rest1 conformably to what has been stated above 7#aa74 ,this effect1 not being what the skilful artist wished to obtain1 he inquired of me how it was to be avoided4 ,i replied1 that the grey of the band #b must be reduced with white1 in proportion as it approached the border a a2 and1 on the contrary1 the grey of the band #a must be strengthened with black1 in proper gradations1 beginning at the same border4 ,and ,i proved to him1 that to imitate the model faithfully1 we must copy it differently from what we see it4 #cbb4 ,from the above we educe the six following principles3-- #a4 ,put a colour upon a canvas1 it not only colours that part of the canvas to which the pencil has been applied1 but it also colours the surrounding space with the complementary of that colour4 ,thus1 a red circle is surrounded with a green areola1 becoming weaker as it extends from the circle3-- ,a green circle is surrounded with a red areola4 ,an orange 0 0 blue 0 ,a blue 0 0 orange 0 ,a yellow 0 0 violet 0 ,a violet 0 0 yellow 0 7,see ,plates #c1 #d1 #e47 #b4 ,white placed beside a colour heightens its tone2 it is as if we took away from the colour the white light which enfeebled its intensity 7#dd-eb74 #c4 ,black placed beside a colour weakens1 and in some cases impoverishes1 its tone1 as upon certain yellows 7#ee74 ,it is1 in fact1 adding to black the complementary of the contiguous colour4 #d4 ,put grey beside a colour1 the latter is rendered more brilliant1 and at the same time it tints this grey with its complementary 7#fc74 #cbc4 ,from this principle it results that in many cases where grey is near to a pure colour in the model1 the painter1 if he wishes to imitate this grey which appears to him tinted with the complementary of the pure colour1 need not use a coloured grey1 as the effect will be produced in the imitation by the juxtaposition of the colour with the grey contiguous to it4 ,besides1 the importance of this principle cannot be doubted1 when we consider that all the modifications which a monochromous object presents 7excepting those which result from the reflections of coloured lights emanating from neighbouring objects17 arise from the different relations of position between the parts of the object and the eye of the spectator2 so that it is strictly true to say that1 to reproduce by painting all these modifications1 it suffices to have a colour exactly identical to that of the model1 with black and white4 ,in fact1 with white we can reproduce all the modifications due to the weakening of the colour by light1 and with black1 those which are due to the height of its tone4 ,if the colour of the model in certain parts gives rise to the manifestation of its complementary1 because these parts do not return to the eye enough colour and white light to neutralize this manifestation1 the modification may be imitated by the employment of a normal grey tone1 properly surrounded with the colour of the object4 ,it is necessary1 in many cases1 to employ with the colour of the object the colours which are near it2 that is to say1 the hues of the colour4 ,for example2 in imitating a rose1 we can employ red shaded with a little yellow1 and a little blue1 or1 in other terms1 shaded with orange and violet2 but the green shadows which we perceive in certain parts arise from the juxtaposition of red and normal grey4 #e4 ,to put a dark colour near a different1 but lighter colour1 is to heighten the tone of the first1 and to lower that of the second1 independently of the modification resulting from the mixture of the complementaries4 ,an important consequence of this principle is1 that the first effect may neutralize the second1 or even oppose it4 ,for example2 a light blue placed beside a yellow tinges it orange1 and consequently heightens its tone2 while there are some blues1 so dark relatively to the yellow1 that they weaken it so much as not only to hide the orange tint1 but even to cause sensitive eyes to feel that the yellow is rather green than orange4 ,a very natural result1 if we consider that the paler the yellow1 the greener it appears4 #f4 ,put beside each other two flat tints of different tones of the same colour1 chiaro-'scuro is produced1 because1 in setting out from the line of juxtaposition1 the tint of the band of the highest tone is insensibly enfeebled1 while1 setting out from the same line1 the tint of the band of the lowest tone becomes heightened2 thus there is a true gradation of light4 ,the same gradation takes place in all the juxtapositions of colours distinctly separated4 ,i believe that attention to these principles1 and especially a perfect knowledge of the consequences of the last three1 exercises a very happy influence upon the art of painting1 giving to the artist such a knowledge of colours as he cannot possess before the law of their simultaneous contrast and its consequences have been developed4 ,among the details which the painter endeavours to render1 there are many which1 due to contrast1 either of colour or of tone1 must be produced spontaneously4 ,i presume that the ,greek painters1 whose palette was composed only of black1 white1 red1 yellow1 and blue1 and who executed so many pictures which their contemporaries have spoken of with intense admiration1 painted conformably to the simple method of which ,i speak2 devoting themselves to great effects1 many small ones resulted from them4 ,utility of the ,law in order to ,harmonize those ,colours of a ,composition which are ,inherent to the ,nature of the ,object represented4 #cbd4 ,in all1 or nearly all1 compositions of painting1 we must distinguish the colours which the painter is under the necessity of using1 and those which he may choose1 because1 unlike the former1 they are not inherent to the model 7#cac74 ,for example1 in painting a human figure1 the colour of the flesh1 the eyes1 and the hair1 are fixed by the model2 but the painter has a choice of draperies1 ornaments1 background1 c4 ,in an historical picture1 the flesh colours are1 in the majority of the figures1 at the choice of the painter1 as are also the draperies and all the accessories1 which can be placed and imagined according to his judgment4 ,in a landscape1 the colours are determined by the subject1 yet not so arbitrarily but that we can substitute for the true colour that of a neighbouring scale2 the artist may choose the colour of the sky1 imagine numerous accidental effects1 introduce into his composition animals1 draped-figures1 carriages1 c41 of which the form and colour may be so selected as to produce the best possible effect with the actual objects of the scene4 #cbe4 ,a painter may also choose a dominant colour which produces1 on every object in his composition1 the same effect as if they were illuminated by a light of the same colour1 or as if they were seen through a coloured glass 7#bei74 #cbf4 ,although the law of contrast affords different methods of imparting value to a colour1 genius alone can indicate the mode in which this idea should be realized in a painting4 #cbg4 ,whenever the artist would attract the eye by colours1 doubtless the principle of harmony of contrast must be his guide4 ,the law of simultaneous contrast indicates the means of giving value to the pure colours by each other2 means which1 although spoken of1 are but little known1 as may be commonly seen in portraits of vivid colours1 badly assorted2 and in those numerous small compositions in tints broken with grey1 where we look in vain for a pure tone2 which1 however1 from the objects represented in them1 are eminently adapted to receive all vivid colours4 #cbh4 ,the contrast of the most opposite colours is as agreeable as possible1 when they are of the same tone4 ,but if crudity or too great intensity of colours is feared1 we must have recourse to the light tones of their respective scales4 #cbi4 ,when the painter breaks tones with grey1 and wishes to avoid monotony1 or when on the planes which are more remote1 yet not so remote as to render their differences of colour inappreciable1 he wishes every part to be as distinct as possible1 he must have recourse to the principle of harmony of contrast1 and mix his colours with grey4 #ccj4 ,this method of bringing out a colour by contrast1 in using either light tones complementary or more or less opposed1 or broken tones more or less grey1 and of tints complementary to each other2 or1 in employing a broken tone1 of a tint complementary to a more or less pure contiguous colour1 ought especially to fix the attention of portrait painters4 ,a portrait will have a very poor effect when neither the colour of the dress nor of the background have been well chosen4 #cca4 ,the portrait-painter must endeavour to find the predominating colour in the complexion he has to paint2 and this found and faithfully reproduced1 he has to seek whatever accessories at his disposal will give value to it4 ,it is a very common error to suppose that the complexion in women1 to be beautiful1 must consist only of red and white3 if this opinion be true for most of the women of our temperate climate1 it is certain that in warmer regions there are brown1 bronzed1 or even copper complexions endued with a brilliancy1 ,i may say beauty1 appreciated only by those who1 in pronouncing upon a new object1 lay aside habitual expressions1 which 7albeit unconsciously to most men71 exercise so powerful an influence upon their judgment of objects seen for the first time4 ,see the section in which ,i have treated of the application of the law of contrast to dress4 7,div4 ,v47 #ccb4 ,in order to make the best use of colours without being under the necessity of multiplying them1 as1 for example1 in draperies of a single colour1 recourse may be had to the coloured rays emanating from neighbouring bodies1 whether visible to the spectator or out of sight4 ,for example1 a green or yellow light falling upon part of a blue drapery renders it green1 and by contrast heightens the blue-violet tone of the rest2 a golden yellow light falling on part of a purple drapery imparts to it a golden tint1 which makes the purple of the rest come out1 c4 #ccc4 ,the principle of harmony of contrast then procures for the painter in chiaro-'scuro the means of realising1 with respect to brilliancy of colours and distinction of parts1 such effects as are produced in paintings of flat tints4 #ccd4 ,having treated of the utility of the law of simultaneous contrast in the intelligent use of pure opposite colours1 and of colours broken by grey similarly opposed when it is required to multiply pure and varied colours1 it now remains for me to treat of those cases in which the painter1 desiring less diversity in the object1 less variety in the colours1 employs sparingly the harmony of contrast1 preferring the harmony of scale and the harmony of hues4 #cce4 ,the greater the variety of colours and accessories in a composition1 the more the eyes of the spectator are distracted1 and the more difficulty is experienced in fixing attention4 ,if then1 this condition of diversity of colours and accessories is obligatory on the artist1 the more obstacles there are to surmount in drawing and fixing the attention of the spectator upon the physiognomy of the figures1 whether they represent the actors in a single scene1 or whether they are simply portraits4 ,in the latter case1 if the model has such an ordinary physiognomy1 as recommends itself neither by its expression nor its beauty1 and still more1 if he must conceal or dissemble a natural defect1 all that is accessory to this physiognomy1 all the resources of contrasted colours1 well assorted1 should come to his aid4 #ccf4 ,but if1 fervently inspired1 he appreciates the purity of expression1 the nobility and loftiness of character pertaining to his model2 or even if a physiognomy1 to most eyes commonplace1 strikes him by such an expression as he judges to belong only to men animated by noble ideas1 it is to such a model that he will address himself and fix his chief attention2 so that in giving it life upon his canvas1 no one can mistake either the resemblance1 or the sentiment which directed his pencil4 ,everything being accessory to the physiognomy1 the draperies will be of black or of sombre colours2 and if ornaments relieve them1 they will be simple1 and always in keeping with the subject4 #ccg4 ,when1 in this point of view1 we examine the masterpieces of ,vandyke1 and trace the beauty of their effect to the simplicity of the means which produce it1--when we consider the elegance of their attitudes1 which always appear natural1 the taste which presided over the selection of all the accessories1 we are struck with admiration of the genius of the artist1 who has not had recourse to those means1 so much abused at the present day1 of attracting attention1 either by giving to the most vulgar person an heroic attitude1 to the most commonplace physiognomy pretension to profound thought1 or by seeking extraordinary effects of light1 such as filling the figure with a strong light1 while the rest of the composition is in shade4 #cch4 ,these reflections indicate the course which an historical painter must take1 when he would particularly fix the attention upon the physiognomy of the persons in a remarkable scene4 ,the more he employs allied scales1 the more care he must take to select such as do not lose too much by their mutual juxtaposition4 #cci4 ,there is another important direction to give1 which is to avoid as much as possible the same kind of images on different objects2 thus figures clothed in draperies with large flower patterns1 in a room where the carpet and porcelain vases repeat the same images1 are never free from objection1 for it is troublesome to the eye to distinguish those parts of the picture which the similarity of ornaments tends to confound4 ,upon the same principle1 the painter must generally avoid placing beside the faithful copy of a model the copy of an imitation which repeats this model4 ,for example1 when1 he paints a vase of flowers1 the artist produces most effect1 other things being equal1 in painting a vase of grey or white porcelain1 instead of a vase upon which a profusion of similar objects are its ornaments4 #cdj4 ,when it is required that a certain colour shall predominate in a composition1 or to speak more correctly1 when the scene is illuminated by a coloured light1 shed over every object1 we must not only take simultaneous contrast into consideration1 but also the modification which results from the mixture of colours 7#agb71 comprising the recomposition of white light by means of a proper proportion of the differently coloured elementary rays4 #cda4 ,we must here attentively study the article which treats of the principal cases of the modifications of light resulting from coloured rays falling upon bodies of various colours 7#bfa1 et seq471 when1 although the coloured light chosen imparts value to certain colours of the objects upon which it falls1 it also impoverishes and even neutralizes others4 ,consequently1 in employing any predominant colour1 we must renounce the advantages of others1 or the effect produced will be false4 ,for example3 if orange colour predominates1 for the colouring to be true it must necessarily follow-- #a4 ,that the purples must be more or less red4 #b4 ,that the reds must be more or less scarlet4 #c4 ,that the scarlets must be more or less yellow4 #d4 ,that the orange must be more intense1 more vivid4 #e4 ,that the yellows must be more or less intense1 and orange4 #f4 ,that the greens lose their blue1 and consequently become yellower4 #g4 ,that the light blues become more or less light grey4 #h4 ,that the deep indigo becomes more or less maroon4 #i4 ,that the violets lose some of their blue4 ,thus we see that orange light heightens all the colours which contain red and yellow1 while1 neutralizing a portion of blue in proportion to its intensity1 it destroys wholly or partially this colour in the body which it illuminates1 and consequently disturbs the greens and the violets4 #cdb4 ,with reference to the true imitation of colouring1 it appears to me that painters of interiors1 have1 other things being equal1 more skill than historical painters in faithfully reproducing the modifications of light4 ,historical painters1 attaching more importance to the attitudes and physiognomy of their figures than to the other parts of their composition1 attend less to small details1 the faithful imitation of which is the essential merit of the painter of interiors4 ,besides1 the historical painter is never in a position to see the whole of the scene he would represent1 while the painter of interiors1 having constantly his model before him1 sees it completely1 as he imitates it upon the canvas4 ,hence1 therefore1 in every small composition the colours1 as well as the objects represented1 must be distributed with a kind of symmetry1 so as to avoid being what ,i can best express by the term spotty4 ,in fact1 for want of a good distribution of objects1 the canvas will not be filled in some parts1 or1 if it is1 there will be1 in many places1 evident confusion2 so also if the colours be not properly distributed1 the picture will be spotty1 because they are too far isolated from the others4 7,see #bdi-bea47 #cdc4 ,i believe that those painters who will study the mixed and simultaneous contrasts of colours1 in order to employ rationally the coloured elements of their palette1 will perfect themselves in absolute colouring as by studying the principles of geometry they perfect themselves in linear perspective4 ,i have no doubt but that the difficulty encountered by painters ignorant of the law of contrast1 of faithfully imitating their model1 has been with many the cause of a colouring dull and inferior to that of artists1 who1 less careful than they in the fidelity of imitation1 or not so well organized for seizing all the modifications of light1 have worked more by their first impressions1 or1 in other words1 seeing the model more rapidly1 their eyes have not had time to become fatigued2 and thus1 content with the imitation which they have made1 they have not returned to their work too often to modify1 to efface1 and afterwards to reproduce it upon a canvas soiled by the colours first put on4 ,there are1 indeed1 many painters1 to whom the maxim1 8,let well alone10 is peculiarly applicable4 ,,second ,,division4 ,imitation of ,coloured ,objects by ,materials of a ,definite ,size1 as ,threads1 c4 #cdd4 ,the tapestries of ,gobelins and of ,beauvais1 and also the carpets of ,savonnerie1 and certain very elaborate mosaics1 may all be considered as works which resemble the method of painting in chiaro-'scuro2 while the windows of ,gothic churches correspond more or less exactly to painting in flat tints2 so also with tapestries for furniture and carpets1 which1 instead of being fabricated with scales of at least sixteen or eighteen tones1 as they are in the royal manufactories1 are composed with scales consisting of three or four tones only1 and1 far from imitating the effects of chiaro-'scuro1 the coloured objects produced present to the eye only small monochromous bands of a single tone4 #cde4 ,there are also some works whose coloured designs are upon a kind of mixed system1 being the result of the juxtaposition of monochromous single tinted parts1 of a visible size1 but in which the effects of chiaro-'scuro are sought by using gradations of scale or a mixture of hues2 such are ordinary mosaics1 carpets1 embroidered tapestries1 c4 #cdf4 ,in the patterns of tapestries and carpets1 when the principal effects to be aimed at have been determined1 it may be seen what points of ordinary painting may be sacrificed to obtain them1 and what must be done for perfecting the special portion of their imitation4 ,beginning with the physical condition of the coloured elements the weaver employs1 and the texture of the tapestry1 we see the necessity of representing in this kind of work only large1 well-defined objects1 and especially such as are remarkable for the brilliancy of their colours4 ,the patterns for hangings must recommend themselves more by the opposition of their colours than by the minute finish of their details4 ,to pretend to rival painting in these manufactures is to establish a confusion most detrimental to the progress of arts1 absolutely distinct from painting1 both in their purpose and their means of execution4 #cdg4 ,the principles truly essential to these arts of imitation being once deduced from the peculiarities of each1 it becomes easy to point out by what efforts we may hope to obtain true perfection4 ,,chapter ,i4 ,,on ,,the ,,elements ,,of ,,gobelins ,,tapestry4 #cdh4 ,to make mixtures of coloured threads intelligently1 we must be guided by the three following rules3--,the first two resulting directly from observation of facts2 the third being the natural deduction from the facts comprised in the two former4 ,,rule ,i4--,,the ,,binary ,,mixture ,,of ,,primary ,,colours4 ,when we unite ,red with ,yellow1 ,red with ,blue1 ,yellow with ,blue1 the threads must not reflect a perceptible quantity of the third primary colour1 if we would have ,orange1 ,violet1 and ,green as brilliant as it is possible1 by this method1 to obtain4 ,,example ,a4--,red and ,yellow4 ,plate #aa4 #c ,red threads with #a ,yellow thread1 #b 0 0 #a 0 0 #a 0 0 #a 0 0 #c ,yellow 0 #a ,red 0 #b 0 0 #a 0 0 yield mixtures which appear to the eye in proportion to the two colours mixed4 ,there is no appearance of grey in any of these mixtures1 when we employ a red more inclining to orange than to crimson1 and a yellow more inclining to orange than to green4 ,illustration3 ,,plate ,,xi4 ,b4--,red and ,blue4 #c ,red threads with #a ,blue thread1 #b 0 0 #a 0 0 #a 0 0 #a 0 0 #c ,blue 0 #a ,red 0 #b 0 0 #a 0 0 yield mixtures which appear to the eye in proportion to the two colours mixed4 ,if we use a red and a blue inclining to violet1 the mixture will contain no grey4 ,c4--,yellow and ,blue4 #d ,blue threads with #a ,yellow thread1 #c 0 0 #a 0 0 #b 0 0 #a 0 0 #a 0 0 #a 0 0 give mixtures which appear to the eye in the proportions of the two colours mixed4 ,if we use yellow and a blue inclining to green more than to red1 the mixture will contain little or no grey4 ,experiment on all the preceding mixtures demonstrates the rule above2 or rather1 this rule is but the expression of a generalization of facts4 ,,rule ,,ii4--,,the ,,mixture ,,of ,,complementary ,,colours4 #cdi4 ,when we mix ,red with ,green1 ,orange with ,blue1 ,yellow with ,violet1 the colours are more or less completely neutralized1 according as they are more or less perfectly complementary to each other1 and as they are mixed in proper proportions4 ,the result is a grey1 the tone of which is generally higher than that of the colours mixed1 if the latter are of a suitably high tone4 ,,examples4--,red and ,green4 ,plate #ab4 #c ,red threads with #a ,green thread give a dull ,red4 #b ,red threads with #a ,green thread give a duller and a deeper ,red4 #a ,red thread with #a ,green thread give a ,reddish-grey4 ,the tone a little higher than the preceding4 #c ,green threads with #a ,red thread give a ,green ,grey1 the tone higher than the ,green or the ,red4 #b ,green threads with #a ,red thread give a ,grey1 less ,green1 and of a higher tone than the two colours4 ,in repeating the same mixtures with higher tones of the same scales of ,green and ,red1 the tone of the mixture of #b ,green with #a ,red is higher relatively to that of the colours mixed1 than it is in the mixtures above4 #a ,red thread and #a ,yellowish-green thread give a ,carmelite-brown or an ,orange-grey1 the tone of which is equal to that of the colours mixed4 #a ,red thread and #a ,bluish-green thread give a copper-coloured mixture or catechu-brown of a higher tone than that of the colours mixed4 ,hence we may conclude that red and green threads1 properly assorted1 and in suitable proportions1 yield ,grey4 ,orange and ,blue4 #c ,orange threads with #a ,blue thread give a dull ,orange4 #b ,orange 0 #a 0 0 a duller ,orange4 #a ,orange 0 #a 0 0 ,chocolate-grey4 #c ,blue 0 #a ,orange 0 ,violet-grey4 #b ,blue 0 #a ,orange 0 ,violet-grey4 ,redder than the preceding4 ,illustration3 ,,plate ,,xii4 ,the results are the same with deeper tones than the preceding1 except that the corresponding mixtures are browner4 #c orange threads with #c blue threads present a remarkable phenomenon1 according to the intensity of the light and the position from which it is observed4 ,the tapestry being placed in a vertical plane before the incident light when the warp is horizontal1 we perceive blue and orange stripes2 but if the warp is vertical1 we may then see the upper part of each blue stripe violet1 and its under part1 as well as the upper part of each orange stripe green1 while the rest of each of the latter will appear red1 bordered on the lower part with yellow4 ,we may also see the upper part of each blue stripe1 violet1 and its under part1 as well as the upper part of each orange stripe1 green1 and the rest of each of these stripes red1 bordered on the lower part with green1 and in the upper part with yellow4 ,we say that they may be seen in this manner1 because if the light were strong enough for distinct vision1 we should not see the horizontal blue and orange stripes4 ,yellow and ,violet4 #c ,yellow threads with #a ,violet give a ,greyish-yellow4 #b 0 0 #a ,violet 0 ,yellow-grey4 #a 0 0 #a ,violet 0 ,grey1 much nearer normal grey than the preceding4 #c ,violet threads and #a ,yellow give a ,greyish-violet4 #b 0 0 #a ,yellow 0 dull ,violet1 greyer than the preceding4 ,it is remarkable that in the mixture of a yellow with a violet thread1 seen from a greater distance than that at which they appear neutralized1 the yellow is so much weakened in proportion to the violet1 that the mixture appears of a dull violet4 ,yellow and blue afford an analogous result4 ,,rule ,,iii4--,,the ,,mixture ,,of ,,the ,,three ,,primary ,,colours ,,in ,,such ,,proportions ,,that ,,they ,,do ,,not ,,become ,,neutralized1 ,,because ,,one ,,or ,,the ,,other ,,of ,,them ,,is ,,in ,,excess4 #cej4 ,when ,blue1 ,red1 and ,yellow are combined in such proportions that they do not neutralize each other1 the result is a colour much greyer or more broken than if the proportion of complementary colour were more equal4 ,as ,red mixed with a ,greenish-yellow gives a ,carmelite mixture1 ,i shall add the following3-- #a4 ,crimson-red and greenish-yellow give mixtures so much duller as these colours more nearly neutralize each other4 ,a mixture of one crimson-red with one greenish-yellow thread produces a brick or copper-orange1 the tone of which is higher than that of the colours mixed4 #b4 ,scarlet-red and greenish-blue give mixtures which are without vigour or purity1 relatively to the corresponding mixtures made with crimson-red and violet-blue4 #c4 ,red and blue-grey give violet mixtures1 which are not so dull as the preceding1 because the colours contain no yellow4 #d4 ,the red of the mixture #c1 worked with a green-grey1 gives mixtures much duller than the preceding1 as might have been expected1 on account of the yellow contained in the green-grey4 #e4 ,orange and blue-violet give very dull mixtures4 #f4 ,orange and red-violet give dull mixtures1 but redder or less blue than the preceding4 ,,on ,,the ,,principle ,,of ,,contrast ,,in ,,connexion ,,with ,,the ,,production ,,of ,,tapestry4 #cea4 ,the tapestry-weaver should therefore thoroughly understand the effects of contrast1 to know the influence which the part of the copy he proposes to imitate receives from the colours surrounding it1 and so judge what coloured threads to choose4 ,the following examples will explain better than the most profound reasoning the necessity for the tapestry-worker to possess a knowledge of the law of contrast4 ,first ,example4 #ceb4 ,if there be two coloured stripes in a picture1 one red the other blue1 touching each other1 the phenomenon of contrast between two contiguous colours would have arisen1 had not the painter sustained the red by blue1 and the blue stripe by making it red or violet next to the red stripe 7#cbj74 #cec4 ,suppose a weaver wishing to imitate these two stripes1 but ignorant of the law of contrast of colours1 after choosing the wools or silks1 he is sure to make two stripes1 which will produce the phenomenon of contrast2 for he will select his wools or silks of only one blue or one red1 to imitate two stripes of different colours1 each of which appears homogeneous throughout1 but which the painter has only succeeded in making so by neutralizing the phenomenon of contrast1 which would undoubtedly have resulted had each been painted of a uniform colour4 #ced4 ,suppose the painter has painted the stripes with uniform colours1 then contrast will arise1 so that the red contiguous to the blue will appear orange1 and the blue contiguous to the red will appear greenish4 ,if the weaver be ignorant of the law of contrast1 in attempting to imitate his model he will be sure to mix yellow or orange with his red1 and yellow or green with his blue1 in those parts of the stripes which come in contact4 ,hence the contrast will be more exaggerated than if he had worked the two stripes with homogeneous colours4 #cee4 ,suppose a weaver has to copy the series of ten grey stripes in flat tints 7fig4 #c1 ,plate #a7 described 7#aa71 it is evident that if he is ignorant of such effects he will exaggerate it in the imitation2 for instead of working ten tints of the same scale so as to produce ten bands in flat tints1 he will make ten bands1 each graduated conformably to what he sees2 he will probably also have recourse to lighter and darker tones than those which correspond exactly to the model1 and thus he will require a greater number of tones than would have been necessary had he been aware of contrast1 rendering the copy an exaggeration of the model4 ,when we attentively observe the rosy flesh tints of many pictures1 we perceive in the shadows a more or less apparent green tint1 resulting from the contrast of rose with grey4 7,i presume that the painter has made his shadows without using green1 and that he has not corrected the effect of contrast by using red47 ,now a weaver1 ignorant of the effect of rose upon grey1 in imitating the shaded part will have recourse to a green-grey1 which will exaggerate an effect that would have been produced naturally by employing a scale of pure1 not of greenish grey4 ,,qualities ,,which ,,patterns ,,for ,,gobelins ,,tapestry ,,must ,,possess4 #cef4 ,to determine the qualities which model pictures for tapestry must possess1 we must decide what are specific qualities peculiar to this kind of imitation4 ,the weaver imitates objects with coloured threads of a certain diameter4 ,these threads are applied round the threads of the warp4 ,their surface is not uniform but furrowed1 those which are parallel to the threads of the warp being lower than those which are perpendicular to it2 the effect of these furrows being such as would be produced upon a picture1 by a series of dark parallel lines1 cut at right angles by another series of finer parallel lines1 less dark than the preceding4 #ceg4 ,there are these differences then between tapestry and painting3-- #a4 ,tapestry never presents those blended colours which the painter obtains so easily by indefinitely mixing or dividing his pigments4 #b4 ,the symmetry and uniformity of the furrows of tapestry prevent the lights being as vivid1 and the shadows as vigorous1 as in a painting2 for though the furrows obscure the lights1 the salient parts of the threads which are in the shades1 have the ill effect of enfeebling the latter by the light they reflect4 #c4 ,the lines surrounding the different objects in a painting1 although straight or curved in every direction1 may be of extreme fineness without ceasing to be perfectly distinct1 while the threads of the weft and the warp1 always crossing at right angles1 interfere with such a result whenever the lines of the pattern do not exactly coincide with these threads4 #d4 ,the painter has other resources1 which are denied to the weaver1 for increasing the brilliancy of the lights and the vigour of the shadows4 ,for instance3 he opposes opaque body-colours to glaring colours1 he modifies an object of a single colour by varying the thickness of the layer of paint which he places on the canvas2 and within certain limits he can produce modifications1 by changing the direction of the strokes of his pencil4 #ceh4 ,hence1 to raise the effects of tapestry as nearly as possible to those of painting1 it is requisite3-- #a4 ,that the objects be represented of such a size that the position of the spectator does not permit of his distinguishing either the coloured elements from each other1 or the furrows which separate them2 so that threads of two mixed scales 7#cgg71 and the hatchings of different scales1 more or less distant1 interwoven together 7#cgh71 may be mingled into a homogeneous colour1 and that the cavities and salient parts may appear as a uniform surface4 #b4 ,that the colours be as vivid and strongly contrasted as possible1 so that the lines which surround the different objects be more distinct1 and the lights and shadows be as different as possible4 #cei4 ,thus patterns for tapestry must not only recommend themselves by correct outline and elegant forms1 but must also represent larger objects3 figures draped rather than nude1 vestments decorated with ornaments1 rather than simple and uniform4 ,consequently1 every thing allied to miniature1 by minuteness or by finish in details1 is foreign to its special object4 #cfj4 ,the elements of ,beauvais tapestry for furniture are essentially the same as those of ,gobelins tapestry2 but with this difference1 that the light and the middle tones are of silk1 while in the ,gobelins tapestry these tones are almost always of wool4 ,the scales of ,beauvais are less varied in colour than those of the ,gobelins1 and their tones are less numerous4 ,but the working of the threads is the same in both kinds of tapestry2 so that as to the employment of coloured threads1 depending in like manner on the knowledge and observance of the principles of mixture and contrast of colours1 ,i need not add to what ,i have already said on this subject in the preceding section4 #cfa4 ,the furrows caused by the weft and the warp have not the inconvenience they present in the ,gobelins tapestry4 ,in fact1 the regular grain of the tapestry for furniture is so far from producing a bad effect in the image represented on it1 that we are obliged to give the appearance of this grain to many paper-hangings by means of parallel lines cutting it1 or by points symmetrically placed4 ,,coloured ,,glass ,,windows ,,in ,,large ,,gothic ,,churches4 #cfb4 ,i am about to examine1 according to the preceding views1 the coloured glass windows which concur so powerfully with architecture1 in giving to vast gothic churches that harmony which we cannot fail to recognise whenever we enter them4 ,these structures rank with those works of art which are most impressive by their size1 the subordination of their various parts1 and by their complete fitness for the purposes to which they are applied4 ,the stained glass of gothic churches has always a most appropriate effect1 intercepting the white light1 which1 by giving too vivid a glare1 is less conducive to meditation than the coloured light which this glass transmits4 ,we shall find its splendid effect to arise1 not only from the contrast of colours1 but also from the contrast of its transparency with the opacity of the surrounding walls1 and of the lead which binds its parts together4 ,the impression produced on the eye by this twofold cause becomes more vivid the more frequently it is repeated and the longer it is sustained1 when yellow1 blue1 violet1 orange1 red1 and green stained glass appears like most precious jewels4 #cfc4 ,the upright windows usually represent1 within a border or a ground analogous to the rose windows1 the figure of a saint in harmony with those which stand in relief about the portals of the edifice2 and to be fully appreciated they must be judged of as parts of a whole1 and not as a ,greek statue which is intended to be seen isolated on all sides4 ,the glass is of two kinds1 the one painted on its surface by pigments afterwards vitrified 7glass painting72 the other1 melted with the material that colours it 7glass staining72 the first is generally used in the composition of the nude parts of the human figure1 and the second in that of the drapery4 ,all the pieces of glass are united by strips of lead4 ,what has struck me as being most effective in windows with human figures1 is the exact observance of the relations of size of the figures and of the intensity of the light which renders them visible1 with the distance at which the spectator is placed2 a distance at which the strips of lead surrounding each piece of glass appear only as lines or as small black bands4 #cfd4 ,it is not necessary1 for an effective whole1 that the painted glass1 when viewed closely1 should exhibit fine hatchings1 careful stippling1 or blended tints2 for1 with the coloured stained glass for draperies1 they should compose a system which compares with painting in flat tints1 and certainly we cannot doubt that a painting on glass1 executed entirely according to the system of chiaro-scuro1 not to speak of the cost of its execution1 will have the disadvantage of the finish in its details entirely disappearing at the distance at which it must be viewed as a whole4 #cfe4 ,the first condition1 which must be fulfilled by every work of art1 is1 that it be presented without confusion and as distinctly as possible4 ,let us add that paintings on glass1 executed on the method of chiaro-'scuro1 cannot receive the borders and grounds of rose windows which have such fine effects of colour1 as they have less brilliancy and transparency than the glass in which the colouring material has been incorporated2 they are also less capable of resisting the injuries of time4 ,variety of colours in these windows is so necessary to attain the best possible effect1 that those which represent figures entirely nude1 edifices1 or large objects of a single colour1 or slightly tinted1 whatever may be the perfection of their execution with regard to finish or truth of imitation1 will have an inferior effect to windows composed of pieces of varied colours suitably contrasted2 but a bad effect results from the mixture of coloured glass with transparent colourless glass1 when the latter has a certain extent of surface in a window2 yet a good effect is obtainable by mixing ground glass with coloured glass1 and also of small pieces of colourless transparent glass1 framed in lead1 so that at the distance at which they must be viewed they produce the effect of a symmetrical juxtaposition of white parts with black parts4 #cff4 ,i conclude that we must refer the causes of the beautiful effects of coloured glass of great churches-- #a4 ,to their presenting a very simple design1 whose different well-defined parts may be seen without confusion at a great distance4 #b4 ,to their offering a union of coloured parts which are distributed with a kind of symmetry1 but which are also vividly contrasted1 not only among themselves1 but also with the opaque parts which surround them4 #cfg4 ,coloured windows appear to me to produce their utmost effect only in the vast edifices where the different-coloured rays reach the eye of the spectator on the floor of the church so much scattered that they impinge upon each other1 whence results an harmonious mixture1 not found in a small structure lighted by coloured windows4 ,it is this intimate mixture of the coloured rays1 transmitted into a vast edifice1 which permits of tapestries placed on the ground floor4 ,but when the lower walls have not colourless glass windows1 it is evident that1 if tapestries be placed too near coloured windows1 the harmony of their colours must be lost1 as when blue rays fall upon red draperies1 yellow rays upon blue draperies1 c4 ,thus1 when coloured glass is to be put in a window1 it is necessary to take into consideration1 not only its beauty1 but also the effect which the coloured light it transmits will have upon the objects illuminated by it4 #cfh4 ,the coloured windows of a large church may be regarded as real1 transparent tapestries1 intended to transmit light1 and to ally themselves harmoniously with the sculptures on the exterior1 which destroy the monotony of the high walls of the edifice1 and with the different monuments of the interior1 among which tapestries must be taken into account4 #cfi4 ,my ideas on the employment of stained glass for windows may be summed up in the following terms3-- #a4 ,they produce their utmost effect only in the rose windows1 bay windows1 or pointed windows of large ,gothic churches4 #b4 ,only when they present the strongest harmonies of contrast1 not of colourless transparent glass with the black produced by the opacity of the walls1 iron bars1 and strips of lead1 but of this black with the intense tones of red1 blue1 orange1 violet1 and yellow4 #c4 ,their designs must always be as simple as possible1 and admit of the harmonies of contrast4 #d4 ,while admiring painted windows1 of which a large number consist of paintings of undoubted merit1 especially in regard to the difficulties overcome1 ,i confess that it is a kind of painting which should not be much encouraged1 because it never has the merit of a picture properly so called1 it is more costly1 and will produce less effect in a large church than a stained window of much lower price4 #e4 ,windows of a pale grey ground1 with light arabesques1 have a very poor effect wherever they are placed4 ,see the relations of the law of contrast with the decoration of the interiors of churches4 ,,third ,,division4 ,colour ,printing4 ,,on ,,calico-,,printing1 ,,and ,,printing ,,paper-,,hangings4 #cgj4 ,i propose to examine only the optical1 not the chemical1 effects produced by patterns printed upon woven fabrics4 ,printing on textile fabrics was for a long time limited1 so to speak1 to cotton cloths4 ,it is only of late years that it has been extended to fabrics of silk and wool1 for furniture and clothing4 ,this branch of industry has now undergone an immense extension1 fashion having accepted these products with extreme favour2 but1 whatever may be the importance of the subject1 in a commercial point of view1 ,i must treat it briefly4 ,this book is not directed exclusively to that branch of inquiry1 and as all the preceding part is intimately connected with it1 ,i shall merely state some facts which show1 that1 in ignorance of the law of contrast1 the manufacturers and printers of cotton1 woollen1 and silk stuffs are constantly exposed to error in judging the value of recipes or colours1 or as to the true tint of the design applied upon grounds of a different colour4 ,,false ,,judgment ,,of ,,the ,,value ,,of ,,recipes ,,for ,,colouring ,,compositions4 #cga4 ,at a certain calico-printer's a recipe for printing green had always succeeded up to a certain period1 when it began to give bad results4 ,they were lost in conjectures upon the cause1 when a person1 who at the ,gobelins had followed my researches on contrast1 recognised that the green of which they complained1 being printed on a ground of blue1 inclined to yellow through the influence of orange1 the complementary of the ground4 ,she therefore advised that the proportion of blue in the colouring composition should be increased in order to correct the effect of contrast4 ,the recipe1 modified according to this suggestion1 gave the beautiful green which they had obtained formerly4 #cgb4 ,thus every recipe for colours to be applied upon a ground of another colour1 must be modified conformably to the effect which the ground will produce4 ,it is this great facility in correcting the ill effect of certain contrasts which explains why they so often succeed without being able to account for it4 ,here1 notwithstanding their colour1 the eye judges them to be colourless1 or of the tint complementary to that of the ground4 ,these appearances have been the subject of questions frequently addressed to me by the manufacturers of printed stuffs1 and by drapers3 they are due to the law of simultaneous contrast of colours4 ,in fact1 when the patterns appear white1 the ground acts by contrast of tone 7#i72 if they appear coloured 7and this appearance generally succeeds to that where they appear white71 the ground then acts by contrast of colour 7#ac74 ,the manufacturer of printed stuffs therefore will not seek to attribute the cause of these phenomena to the chemical actions in his operations4 #cgc4 ,ignorance of the law of contrast has1 among drapers and manufacturers1 been the subject of many disputes1 which ,i have been happy to settle amicably1 by demonstrating to the parties that they had no possible cause for litigation in the cases they submitted to me4 ,i will relate some of these1 to prevent similar disputes4 ,certain drapers gave to a calico-printer some cloths of single colours1 red1 violet1 and blue1 upon which they wished black figures to be printed4 ,they complained that upon the red cloths he had put green patterns2 upon the violet1 the figures appeared greenish-yellow2 upon the blue1 they were orange-brown or copper-coloured--instead of the black which had been ordered4 ,to convince them that they had no ground for complaint1 it sufficed to have recourse to the following proofs3-- #a4 ,i surrounded the patterns with white paper1 so as to conceal the ground2 the designs then appeared black4 #b4 ,i placed some cuttings of black cloth upon stuffs coloured red1 violet1 and blue2 the cuttings appeared like the printed designs1 i4 e41 of the colour complementary to the ground1 although the same cuttings1 when placed upon a white ground1 were of a beautiful black4 #cgd4 ,the modifications which black designs undergo upon different coloured grounds are the following3-- ,plate #ac4 ,upon ,red stuffs they appear ,dark ,green4 ,upon ,orange stuffs they appear of a ,bluish-black4 ,upon ,yellow stuffs they appear ,black1 the violet tint of which is very feeble1 on account of the great contrast of tone4 ,upon ,green stuffs they appear of a ,reddish-grey4 ,upon ,blue stuffs they appear of an ,orange-grey4 ,upon ,violet stuffs they appear of a ,greenish-yellow ,grey4 ,illustration3 ,,plate ,,xiii4 ,these examples are sufficient to enable us to comprehend their advantage to the printer of patterns in colours complementary to the colours of the ground1 whenever contiguous tints are to be mutually strengthened without going out of their respective scales4 ,,designs ,,for ,,paper-,,hangings4 #cge4 ,the manufacture of paper-hangings has now arrived at such a point1 that a knowledge of the law of contrast of colours is indispensably necessary to this branch of industry4 ,we cannot estimate the true relations between the law of contrast and the art of paper-staining without dividing the papers into several categories to which the law is applicable4 #a4 ,papers having figures and landscapes1 or flowers of different sizes1 and of varied colours1 not intended for borders2 these approach the nearest to painting4 #b4 ,papers with patterns of one colour1 or of colours but slightly varied4 #c4 ,those employed as borders4 ,,chapter ,,ii4 ,on the ,law of ,simultaneous ,contrast of ,colours in relation to ,paper-,hangings with ,figures1 ,landscapes1 or large ,flowers of varied ,colours4 #cgf4 ,the study which ,i recommend to artists occupied in fabricating paper-hangings1 is in some measure that immediately applicable to every pictorial composition1 or1 in other words1 the tapestry of figures and landscapes4 ,but1 whatever be the merit of paper-hangings of this category1 they are not sought by persons of refined taste1 and they do not appear to me destined to be any more so in future1 for the twofold reason that the taste for arabesques1 painted upon walls1 or upon wood1 and that for lithographs1 engravings1 and paintings1 is spreading every day4 ,these last three objects exclude1 at least1 all those papers with figures and coloured landscapes4 #cgg4 ,the applications of the law of contrast to this class of paper-hangings are easy1 when we thoroughly understand the divisions of the book to which ,i referred above4 ,in order to prove the advantage to be derived from the knowledge of this law1 ,i need only refer to the bad effect presented by contiguous bands of two tones of the same scale of grey 7serving as the ground to the figure of an infant71 in consequence of the contrast of tone arising from their juxtaposition 7#cba74 #cgh4 ,on the ,law of ,simultaneous ,contrast of ,colours in relation to ,paper-hangings with ,designs in a ,single ,colour1 or in ,colours but slightly varied4 ,the remarks in #cgb are applicable here also1 as are those of #cgd4 ,the best executed1 and in the best taste1 are those with black figures1 or of figures much darker than the ground4 ,paper-hangings1 ,i do not say the most tasteful1 but those most convenient for use1 present very light grounds1 with white or grey figures4 #cgi4 ,grey patterns1 upon papers tinted of a light colour1 exhibit the phenomenon of maximum contrast2 that is to say1 the grey appears coloured with the complementary of the ground4 ,illustration3 ,,plate ,,xiv4 ,thus1 conformably to the law1 7,plate #ad7 ,grey patterns upon a ,rose ground appear ,green4 0 0 0 an ,orange 0 0 ,blue4 0 0 0 a ,yellow 0 0 ,violet or ,lilac4 0 0 0 a ,green 0 0 ,rose4 0 0 0 a ,blue 0 0 ,orange-grey4 0 0 0 a ,violet 0 0 ,yellow4 #chj4 ,i mention these examples to instruct artists1 for1 in manufactories of paper-hangings1 disputes arise between the proprietors and the preparers of the colours4 ,for instance1 a few years ago1 the proprietors of one of the first manufactories in ,paris1 wishing to print grey patterns upon grounds of apple green and of rose1 refused to believe that his colour preparer had given any grey to the printer1 because the designs printed on these grounds appeared coloured with the complementaries of the colour of the ground4 ,it was only when the colour preparer1 having attended a lecture ,i gave for ,m4 ,vauquelin1 at the ,museum of ,natural ,history1 and hearing me speak of the mistakes that these contrasts of colours might occasion1 suspected the cause of the effects which he had unconsciously produced1 and which had really caused him much annoyance4 ,,of ,,the ,,law ,,of ,,simultaneous ,,contrast ,,of ,,colours ,,relatively ,,to ,,the ,,borders ,,of ,,paper-,,hangings4 #cha4 ,every paper of one colour1 or one belonging to the second category1 should receive a border generally darker and more complex in design and colour than the paper which it frames4 ,the assortment of two papers exercises a very great influence on the effects they are capable of producing2 for each of them may be of a fine colour1 ornamented with designs in the best taste1 yet their effect will be mediocre1 or even bad1 because the assortment will not be conformable to the law of contrast4 #chb4 ,the ground of a border contributes greatly to the beauty of the pattern1 whether this be of flowers1 ornaments1 or any other object4 ,as we cannot treat of this influence in an absolute or methodical manner1 ,i shall select a certain number of remarkable facts which ,i have had occasion to observe1 and ,i shall principally dwell on those from which we can deduce conclusions1 which1 apparently not flowing from previous observation1 might escape many readers1 in spite of the great interest they have in knowing them4 ,besides1 the exhibition of these facts will give me occasion to apply the law of contrast to designs presenting many tones of the same scale1 and of different hues1 and also often of different scales1 more or less distant from each other4 ,i shall not treat of simple borders1 presenting black or grey designs upon a uniform ground1 for ,i have already spoken of the modifications which in this case black designs undergo 7#cgd71 and grey designs also 7#cgi74 #chc4 ,the design of a border1 either of ornaments1 flowers1 or any other object1 being cut out and pasted upon a white card1 designs identical with the preceding1 which had been pasted upon cardboard1 were then cut out1 and placed upon grounds of black1 red1 orange1 yellow1 green1 blue1 and violet2 then compared1 not only by myself1 but also by many persons whose eyes are much accustomed to seeing colours4 ,when we had perfectly agreed upon their value1 the results were noted as follows3-- #a4--;,,border ,,of ,,eight ,,inches ,,in ,,height1 ,,representing ,,gilt ,,ornaments ,,upon ,,different ,,grounds4 ,plate #ae4 ,illustration3 ,,plate ,,xv4 #chd4 ,these ornaments1 executed by the ordinary processes of paper-staining1 contained no particle of metallic gold2 yellow1 lakes1 and orange1 of different tones and hues1 had been exclusively employed in their production4 ,after having stated the modifications which the painted gilt ornaments experience from the colour of the grounds1 ,i shall indicate those which the metallic gilt ornaments receive comparatively from the same grounds2 this comparison presenting results which appear to me interesting4 ,black ,ground4 #che4 ,painted gilt ornaments placed upon black ground1 compared with the same ornaments placed on a white ground1 appear much more distinct than the latter2 because the yellows and orange-yellows1 colours eminently luminous1 and the black ground1 which reflects no light1 give rise to contrast of tone1 which the white ground1 essentially luminous1 cannot give with the colours which are themselves luminous4 7,see #ec47 ,we perceive thus1 that the colours placed upon black are lowered in tone2 but it must be noted that yellows and orange-yellows1 far from being weakened 7#eh71 would only cause the black to gain in purity4 ,in considering more particularly the effects of two grounds1 we see that a black imparts a red to the ornaments1 and it is important to remark that the brightness of this red1 instead of reddening the yellows1 really gilds them4 7,see #cid47 ,we may thus understand how black1 in taking away some grey1 imparts brilliancy1 and how this grey1 which may be considered as a tarnished or subdued blue1 may1 with yellow1 produce an olive colour4 ,it is also necessary to remark1 that the gilt ornaments in question present an olive-grey tint1 which1 far from being diminished by the white ground1 is exalted by it4 ,although the black ground lowers the tone of the colours1 while white heightens them1 it lowers yellow more in proportion than red1 and consequently renders the ornaments redder than they appear upon a white ground2 and1 in taking away the grey1 it purifies the colours1 and acts also by giving them some red1 or by taking away some green4 ,metallic ,gilt ,ornaments4 #chf4 ,gilt ornaments stand out better from black than from white1 but the orange colour is weakened and really impoverished4 ,the black ground then does not purify the real gilt ornaments as it does the painted imitation of gold4 ,deep ,red ,ground4 ,the yellows are more luminous1 the whole effect with the painted ornament is clearer1 more brilliant1 less grey than upon a white ground4 ,red much deeper than the ornament1 lowers the tone of it2 and this effect is also augmented by the addition of its complementary1 green1 a bright colour4 ,this example is of much importance1 enabling us to see how the red1 which appears as though it could be of but little advantage to ornaments1 because it tends to weaken them by making them greener1 is notwithstanding favourable1 because the lightening or weakening of the colour is more than compensated for by the brilliancy of the complementary of the ground which is added to the yellow4 ,we shall return to this effect in a moment4 ,there is this analogy between the influence of the red ground and that of the black ground1 that the tone of the colour is lowered2 but there is this difference1 that the ornaments become green on the first1 while they become orange upon the second4 #chg4 ,the red ground is not so advantageous for gilt ornaments as it is for the painted imitations of them1 because the metal loses too much of its orange colour1 and appears inferior to gold upon a black ground4 ,the red ground appears darker1 and more violet than the ground upon which painted ornaments are placed4 ,grounds of a light-red are still less favourable to the gold than red grounds of a dark tone4 ,orange ,ground deeper than the ,ornaments4 #chh4 ,the painted ornaments are bluer or rather greener than upon a white ground4 ,the yellow and orange are singularly lower in tone4 ,this ground1 then1 is very disadvantageous to ornaments1 as might have been expected4 #chi4 ,orange is not favourable to metallic gilt4 ,the metal becomes too white1 while the orange ground is redder and more vivid than that upon which the painted ornaments are placed4 ,yellow ,ground of ,chromate of ,lead more brilliant than the ,yellow of the ,ornaments4 #cij4 ,the yellow of the painted ornaments is excessively enfeebled by the complementary of the ground which is added to it1 the ornaments appear grey in comparison with those upon a white ground4 #cia4 ,the yellow ground is not so unfavourable to gilt ornaments as it is to painted ones4 ,the first assortment may1 in certain cases1 be recommended4 ,the yellow appears more intense1 and perhaps greener4 ,bright ,green ,ground4 #cib4 ,painted ornaments are darker upon a bright green ground than upon a red or white ground4 ,they have acquired some red1 but not the brilliant tint which is given to them by black--it is a brick-red tint4 #cic4 ,it follows from the comparison of the effects of ornaments upon red and upon green grounds1 that the first is much more advantageous than the second1 because it adds an essentially brilliant tint to the colour of the ornaments1 while the latter1 adding red1 or taking away green1 produces a brick-red4 #cid4 ,upon a bright green ground1 metallic gilt ornaments acquire red1 as the painted ornaments do1 while the red1 not sensibly diminishing the brilliancy of the metal1 but1 on the contrary1 augmenting the intensity of its colour1 produces an excellent effect4 ,the green ground is more intense and bluer than the same ground upon which the painted ornaments are placed4 #cie4 ,the study of the effects of red and of green grounds upon painted ornaments1 on the one hand1 and upon gilt ornaments on the other1 is extremely interesting to paperstainers and decorators2 it demonstrates to them the necessity of taking into consideration1 in the juxtaposition of bodies which it is proposed to associate1 the brilliancy which these bodies naturally possess1 and the brilliancy we wish to impart to them1 if they have none4 ,the preceding examples 7#chf1 #cid7 explain why the paperstainer will choose dark red instead of green for his gilt ornaments1 and why a decorator will prefer green to red for the colour of the hangings of a show-room of gilt bronzes1 gilt clocks1 c4 ,blue ,ground4 #cif4 ,observation agrees perfectly with the law that it is really upon a blue ground1 that painted ornaments1 whose dominant colour is the complementary of blue1 show themselves to the greatest advantage with respect to intensity of the gold-yellow colour4 ,this effect more than compensates for the slight difference which may result from the red ground giving a little more brilliancy4 ,the ornaments upon the latter ground1 compared with those on the blue1 are less coloured and appear whiter4 ,with metallic gilt ornaments the blue ground is deeper and less violet than with painted ornaments4 ,violet ,ground4 #cig4 ,conformably to the law1 the violet ground giving greenish-yellow to the painted ornaments1 is favourable to them2 they appear on this ground less olive-grey1 more brilliant than upon the white ground1 and less green than upon the red ground4 ,metallic gilt ornaments stand out quite as well1 the ground is raised in tone1 and the violet appears bluer or less red4 #cih4 ,it is remarkable that gilt ornaments1 compared with their painted imitations1 heighten all the grounds upon which they are placed4 ,we cannot say that this metal causes the grounds to lose their brilliancy1 for orange gaining some red1 by the juxtaposition of the gold1 appears1 nevertheless1 more brilliant than the orange in juxtaposition with the painted ornaments4 ,the gold1 by its orange colour1 gives also some blue1 its complementary1 to bodies which surround it4 #b4--;,,border ,,of ,,four ,,inches ,,in ,,breadth ,,presenting ,,ornaments ,,composed ,,of ,,festoons ,,of ,,blue ,,flowers1 ,,of ,,which ,,the ,,extremities ,,are ,,held ,,by ,,grey ,,leaves ,,of ,,arabesques4 ,plate #af4 #cii4 ,these ornaments are opposed in some respects to the preceding by their dominant colour1 which is blue4 ,black ,ground4 #djj4 ,grey lowered three tones in comparison with grey2 upon white less reddened4 ,blue flowers lowered two tones at least4 ,red ,ground4 #dja4 ,the grey is greenish1 while upon white it is reddish4 ,the blue flowers are lowered three tones1 and the blue inclines to green4 ,orange ,ground4 #djb4 ,grey much lowered2 less red than upon white4 ,flowers paler1 and of a blue less red or less violet1 than upon a white ground4 ,yellow ,ground4 #djc4 ,grey higher than upon white ground1 more violet4 ,flowers of a more violet-blue1 less green than upon a white ground4 ,green ,ground4 #djd4 ,the grey is reddish1 while upon a white ground it appears greenish4 ,the blue gains red or violet1 but it loses much of its vivacity2 it resembles some blues of the silk-vat1 which1 giving yellow to the water1 become slaty-blue-violet4 ,illustration3 ,,plate ,,xvi4 ,blue ,ground4 #dje4 ,the blue ground being fresher than that of the ornament1 it follows that it gives orange to the blue of the flowers2 that is to say1 it greys them in the most disagreeable manner4 ,the grey ornament is oranged1 and lighter than upon the white ground4 ,violet ,ground4 #djf4 ,grey lowered1 yellowed1 impoverished4 ,blue tends to green1 and is impoverished4 #c4--;,,border ,,of ,,five ,,inches ,,and ,a ,,half ,,in ,,breadth1 ,,representing ,,roses ,,with ,,their ,,leaves4 ,plate #ag4 #djg4 ,this border is particularly useful as an example of the effect of two colours1 red and green1 which are very common in the vegetable world1 and often represented upon paper-hangings4 ,black ,ground4 ,the green is less black1 lighter1 fresher1 and purer1 and its brown tones redder than upon a white ground4 ,with respect to its lighter tones1 ,i see them yellower1 while1 on the contrary1 they appeared bluer to three persons accustomed to observe colours4 ,this difference1 as ,i at last found1 arose from my comparing the general effect of leaves upon a black ground with that of leaves upon a white ground2 while the other persons instituted their comparison more particularly upon the browns and the light tones of green1 placed upon the same ground4 ,this difference in the manner of seeing the same objects will be the subject of some remarks hereafter4 ,rose lighter1 yellower than upon a white ground4 ,dark ,red ,ground4 #djh4 ,green more beautiful1 less black1 lighter than upon a white ground4 ,rose more lilac1 perhaps1 than upon a white ground4 ,the good effect of the border upon this ground is due chiefly to the greatest part of the rose not being contiguous to red1 but to green2 because the border and the ground exhibit flowers1 the rose of which contrasts with the green of their leaves2 while the same green contrasts with the red of the ground1 which is deeper and warmer than the colour of the flowers4 ,orange ,ground4 #dji4 ,the green lighter1 a little bluer than upon a white ground4 ,red much more violet than upon a white ground4 ,the general effect not agreeable4 ,yellow ,ground4 #daj4 ,green bluer than upon a white ground4 ,rose more violet1 purer than upon a white ground4 ,the whole exhibits a good effect of contrast4 ,green ground1 the tone of which is nearly equal to that of the lights of the leaves1 and the hue of which is a little bluer4 ,green of the leaves lighter1 yellower than upon a white ground4 ,rose fresher1 purer1 more velvety than upon a white ground4 ,illustration3 ,,plate ,,xvii4 ,ground of an agreeable effect from harmony of analogy with the colour of the leaves1 and from harmony of contrast with the rose of the flowers4 ,blue ,ground4 #daa4 ,green lighter1 more golden than upon a white ground4 ,rose yellower1 less fresh than upon a white ground4 ,although the green leaves do not exactly produce a bad effect upon the ground1 yet the roses lose much of their freshness1 and the appearance of the whole is not agreeable4 ,violet ,ground4 #dab4 ,green yellower1 lighter than upon a white ground4 ,rose faded4 ,if the ground does not injure the green of the leaves1 yet it injures the rose so much that it is not agreeable4 #d4--;,,border ,,of ,,six ,,inches ,,in ,,breadth1 ,,representing ,,white ,,flowers1 ,,as ,,china ,,aster1 ,,poppy1 ,,lily ,,of ,,the ,,valley1 ,,roses2 ,,some ,,red ,,flowers1 ,,as ,,the ,,rose-,,wallflower ,,some ,,scarlet ,,or ,,orange1 ,,as ,,the ,,poppy1 ,,pomegranate1 ,,tulip2 ,,bignonia ,,and ,,violet ,,flowers1 ,,as ,,lilac1 ,,violets1 ,,and ,,tulips ,,with ,,green ,,leaves4 #dac4 ,this border was remarkable for the pleasing combinations of the flowers among themselves1 and of the flowers with their leaves4 ,in spite of the multiplicity of colours1 and of the hues of red and violet1 there was no disagreeable juxtaposition1 except that of a pomegranate next to a rose2 but the contact only took place at one point1 and the two flowers were in very different positions4 ,black ,ground4 #dad4 ,the whole lighter than upon a white ground4 ,orange finer1 brighter than upon a white ground4 ,white the same4 ,green lighter1 redder4 ,the roses and the violets gain nothing from the black4 ,red-,brown ,ground4 #dae4 ,the whole lighter than upon a white ground4 ,whites and greens of fine effect4 ,an orange-flower contiguous to the ground1 for the reason explained above 7#djg71 acquires a brilliancy which it has not upon a white ground4 ,orange ,ground4 #daf4 ,the whole more sombre1 duller than upon a white ground4 ,orange-flowers and roses dull1 lilacs bluer4 ,this assortment is not good4 ,yellow ,ground4 #dag4 ,the orange-flower contiguous to the ground evidently loses vivacity in comparison with the white ground4 ,the whites are less beautiful than upon a red ground4 ,the greens are bluer than upon a white ground4 ,the roses become bluer1 the violets acquire some brilliancy4 ,the whole effect is good1 because there is but little yellow in the border1 and but little orange contiguous to the ground4 ,green ,ground4 #dah4 ,the ground being fresher than the green of the leaves1 had not a good effect1 relatively to them4 ,on the other hand1 the green in the border was in too small a quantity to produce a harmony of analogy1 and it had not sufficient red for a harmony of contrast4 ,blue ,ground4 #dai4 ,the oranges have a fine effect1 the greens were reddened as well as the whites4 ,the roses and the lilacs lost some of their freshness4 ,this arrangement did not produce a good effect1 because there was not sufficient yellow or orange in the border4 ,violet ,ground4 #dbj4 ,orange more beautiful than upon a white ground4 ,roses1 and violets especially1 less beautiful than upon a white ground4 ,a poor assortment4 ,grey ,ground4 #dba4 ,as might be easily foreseen1 this ground was extremely favourable to all the colours of the border4 #dbb4 ,the examination we have just made of four sorts of borders enables us to verify the exactness of the conclusions which are directly deducible from the law of simultaneous contrast of colours1 and presents to us effects which we could scarcely have deduced from the same law without the aid of experiment4 ,i now speak-- #a4 ,of the influence which a complementary exercises by imparting brilliancy to the colour to which it is added4 #b4 ,of the very different manner in which not only different people1 but even the same person1 will judge of the colours of a more or less complex pattern1 having a certain number of colours1 according to the attention the spectator gives at a certain moment to different parts 7#djg74 #dbc4 ,our examination of the border of roses with their leaves 7,no4 #c71 and especially of that of the border of flowers varied in their forms and hues 7,no4 #d71 shows the necessity of a knowledge of the law of contrast to assort the colours of objects represented upon a border with the colour which serves as a ground to them4 ,the examination of the border ,no4 #d has demonstrated experimentally that this assortment presents so much the more difficulty as we wish to have purer tints for the ground1 and more varied colours in the objects we intend placing on it2 besides1 in demonstrating the good effect of grey as a ground for these latter objects1 it has furnished an example of a fact which may be deduced from the law1 and which is in perfect accordance with what practice taught us long ago4 ,,printed ,,or ,,written ,,characters ,,on ,,papers ,,of ,,different ,,colours4 #dbd4 ,having made it a rule in this work never to state any observations which ,i have not myself verified1 ,i must mention that1 not possessing every requisite for the examination of the subject of this section1 ,i am obliged to develop certain points of it only4 ,we must regard-- #a4 ,the duration of the reading1 and #b4 ,the kind of light which illuminates the printed or written paper4 ,a4--,,influence ,,of ,,duration ,,in ,,the ,,reading4 #dbe4 ,from the different conditions in which the eyei s found when it is apt to perceive the phenomena of simultaneous1 successive1 and mixed contrasts of colours 7#gg et seq471 it may be conceived that in order to judge of the effect upon the sight of the assortments of the colour of the letters and that of the paper as to the degree of facility that they respectively present for reading1 it may happen that one assortment will be more favourable during a brief reading1 while the contrary will take place if the reading be prolonged during several hours4 ,besides1 an assortment presenting the greatest contrast will be more favourable to a reading of short duration1 while it will be less so to a prolonged reading2 because1 in consequence of the intensity of its contrast1 it will fatigue the eye more4#b #b ,hence the pleasure of reading books printed on the modern toned paper4 ,de ,morgan advises that tables of logarithms1 and the like1 should be printed on pale brown paper4 ,b4--,,influence ,,of ,,the ,,kind ,,of ,,light ,,on ,,printed ,,or ,,written ,,paper4 #dbf4 ,the light we employ to supply the place of that of the sun1 changing the relations of colour under which the same bodies appear to us illumined by daylight1 it is evident that if we neglected this difference of relation it would give rise to error2 because any assortment of colours favourable to read in diffused daylight1 might be less so by the light of a lamp1 c4 #dbg4 ,i will now examine-- ,the influence of different assortments of the colours of writing and printing for reading by diffused daylight4 ,,on ,,the ,,assortment ,,of ,,colours ,,for ,,reading ,,by ,,diffused ,,daylight4 ,reading of a ,few ,minutes' ,duration4 #dbh4 ,letters upon paper can be read without fatigue only when there is a marked contrast between the letters and the ground4 ,this contrast may be of tone1 or of colours1 or both4 #dbi4 ,contrast of tone is the most favourable condition for distinct vision1 if we consider white and black as the two extremes of a scale1 comprehending the gradations from normal grey2 in fact1 black letters upon a white ground present the maximum of contrast of tone1 and may be read in a perfectly distinct manner without fatigue by diffused daylight4 ,indeed1 all whose sight is enfeebled by age require the utmost contrast of tone4 ,,fourth ,,division4 ,employment of ,colours in ,architecture4 ,i4 ,,on ,,the ,,employment ,,of ,,colours ,,in ,,egyptian ,,architecture4 #dcj4 ,the ,egyptians employed various colours1 as red1 yellow1 blue1 green1 and white1 to decorate their monuments4 ,lancret remarks1 8,all who have seen ,egyptian paintings1 can attest that when seen1 even for the first time1 they were not disagreeable2 and1 that if at first the colours appear distributed arbitrarily1 it is because observers have not combined a sufficient number of observations1 and that it will one day be found that this part of the arts of the ,egyptians was1 like all the rest1 submitted to invariable rules40 #dca4 ,champollion the ,younger expresses himself in these terms on the application of colours to ,egyptian architecture3 8,i should like to introduce into the great temple of ,ipsamboul1 all who refuse to believe in the elegant richness that painted sculpture adds to architecture2 in less than a quarter of an hour1 ,i engage that they would perspire away all their prejudices1 and that their priori opinions would quit them through every pore40 #dcb4 ,the fact of colouring hieroglyphics being once admitted1 the colouring of the other figured objects which accompany them appears to have been a necessary consequence1 either to bring out certain symbols1 or allegories more distinctly and more agreeably1 by the effect of their various colours1 or because1 if the hieroglyphics only were differently coloured1 there would be no harmony between them and the other figured objects4 ,no one can mistake the harmony between the hieroglyphics and other painted objects1 and we therefore should not see any impropriety in them if we mistook them for figures traced by the capricious imagination of the artist4 ,this harmony clearly justifies ,lancret and ,champollion the ,younger1 in the passages quoted above4 ,,ii4 ,,on ,,the ,,employment ,,of ,,colours ,,in ,,greek ,,architecture4 #dcc4 ,the discovery of ,greek temples coloured on the exterior is doubtless a very remarkable fact in archology2 for if any monuments seemed to reject the application of colours to their external decoration1 it was assuredly those of the ,greeks4 ,at this day1 it is impossible not to admit that it was among these people that the alliance of colours with architecture was made1 not in the declining epoch but at a period when monuments were erected in the best style2 in fact1 the ruins of coloured temples discovered by the excavations made in ,greece1 ,italy1 and ,sicily1 in places where many ,greek colonies prospered1 have this characteristic in a remarkable degree4 #dcd4 ,if we seek the cause which determined the ,greek architect to seize upon one of the most powerful means that the painter has of addressing the eye1 we shall find it especially1 ,i think1 in a taste for colours1 rather than in the intention of rendering the various parts of an edifice more distinct from each other2 and of substituting painted ornaments for ornaments in relief1 whether sculptured or moulded1 or of augmenting the relief these ornaments already possessed2 indeed1 the communication of the ,greeks with the ,egyptians1 may have induced them to imitate the latter in this application of colours to ornaments4 #dce4 ,in the coloured drawings of ,greek monuments which ,i have been able to procure1 ,i have remarked not only the number of colours employed in these monuments1--white1 black1 red1 yellow1 green1 and blue1--but also the use which has been made of them under the relation of variety and purity of tint1 of distinct view of the parts1 and of the harmony of the whole4 ,for instance1 the principal lines1 as the fillets of the architrave and of the cornice1 are red2 the mutules blue1 and their gutt white2 the triglyphs blue1 their channels black1 and their gutt white2 and the more extended parts of the frieze and the cornice1 as well as the architrave1 are of light yellow4 ,we see that red1 a brilliant colour1 indicated the greater part of the principal lines2 that blue1 associated with black in the triglyphs and their channels1 formed an harmonious and distinct union of the neighbouring parts3 also that the dominant colour1 light yellow1 produced a much better effect than it would if the most intense or the most sombre colours had predominated4 ,finally1 the colours were distributed in the most intelligent manner possible without being motley1 presenting a variety and lightness in the tints1 with easy separation of parts4 ,,iii4 ,,on ,,the ,,employment ,,of ,,colours ,,in ,,gothic ,,architecture4 #dcf4 ,in the great ,gothic churches1 colour has rarely been employed on the exterior1 except in a few cases1 and always in a restrained manner1 and without injury to the general harmony2 for the colour on porches and in niches is altogether insignificant in this point of view2 and1 besides1 there is nothing to show that it was not added long after the erection of the structure on which it is found4 ,one of the things ,i most admire in these vast edifices is the art1 or1 if you will1 the luck1 with which they have succeeded without colour1 by having recourse only to architecture and sculpture1 in giving to the exterior of the edifice a variety which in no respect injures the imposing effect of the whole4 #dcg4 ,if we now regard the interior of these churches1 the magic of the colours of the stained windows will complete the enjoyments the sight can receive from colour allied to architecture--enjoyments which can only strengthen the power of the religious sentiment in all who enter these edifices to address their prayers to ,god4 ,m4 ,boisere1 author of a work full of research1 as original as profound1 on the cathedral of ,cologne1 thinks that the ceilings of ,gothic churches ought1 according to a general custom1 to represent the celestial vault1 and be painted blue1 studded with gilt stars4 #dch4 ,if painting has from the beginning really concurred with architecture1 and even with painted sculpture1 in the interior decoration of ,gothic churches1 it can only have been in a secondary degree and on the system of flat tints1 from the time when it had been decided to put in windows of stained glass2 for no painting applied upon an opaque body1 such as stone1 wood1 c41 could sustain itself beside the brilliant coloured light transmitted by the glass2 and if this painting had been graduated according to the rules of chiaro-'scuro1 all its merit would have disappeared1 for want of pure and white light1 the only kind suitable for illuminating it4 #dci4 ,is it true that the vicinity of stained glass necessarily requires as an effect of harmony1 painting on the contiguous walls8 ,without deciding absolutely in favour of the contrary opinion1 ,i confess that1 after reflecting long upon the deep impressions ,i have received in great ,gothic churches where the walls present only the simple effects of light and shade upon a uniform surface of stone1 where there are no colours except those transmitted by the stained glass1 ,i say that the sight of more varied effects would have appeared to me an error against the principle of suitability of the place to its destination2 and this opinion was especially fortified by seeing1 after the coronation of ,charles ,x41 the fine vault of the ancient cathedral at ,rheims1 which had been painted for the occasion blue1 sprinkled with fleurs-de-lis4 ,i am reminded of the impression it produced upon me some years before1 when it presented to my sight only the uniform colour of the stone4 ,,application ,,to ,,the ,,interiors ,,of ,,edifices4 #ddj4 ,i shall treat in succession-- #a4 ,on the assortment of stuffs with the wood of seats1 c4 #b4 ,on the assortment of frames with the pictures1 engravings1 and lithographs which they surround4 #c4 ,on the general decoration of interiors of churches4 #d4 ,on the decoration of museums1 galleries1 c4 #e4 ,on the decoration of houses1 palaces1 c4 ,on the ,assortment of ,stuffs with the ,wood of ,seats4 #dda4 ,there should be between the two parts of the seat--the wood and the stuff--harmony of contrast and harmony of analogy4 ,the beauty of the wood and of the stuff which accompanies it1 may mutually enhance each other4 ,from what has been said1 it is evident that we must assort violet or blue stuffs with yellow woods1 as the root of ash1 the yew1 satinwood1 maple1 c4 ,green stuffs with rose or red-coloured woods1 as mahogany1 cherry-tree1 rosewood1 c4 ,violet1 or blue-greys1 are equally good with yellow woods1 as green-greys are with the red woods4 ,but to obtain the best possible effect it is necessary to take into consideration the contrast resulting from depth of tone2 for a dark blue or violet stuff will not accord so well with a yellow wood as a light tone of the same colours2 and it is for this reason that yellow does not assort so well with mahogany1 as with a wood of the same1 but not so deep a colour4 #ddb4 ,among the harmonies of contrast of tone that can be made with wood1 may be mentioned ebony1 the brown colour of which permits its employment with light stuffs to produce contrasts of tone1 rather than contrasts of colour4 ,we can use it with very brilliant1 intense colours2 such as poppy1 scarlet1 aurora1 flame-colour1 c4 #ddc4 ,when we employ painted woods instead of those which retain their natural colour1 it is better for a stuff to give the wood such a colour as will best assort with the stuff4 ,for assortments of this kind1 ,i believe we cannot do better than refer to the examples of the assortments of the principal colours with white1 black1 and grey4 7,p4 #di et seq47 #ddd4 ,ebony wood1 on account of its dark colour1 be employed with dark stuffs to produce the assortments of analogy4 ,in this case it can be allied with brown tones1 and with red1 blue1 green1 and violet4 ,it is scarcely necessary to remark that these assortments prevent our using with ebony1 white and yellow inlaying woods1 which can be used with more or less advantage in those assortments which enter into the case of harmonies of contrast4 #dde4 ,frequent use is made of crimson woollen1 velvet1 and mahogany4 ,this assortment1 which is related to the harmony of analogy1 is preferable to many others1 only in consideration of the great stability of the colour of the stuff1 and therefore independently of every idea of harmony4 ,this induces me to examine it under several relations1 that we may make the best possible use of it1 according to the particular purpose4 ,when1 in assorting crimson with mahogany1 we wish to produce the harmony of analogy1 by marking out the lines where the wood and the stuff touch1 we can employ a cord or narrow galloon of yellow1 or of golden yellow with gilt nails2 or1 better still1 a narrow galloon of green or black1 according to our wish to render the border more or less prominent4 ,when1 in assorting these colours1 we are guided by the twofold motive of the stability of the crimson colour and of the beauty of the mahogany1 we must necessarily increase the distance which separates the stuff from the wood1 by making the black or green border wider4 #ddf4 ,as the red woods always lose more or less of their beauty by the juxtaposition of red stuffs1 we can never ally mahogany to colours which belong to the vivid reds1 such as poppy or cherry2 and more particularly to orange-reds1 such as scarlet aurora2 for these colours are so bright1 that1 taking away from this wood its peculiar tint1 it becomes no better than oak or black walnut4 ,,on ,,the ,,selection ,,of ,,frames ,,for ,,pictures ,,and ,,engravings4 #ddg4 ,if a frame is necessary to a picture1 engraving1 or drawing1 to isolate it from the objects around it1 it is always more or less injurious to the illusion the painter or designer has desired to produce1 when it occupies its destined place4 ,i only purpose here to examine the relation of colour between the frame and the object it surrounds4 #ddh4 ,gilt frames accord well with large pictures painted in oil1 when the latter do not represent gildings1 at least so near the frame as to render it easy for the eye to compare the painted gold with the metal itself4 ,i will instance a bad effect from such proximity4 ,a ,gobelins tapestry1 after ,laurent1 represents a genius armed with a torch1 near which is a gilt altar1 executed in yellow silk and wool1 all of which are entirely eclipsed by the metallic brilliancy of the gilt bronzes profusely spread over the mahogany frame of the tapestry4 ,this may convince us that the richness of a frame may not only be a fault against art1 but also against common sense4 #ddi4 ,bronze frames which have but little yellow brilliancy do not injure the effect of an oil picture which represents a scene lighted by artificial light1 such as that of candles1 torches1 a conflagration1 c4 #dej4 ,when black frames1 such as ebony1 detach themselves sufficiently from an oil painting1 they are favourable to large subjects2 but whenever they are used1 it is necessary to see whether the browns of the painting or drawing which are contiguous1 do not lose too much of their vigour4 #dea4 ,a grey frame is favourable to many landscape scenes painted in oil1 particularly when the picture having a dominant colour1 we take a grey lightly tinted with the complementary of that colour4 #deb4 ,gilt frames accord perfectly with black engravings and lithographs1 when we take the precaution of leaving a certain extent of white paper round the subject4 #dec4 ,to conclude4 ,the rule to be followed in assorting a frame to a picture is1 that its colour1 brightness1 and ornaments also1 injure neither the colours1 nor the shadows1 nor the lights of the picture1 nor the ornaments which it represents4 ,when we propose to put a border between the frame and an engraving1 plain or coloured1 we must take into consideration1-- #a4 ,the effect of the height of tone of this border upon the different tones of the design4 #b4 ,the effect of the complementary of the colour of the border upon the colour of the design4 #c4 ,the intensity of the diffused light which is considered most suitable to light the design4 ,because for a given border the mutual relations between the browns1 the half-tints1 the lights and the whites1 change with the intensity of the daylight1 and change more for a given composition with certain borders than with others4 ,a composition of small or medium size may be painted so that the artist himself will do well to choose the frame best adapted to it1 and to paint up those parts of his picture which are contiguous to it4 7,see also #dhc47 ,,on ,,the ,,general ,,decoration ,,of ,,the ,,interiors ,,of ,,churches4 ,i now resume this subject1 no longer to treat of it relatively to a given architectonic form1 but to consider it under the most general point of view4 ,conformably to the principle enunciated above 7#cdf71 of judging the productions of art by the rules drawn from the nature of the materials employed1 ,i establish two distinct classes of churches1 not according to their form1 but to a fundamental consideration which subordinates the interior decoration to the quality of the light1 coloured or colourless1 diffused through plain or coloured glass4 ,stained ,glass ,windows4 #a4 ,from the bad effect of the mutual proximity of white and stained glass 7#cfe71 it results that where one is employed in a church the other must be excluded1 at least from the nave1 choir1 in a word1 from all that the spectator can embrace at one point of view4 ,the colourless glass in some of the chapels of the aisles is of no consequence in the general effect4 #b4 ,if pictures be near stained windows1 they must be flat1 or present subjects as simple as possible1 since their effects are entirely sacrificed to those of the stained glass 7#dch74 #c4 ,we can place pictures in a large church where the light is transmitted through coloured glass2 but1 for the view to be satisfactory1 they must necessarily encounter such a union of conditions1 that they will almost always be found out of place4 ,in fact1 if the pictures are not at a certain distance from the glass1--if the coloured lights which emanate from them are not1 by their mutual admixture1 in the requisite proportions for producing white light1 or1 at least1 a very faintly coloured light--or if this feebly coloured light is insufficient to lighten the interior of the church properly1 the pictures will lose their colour1 unless they have been executed with reference to the nature of the light from the stained windows2 but this is not1 to my knowledge1 ever realized4 ,white ,glass ,windows4 #ded4 ,churches with white glass windows harmonize with every ornament we can imagine in the employment of wood1 marbles1 porphyry1 granite1 and the metals4 ,mosaics may ornament the floors and adorn the walls with true pictures1 as we see in ,st4 ,peter's at ,rome4 ,painting in fresco1 in oil1 plain and coloured sculptures1 also combine to ornament the interior4 #a4 ,in churches of this class1 the profusion of riches at the disposal of the decorator1 far from being always of advantage to him1 may be the cause of difficulties2 for1 the more varied the objects he has to arrange1 the greater the difficulty of presenting only such objects as are in keeping with the place he has to embellish4 ,it is not enough to have precious woods1 marbles1 metals1 pictures2 he must also make these objects harmonize4 ,thus1 he must avoid putting coloured marbles contiguous to the white stone of which the walls are constructed2 he must also proscribe surrounding bas-reliefs in white stone with slabs or borders of red or green marble4 #b4 ,the cathedral of ,cologne1 for churches with coloured glass1 and ,st4 ,peter's at ,rome1 for those with white glass1 are two types which it will be sufficient to mention when we wish to demonstrate that beauty is compatible with different systems4 #c4 ,much as ,i admire the marvels which the arts have accumulated in churches where white light freely enters1 and although ,i acknowledge the effects which certain pictures of the first order are capable of producing in the ,christian mind1 yet the churches in which we see these decorations1 resemble museums of art more than temples consecrated to prayer2 and under this aspect they do not appear to me to fulfil the conditions imposed by the principle of fitness of edifices to their purpose in the same degree as ,gothic churches with stained glass windows4 ,,on ,,the ,,decoration ,,of ,,museums ,,and ,,galleries4 #dee4 ,the essential condition which these edifices must fulfil1 is1 that the light be as white and as vivid as possible2 but always diffused and distributed equally and in the most suitable manner upon all the objects exhibited to the spectator1 so that they may be seen without fatigue1 and distinctly in every part4 ,picture ,galleries4 #def4 ,there is generally a disposition to be prodigal of ornaments and gilding in such buildings4 ,without pretending that all decoration should be proscribed1 yet ,i believe that there is less disadvantage in erring by deficiency than by excess2 in fact1 the pictures1 c41 are the precious objects1 and it is to them that we must attract attention4 ,let me add1 that one of the most injurious things to the effect of pictures is their accumulation--their being crammed all together2 the position they then occupy1 so different from that for which the painters destined them1 diminishes the illusion which each would produce if it were in its proper place4 ,few1 except the intelligent connoisseur and amateur1 on seeing a picture exhibited in a gallery1 experience all the effect which the artist wished to produce4 ,even the contiguity of the frame to the picture is destructive of the illusion of perspective3 hence the difference between the effect of a framed picture and the effect of the same picture when seen through an opening1 which permits us to see neither frame nor limits3 it then recalls all the illusion of the diorama4 ,sculpture ,galleries4 #deg4 ,statues of white marble or stone1 as well as plaster casts1 stand out well in a gallery1 the walls of which are of a pearly-grey colour2 and if we would augment the whiteness of the statues by neutralizing the red hue which the marble1 stone1 or plaster might have1 we could colour the walls with a chamois or orange-grey tint4 ,if1 on the contrary1 we preferred giving to the statues a warm colour1 which many sculptors esteem so highly1 the walls must be of blue-grey4 ,green walls will give to the statues a rosy tint1 which is not disagreeable4 ,the tone of their colour must be lower1 the brighter we wish the sculptures to be4 #deh4 ,when there are bronzes1 the colour of the walls of the gallery must be determined by that which we wish to predominate in the statues2 because1 as is very well known1 the metallic alloy of which they are formed yields two very different tints2 one green1 acquired by exposure to atmosphere2 the other the peculiar golden tint which it possesses where it is not oxidized4 ,if we wish to exalt this green tint1 the colour of the walls of the gallery must be red2 while they must be blue to bring out the brilliancy of the metallic bronze1 which has not experienced the action of the atmosphere4 #dei4 ,the walls of the gallery are considered as giving rise to effects of contrast1 and not of reflection4 ,museums of ,natural ,history4 #dfj4 ,in these edifices it would be wrong to give the walls any positive colour1 for the objects exhibited should appear to the eyes of the naturalist of the colour peculiar to each2 consequently the interior of cabinets1 glass-cases1 and drawers must necessarily be white1 or normal grey1 very light in tone4 ,wainscoting4 #dfa4 ,from the fact that wainscotings are generally concealed by the furniture placed before them1 we may conclude that they must be of a dark1 rather than of a light colour1 and that1 if they have ornaments1 these must be simple1 and not prominent4 ,the wainscoting may be considered as serving as a ground to the furniture1 whenever it is not entirely concealed by the latter4 ,we shall see hereafter what colour is necessary to be given them that they may suit their purpose4 ,,decorations ,,of ,,the ,,interior ,,of ,,houses4 ,hangings4 #dfb4 ,in consequence of an apartment never being too light--for we can always diminish superfluous light--hangings should be of a light colour1 that they may reflect1 not absorb1 light4 #dfc4 ,we proscribe all dark hangings1 whatever be their colour1 because they absorb too much light2 we proscribe also red and violet hangings1 because they are exceedingly unfavourable to the colour of the skin4 ,for this latter reason we reject the light tones of the red and violet scales4 ,orange is a colour that can never be much employed1 because it fatigues the eye too much by its great intensity4 #a4 ,among the simple colours1 there are scarcely any which are advantageous1 except yellow and the light tones of green and of blue4 ,yellow is lively2 it combines well with mahogany1 furniture1 but not generally with gilding 7see #dfi74 #b4 ,light green is favourable to pale complexions as well as to rosy ones2 to mahogany furniture1 and to gilding4 #c4 ,light blue is much less favourable than green to rosy complexions1 especially in daylight2 it is particularly favourable to gilding1 it does not injure mahogany1 and associates better than green with yellow or orange woods4 #d4 ,white or whitish hangings of a light grey 7either normal green1 blue1 or yellow71 uniform or with velvet patterns of the colour of the ground1 are also very useful4 #e4 ,when we would choose hangings upon which to place a picture1 their colour must be uniform1 and make the greatest contrast possible with that which predominates in the picture1 if the hangings are not of a normal grey4 ,i shall return to this assortment 7#dhc74 #dfd4 ,hangings in the best taste are those-- #a4 ,which present designs of a light tone1 either normal or coloured grey1 upon a white ground1 or the reverse1 and in which the pattern is at least equal in extent of surface to the ground2 for a small pattern has a very poor effect1 at least in a large room4 #b4 ,patterns of two or more tones of the same or very near scales assorted conformably to the law of contrast4 #dfe4 ,hangings of brilliant and varied colours representing real objects1 forming patterns more or less complex1 do not admit of pictures2 and as such hangings should exhibit themselves distinctly1 they must not be concealed by the furniture in any of their parts4 #dff4 ,when we have to adapt a border to a monochromous hanging1 or to one presenting a dominant colour1 we must first determine whether we can have recourse to a harmony of analogy or to a harmony of contrast2 in all cases the border ought to detach itself more or less from the hangings1 which it is intended to surround and separate from contiguous objects4 ,harmony of contrast is the most suitable to papers of a uniform pure colour1 such as yellows1 greens1 and blues2 consequently we recommend for the dominant colour of the border1 the complementary of that of the hangings1 whether this border represents ornaments1 arabesques1 flowers1 or imitations of fringes or tissues4 ,but1 as a contrast of colour ought not generally to offer also a contrast of tone1 then the general tone of the border must only surpass that of the hangings so far as to avoid a deadening effect4 ,if a double border be required1 the exterior border must be of a much deeper tone than the other1 and always narrower4 #dfg4 ,among the colours suitable for borders we recommend the following as harmonies of contrast3-- #a4 ,for yellow hangings1 violet and blue mixed with white2 if a fringe1 of flowers garnished with their leaves1 or ornaments4 #b4 ,for green hangings1 red in all its hues2 the painted gilt-yellows upon a dark-red ground2 the borders of brass4 #c4 ,for white hangings1 orange and yellow2 the borders of brass or gilt moulding3 these are much better on blue than on green4 #dfh4 ,among the harmonies of analogy1 ,i recommend the following3-- ,for yellow hangings1 a border of brass or gilt moulding4 ,white or ,whitish ,hangings of ,normal ,grey1 ,pearl ,grey1 or very pale coloured ,grey1 of a uniform colour1 or with a ,velvet ,pattern of the ,colour of the ,ground4 #dfi4 ,although papers of this kind admit of borders of all colours1 yet we must avoid too great a contrast of tone in a border containing pure colours2 for the intense tones of blue1 violet1 red1 green1 are too crude to combine with these light grounds4 ,gilt brass borders accord well with these grounds1 especially with the pure or grey whites4 ,if a grey present a tint of green1 of blue1 or of yellow1 we may use borders of the complementary of these tints1 taken many tones above1 or of a grey1 deeply tinged with this complementary4 #dgj4 ,among the harmonies of analogy1 we may take for grey hangings1 borders of some tones higher1 and of a grey contrasting with their tint1 but very lightly4 ,for ,borders of ,hangings that present a pure ,colour with ,white1 or many ,tones belonging either to the same ,scale or to contiguous ,scales 7see #dff74 ,for chintzes1 we must have analogous borders4 ,for larger patterns than chintzes1 repeated like the latter1 a binding of galloon suffices4 ,hangings with human figures1 landscapes1 or other pictures1 require a frame either of painted1 gilt1 or bronzed wood1 or1 better still1 a border imitated by painting4 ,colour of the ,wainscoting relatively to the ,hangings4 ,when the ,hangings and the ,border make a ,contrast of ,colour4 #dga4 ,the dominant colour of the wainscoting must generally be more or less approximating1 and may be-- #a4 ,the same as that of the border1 but a little darker1 and especially more or less broken with black4 #b4 ,grey lightly tinted with the colour of the border1 and of the same tone1 or very near it4 #c4 ,the complementary of the colour of the hangings1 when the dominant colour of the border is not its complementary4 ,if we employ a complementary lightly broken with black1 the moulding must be picked out in brown on the border and on the wainscoting4 #d4 ,a grey complementary to the colour of the hangings1 when the border is not the complementary of the hangings4 ,in these cases we bring out upon the colour of the hangings1 properly so called1 that of the wainscoting1 which we always render more or less dull4 ,thus the colour of the hangings and the wainscoting are agreeably harmonized1 and the border suitably separates them4 #e4 ,a normal grey of many tones1 with which we may combine white4 #dgb4 ,when the colour of the wainscoting is the same as that of the hangings1 but duller or deeper1 in general it has a poor effect1 arising particularly from the fact that the colour of the border1 which contrasts with that of the hangings and of the wainscoting1 is in too small superficial proportion to the other4 ,when the ,assortment of the ,hangings and the ,border make either the ,harmonies of ,contrast of ,scale or of ,contrast of ,hue1 or the ,harmonies of ,analogy4 ,the dominant colour of the wainscoting may be-- #a4 ,the complementary of the colour of the hangings1 but more or less broken1 and a little deeper4 #b4 ,grey complementary to the colour of the hangings4 #c4 ,a colour which1 without being complementary1 contrasts with that of the hangings4 #d4 ,grey1 tinted by a colour which1 without being complementary to that of the hangings1 contrasts with them4 #dgc4 ,when the hangings are white1 or of an extremely feeble tone of colour1 and the border does not stand out very strongly by its colour1 we may make a harmony of tone or of hue with the tint of the wainscoting4 ,for example1 white1 or nearly white hangings1 with a gilt or brass border1 harmonize well with a wainscoting which differs only by some tones more from the colour of the hangings4 ,cornice of the ,ceiling4 #dgd4 ,the cornice of a white ceiling must be of light colours1 and but little varied2 not according with those of the hangings1 but of the wainscoting4 ,white parts1 which may be confounded with the ceiling1 must be carefully avoided1 as must also whatever will cause too much difference between the parts of the whole4 ,when the hangings are white1 or of a very pale grey1 with a gilt or brass border1 the cornice may present ornaments of the same material1 and in this case they may stand upon a white or upon a grey1 a little deeper than that of the hangings4 ,chairs1 ,sofas1 c41 placed in front of the ,wainscoting or ,hangings4 #dge4 ,the colour of the covering of chairs should be complementary to that of the hangings1 properly so called1 or1 more generally1 the same as that of the border1 because this may be different from its complementary1 and contrast1 nevertheless1 with the tint of the hangings4 ,we see1 then1 that the chairs should contrast with the hangings1 as may also the wainscoting2 but the colour of the chairs being pure1 it will also be purified by that of the wainscoting1 which1 for this reason1 we have advised to be deadened4 #a4 ,the case of clearest contrast--i4e41 when the colours of the hangings and the chairs are complementary--is the most favourable to distinct vision1 as well as to successive contrast1 whenever we observe first the hangings separately1 and afterwards the chairs separately1 and vice vers4 #b4 ,when the colour of the hangings and of the chairs contrast without being complementary1 we must take into consideration the degree of light in the colour of the hangings4 ,for example1 if they are blue1 and the border is yellow1 the covering of the furniture being a yellow1 more golden than citron1 this stuff must be of a much higher tone than the blue tone of the hangings2 and the tone of the wood of the chairs1 c41 must be still higher than the yellow1 to avoid a dull appearance4 #c4 ,we may border the stuff at the parts contiguous to the wood1 either with well-assorted dark colours1 or with the same colour as the hangings1 but of a higher tone2 there is also a means of harmonizing the hangings and the furniture1 in uniting the same colours1 but in inverse proportion4 #d4 ,when1 instead of sofas1 arm and other chairs1 there is a divan which entirely conceals the wainscoting1 we must use the complementary colour of the hangings1 when it is more advantageous for the colour of the border to form a contrast of scale or of hue with the hangings4 ,in this case1 yellow hangings bordered with brass in relief with a violet-coloured divan1 will produce an excellent effect1 at least by daylight2 for we must not forget that yellow and violet lose in artificial light4 #e4 ,we regard as a harmony of contrast of colour light hangings of a pure colour with furniture of a grey1 tinted with the complementary to that of the hangings4 #dgf4 ,rooms differing in dimensions1 according as they belong to the lively or grave harmonies1 will be adapted to very different purposes4 #a4 ,in small rooms--such1 for example1 as boudoirs1 where the hangings are bright--a harmony of contrast of hue1 of scale1 or a harmony of analogy1 is generally preferable to a harmony of contrast of colour1 if the hangings are uniform1 or have a dominant colour4 ,if they have a decided colour allied to white1 or if they present patterns of various colours1 such as chintzes1 the furniture most suitable will be a divan of the same material as the hangings2 and it is conformable with the object of boudoirs1 or of similar places1 to diminish their apparent extent to the eye1 by employing only one material for the hangings and the chairs1 instead of seeking to fix the eye upon distinct objects4 #b4 ,in large rooms there is an arrangement of good effect--viz41 white1 or very light grey hangings1 with furniture of a pure colour1 such as red1 yellow1 green1 blue1 and violet4 ,when we employ these pure colours1 we must heighten the tone only so much as to avoid a faded appearance4 ,sky-blue is the most suitable for this arrangement2 crimson1 which is also employed1 is too harsh1 especially if the room is neither very large nor well lighted4 #dgg4 ,grave ,assortments are adapted to places devoted to quiet meetings1 such as libraries1 museums1 studies1 c4 ,in general1 the smaller the place1 or the less space there is to receive the hangings1 the more the assortment must be that of a harmony of analogy4 ,the hangings or the pictures must present only normal grey1 or a grey of a colour more or less broken2 the chairs must be black or of a dark grey1 either normal or coloured2 and in this case we can take a grey tinted with the complementary of the colour of the grey of the hangings4 ,if more contrast is desired1 we can have recourse to the brown tones of this complementary of the colour1 which tints the grey of the hangings4 #dgh4 ,window and ,bed-curtains should be similar to each other4 ,when the ,chairs have a decided ,colour--such as ,red1 ,yellow1 ,green1 ,blue1 or ,violet--the hangings should be of a pure colour1 contrasting favourably with that of the chairs4 ,the curtains should generally be of the colour of the chairs1 and their borders of the colour of the hangings1 or of the colour of the hangings bordered with the colour of the chairs4 ,the ,chairs being ,grey1 or of a very subdued ,colour1 and the hangings of a decided colour1 the curtains should be either1--#a4 ,of the colour of the chairs1 with a border of the colour of the hangings3 or1 #b4 ,of the complementary of the hangings1 or contrasting favourably with them2 the colour of the border should be that of the hangings4 ,the ,hangings being of a ,grey ,colour1 or ,white1 the curtains should be1--#a4 ,of the colour of the chairs3 or1 #b4 ,of a pure colour1 complementary to the grey of the hangings1 if the latter do not belong to the scale of normal grey4 #dgi4 ,doors4--,doors being1 by their use1 size1 and position1 relatively to the plane of the wall1 absolutely distinct from the wainscoting1 should be distinguished from it by their colour1 notwithstanding the contrary practice of painters1 who make them the same4 ,their different parts might be painted in many low tones of the same1 or of approximating scales1 and always according to the harmony of analogy1 as the parts of one object are concerned4 ,the colour of the doors should be of normal grey1 or of a grey tinged with the colour of the hangings or of its complementary1 which will thus always unite with the hangings1 either by harmony of analogy1 or by harmony of contrast4 ,the door frames should be darker than the door itself4 #dhj4 ,window ,frames should be like the doors1 according to a rule which has long been generally observed4 ,the fastenings must be black1 bronzed1 or of brass4 ,carpets4 #dha4 ,whatever may be the dominant colours of the subjects represented in their central part1 with regard to brilliancy and contrast1 they should always be separated from the chairs by a sufficient interval to prevent discord with the colour of the latter4 #a4 ,the more numerous and vivid the colours are1 the more we must control their brilliancy2 and the carpet most suitable will be one of simple colours and pattern4 ,in many cases1 an assortment of green and black will have a good effect4 #b4 ,if the furniture is of a single colour1 or of many tones1 either of the same colour or of approximating scales1 we can1 without disadvantage1 employ a carpet of brilliant colours1 and thus establish a harmony of contrast between them and the dominant tint of the furniture4 #dhb4 ,but if the furniture is of mahogany1 and we wish to bring out its colour1 then we must not have either red1 scarlet1 or orange as a dominant colour in the carpet4 ,in short1 to get the best effect of the colours of the furniture1 in the first case1 the colours of the carpet1 more or less sombre1 must enter into the harmonies of analogy2 while in the second1 where harmony of contrast of colour does not exist in the furniture1 we can1 if we choose1 have recourse to this harmony in the carpet without ill effect4 ,pictures 7,see #dec74 #dhc4 ,whenever pictures are placed on hangings1 the latter must be of a single colour1 or of two very similar colours or tones of the same scale4 ,the pattern of these hangings must be as simple as possible4 ,whenever a picture is placed on coloured hangings1 we must always take care that the dominant colour of the hangings be complementary to the dominant colour of the picture4 ,engravings and plain lithographs must never be placed beside oil paintings1 or even coloured drawings4 ,pearl grey1 or rather deep normal grey1 is a good tint to receive engravings and plain lithographs in gilt or yellow wood frames4 #dhd4 ,yellow hangings can receive with advantage landscapes1 in which green grass1 and leaves1 and a blue sky predominate4 ,the most suitable frames in this case are those of violet ebony1 or wood painted grey or black4 ,gilt frames have not a bad effect on the picture2 but the gold of the frame and the yellow of the hangings do not contrast sufficiently to most eyes4 #dhe4 ,oil-paintings in gilt frames have a good effect on hangings of olive-grey more or less deep1 according to the tone of the picture4 ,carnations and the gold assort well on a similar ground4 ,papers of a deep green1 and even of a deep blue1 may also be advantageously employed in many cases4 ,,on ,,the ,,assortment ,,of ,,colours ,,in ,,interiors1 ,,the ,,walls ,,of ,,which ,,are ,,panelled ,,or ,,covered ,,with ,,marble1 ,,stucco1 ,,or ,,painted ,,wood4 ,panelled ,interiors4 #dhf4 ,notwithstanding the present taste for decorations1 which it is so easy to satisfy by means of paper-hangings1 woven fabrics1 and other accessories1 ,i think there are in large suites of apartments two rooms for which a paneling more or less finished is very suitable2 these are the dining and the billiard rooms2 the scene being1 as it were1 concentrated on the dining or billiard tables1 there is no reason to distract the attention by clothing the walls with ornaments4 ,where an interior is paneled1 the floor should be in parquetry2 a pavement of tiles1 stones1 or marbles would be out of keeping4 #dhg4 ,the colour of the curtains1 for paneled interiors1 must be chosen conformably to the preceding principles4 ,for example-- ,white curtains will heighten the tone of the woodwork2 ,blue curtains will bring out the golden tint of many woods1 especially of polished oak4 ,interiors covered with ,marbles4 #dhh4 ,we can arrange marbles together on the principle of harmony of contrast or of harmony of analogy4 ,bronze adapts itself to them very well4 ,if granite and porphyry are to be added1 the lower courses must be composed of the latter4 ,blinds are preferable to curtains1 which are not suited to marbles4 ,interiors covered with ,wood painted of several ,colours4 #dhi4 ,the painting on a wainscot which is not beautiful enough to be seen uncovered has for its object the imitation--#a4 ,of hangings2 #b4 ,of wood more or less costly2 #c4 ,of marble4 #dij4 ,when we decorate walls of a pale grey ground1 which require to be warmed with arabesques1 we must endeavour to imitate pictures rather than mosaics4 #dia4 ,the more carefully arabesques are executed1 the more variety they will present in their forms and colours1 and the less they should resemble the draperies1 with which they are associated4 ,thus1 white curtains with a simple and ample border1 or curtains of a slightly-elevated tone of colour1 or of an extremely simple design1 should have the preference to curtains which are related to arabesques by their vivid colours1 their varied patterns1 or striking colour2 in short1 the colour of the curtain1 if it has any1 must be sacrificed to that of the arabesques4 ,,fifth ,,division4 ,,clothing4 #dib4 ,in explaining the applications of the law of contrast to the colours of ,male ,clothing1 my intention is to discuss principally the question of the combination of colours in military uniforms as a matter of ,state economy2 and1 in the case of ,female ,clothing1 the combinations which are most suitable for a portrait4 ,the first question is entirely one of administrative economy2 the second belongs solely to the domain of art4 ,i shall attain my end if1 in the views set forth1 the portrait-painter find the means of selecting associations of colours which1 by imparting to his works more brilliancy and harmony1 render them thereby less likely to appear antiquated when the prevailing fashion of his time is forgotten4 ,i4 ,men's ,clothing4 #dic4 ,a dress composed of cloths of different colours may be worn much longer1 and will appear better1 although nearly worn out1 than a suit of a single colour1 even when the latter is of a piece of cloth identical with one of the first4 ,the law of contrast fully gives the reason of this fact4 ,,of ,,the ,,advantages ,,of ,,contrast1 ,,considered ,,with ,,regard ,,to ,,the ,,apparent ,,cleanliness ,,of ,,cloths ,,for ,,clothing4 #did4 ,contrast in the colours of cloths composing a dress is not only advantageous to the brightness and apparent preservation of the colours of these cloths1 but also to render less visible the inequalities which a cloth presents on account of the colouring material not having equally penetrated to the centre of the stuff2 the surface wearing unequally1 according as it is exposed to different degrees of friction1 the colour of the cloth becomes lighter1 or1 as it is commonly called1 whitens1 in the parts most exposed to friction4 ,many blue1 scarlet1 and madder-red cloths present this result1 especially on the salient parts of the vestment1 such as the seams4 #die4 ,this defect which certain cloths have of whitening in the seams is much less apparent in a coat of two or more colours than it is in a monochromous coat2 because the vivid contrast of different colours1 fixing immediately the attention of the spectator1 prevents the eye from perceiving the inequalities1 which would be visible in a monochromic coat4 ,for this reason stains1 on the same ground1 will always be less apparent in a polychromous than in a monochromous garment or dress4 #dif4 ,for the same reason also a coat1 waistcoat1 and trousers of the same colour cannot be worn together with advantage1 except when new2 for when one of them has lost its freshness1 by having been more worn than the others1 the difference will be increased by contrast4 ,thus new black trousers worn with a coat and waistcoat of the same colour1 but old and slightly rusty1 will bring out this latter tint1 while at the same time the black of the trousers will appear brighter4 ,white trousers or reddish-grey will correct the defect4 ,we see1 then1 the advantage of having a soldier's trousers of another colour than his coat1 especially if1 wearing this coat all the year1 he only wears trousers of the same cloth during winter4 ,we see also why white trousers are favourable to coats of every colour4 ,,ii4--,female ,clothing4 #dig4 ,although there are many varieties of the human race with respect to the colour of the skin1 yet we may arrange them in the three following divisions3--,the ,caucasian1 or white race2 the ,american ,indians1 whose skin is red or copper-coloured2 the negro race1 the ,malays1 c41 who have black or olive skins4 ,colours for the ,dress of ,women with ,white ,skins4 #dih4 ,to give precision to this subject1 we must begin by establishing certain distinctions4 #a4 ,that of the two types1 with skins more or less white and rosy3-- ,the one with light hair and blue eyes4 ,the other with black hair and black eyes4 #b4 ,that of the juxtaposition of the articles of the toilet1 whether pertaining to the hair or to the complexion2 for a colour may contrast favourably to the hair1 yet produce a disagreeable effect with the skin4 #c4 ,that of the modifications of the complexion1 by coloured rays emanating from the head-dress1 and which1 being reflected on the skin1 tinge it with their peculiar colour4 #dii4 ,the colour of light hair being essentially the result of a mixture of red1 yellow1 and brown1 we must consider it as a very pale subdued orange-brown2 the colour of the skin1 although a lower tone1 is analogous to it1 except in the red parts4 ,blue eyes are really the only parts of the fair type which form a contrast of colour with the whole2 for the red parts produce1 with the rest of the skin1 only a harmony of analogy of hue1 or at most a contrast of hue1 and not of colour2 and the parts of the skin contiguous to the hair1 the eyebrows1 and eyelashes1 give rise only to a harmony of analogy1 either of scale or of hue4 ,the harmonies of analogy1 then1 evidently predominate in the fair type over the harmonies of contrast4 #ejj4 ,the type with black hair shows the harmonies of contrast predominating over the harmonies of analogy4 ,the hair1 eyebrows1 eyelashes1 and eyes1 contrast in tone and colour1 not only with the white of the skin1 but also with the red parts1 which in this type are really redder1 or less roseate1 than in the blonde type2 and we must not forget that a decided red1 associated with black1 gives to the latter the character of an excessively deep colour1 either blue or green4 ,of the ,colours of the ,hair and ,head-dress4 #eja4 ,the colours which are usually considered as assorting best with light or black hair1 are precisely those which produce great contrasts2 thus1 sky-blue1 known to accord well with blondes1 is the colour that approaches the nearest to the complementary of orange1 which is the basis of the tint of their hair and complexions4 ,two colours1 long esteemed to accord favourably with black hair--yellow1 and red more or less orange--contrast in the same manner with them4 ,yellow and orange-red1 contrasting by colour and brilliancy with black1 and their complementaries1 violet and blue-green1 in mixing with the tint of the hair1 are far from producing a bad result4 ,of the ,colours of the ,complexion and the contiguous ,drapery4 #ejb4 ,the juxtaposition of drapery with the different flesh tints of women offers to portrait-painters a host of remarks1 which are all the results of the principles already laid down4 ,we shall state the most general3 thus-- #ejc4 ,,rose-,,red cannot be put in contrast with even the rosiest complexions without causing them to lose some of their freshness4 ,rose-red1 maroon1 and light crimson have the serious disadvantage of rendering the complexion more or less green4 ,this is shown in the following experiment3-- ,place two sheets of paper of either of the above colours beside two sheets of flesh-coloured paper1 when it will be seen how much they are mutually injured1 the lighter becoming greenish1 and the darker rather of a violet hue4 ,by substituting light green for the red1 we shall find them mutually heightened and improved4 ,the height of tone of the green influences the result3 a very deep green1 acting by contrast of tone1 so enfeebles the complexion1 that the slight contrasts of its colours will be inappreciable2 a deep red1 by contrast of analogy1 blanches the complexion4 ,it is necessary1 then1 to separate the rose from the skin1 in some manner2 and the simplest manner of doing this1 is to edge the draperies with a border of tulle1 which produces the effect of grey by the mixture of white threads1 which reflect light1 and the interstices1 which absorb it2 there is also a mixture of light and shade1 which recalls the effect of grey1 like the effect of a casement-window viewed at a great distance4 ,dark red is less objectionable for certain complexions than rose-red1 because1 being higher than the latter1 it tends to impart whiteness to them in consequence of contrast of tone4 #ejd4 ,,delicate ,,green is1 on the contrary1 favourable to all fair complexions which are deficient in rose1 and which may have more imparted to them without disadvantage4 ,but it is not as favourable to complexions that are more red than rosy2 nor to those that have a tint of orange mixed with brown1 because the red they add to this tint will be of a brick-red hue4 ,in the latter case a dark green will be less objectionable than a delicate green4 #eje4 ,,yellow imparts violet to a fair skin1 and in this view it is less favourable than the delicate green4 ,to those skins which are more yellow than orange it imparts white2 but this combination is very dull and heavy for a fair complexion4 ,when the skin is tinted more with orange than yellow1 we can make it rosy by neutralizing the yellow4 ,it produces this effect upon the black-haired type1 and it is thus that it suits brunettes4 #ejf4 ,,violet1 the complementary of yellow1 produces contrary effects2 thus it imparts some greenish-yellow to fair complexions4 ,it augments the yellow tint of yellow and orange skins4 ,the little blue there may be in a complexion it makes green-violet4 ,this1 then1 is one of the least favourable colours to the skin1 at least when it is not sufficiently deep to whiten the skin by contrast of tone4 #ejg4 ,,blue imparts orange1 which combines favourably with white1 and the light flesh tints of fair complexions1 which have already a more or less determined tint of this colour4 ,blue is thus suitable to most blondes1 and in this case justifies its reputation4 ,it will not suit brunettes1 since they have already too much of orange4 #ejh4 ,,orange is too brilliant to be elegant2 it makes fair complexions blue1 whitens those which have an orange tint1 and gives a green hue to those of a yellow tint4 #eji4 ,,lustreless ,,white1 such as cambric muslin1 assorts well with a fresh complexion1 of which it relieves the rose colour2 but it is unsuitable to complexions which have a disagreeable tint1 because white always exalts all colours by raising their tone2 consequently it is unsuitable to those skins which1 without having this disagreeable tint1 very nearly approach it4 #eaj4 ,,very ,,light ,,white draperies1 such as muslin or lace1 appear more grey than white4 7,see #ejc47 ,we must thus regard every white drapery which allows the light to pass through its interstices1 and which is only apparent to the eyes by the surface opposed to that which receives incident light4 #eaa4 ,,black draperies1 by lowering the tone of the colours with which they are in juxtaposition1 whiten the skin2 but if the vermilion1 or rosy parts1 are somewhat distant from the drapery1 it will follow that1 although lowered in tone1 they appear relatively to the white parts of the skin contiguous to the same drapery1 redder than if not contiguous to the black4 ,this effect is analogous to that mentioned 7#che74 ,the ,head-dress in relation to the ,coloured ,rays which it may reflect upon the ,skin4 #eab4 ,the effect of coloured bonnets on the complexion can now be readily understood2 and whether it is true1 as is generally believed1 that a rose-coloured bonnet gives a rose tint to the skin1 while a green bonnet gives a green tint to it1 in consequence of the coloured rays which each of them reflects upon it1 it is no longer a question about those head-dresses which1 being too small or too much thrown back to give rise to these reflections1 can only produce the effects of contrast1 as ,i have said above1 when treating of the juxtaposition of coloured objects with the hair and skin 7#eja1 et seq47 #eac4 ,if an object in relief is illuminated exclusively by a coloured light1 it will appear tinted with the colour of this light4 ,a white plaster figure1 for example1 placed in an enclosure where the red rays illuminate it1 will appear red1 at least to most eyes1 and under most circumstances2 for certain eyes1 in some cases1 may perceive the sensation of the complementary of the coloured rays in looking at some parts of the figure4 #ead4 ,but if the figure is placed so as to receive1 at the same time1 coloured rays and diffused daylight1 there will be produced on the eyes of a spectator1 suitably placed1 a complex effect2 resulting-- #a4 ,from some parts of the figure being white1 reflecting to the eyes of the spectator the coloured rays falling from above4 #b4 ,from some parts of the figure reflecting diffused daylight in sufficient quantity to appear white1 or almost white4 #c4 ,from there being between the parts which reflect coloured light to the eye1 and those which send diffused daylight1 some parts in a condition which appears to be complementary to the reflected coloured light4 #eae4 ,one very remarkable consequence of this is1 that the rays of mutually complementary colours1 successively lighting the same object1 concurrently with the diffused daylight1 give rise to the same coloration4 #eaf4 ,this may be proved thus3--,between two windows directly opposite to each other1 admitting diffused daylight1 place a white plaster figure in such a position that each half shall be lighted directly by only one of the windows4 ,on completely intercepting the light of one of the windows1 and hanging a coloured curtain before the other1 the figure appears only of the colour of the curtain2 but if we open the other window1 so that the figure is lighted by diffused daylight1 while it is at the same time lighted by the coloured light1 we then perceive some parts white1 and some parts tinted with the complementary of the coloured light transmitted by the curtain4 #eag4 ,this experiment1 then1 teaches us1 that if a bonnet1 rose-coloured1 for example1 give rise to a reflection of this colour on a complexion1 the parts thus made rosy by the effect of contrast1 themselves give rise to green tints1 since the figure1 while it receives rosy reflections1 receives also diffused daylight4 #eah4 ,to consider the real influence of the bonnet1 we place three white plaster casts of the same model in a position equally illuminated by daylight2 then observe them comparatively1 after having clothed the middle cast with a white bonnet1 and the two others with bonnets of which the colour of one is complementary to that of the other4 ,in this way we may satisfy ourselves that the influence of reflection in colouring a figure is very feeble1 even when the bonnet is placed in the most favourable manner for observing the phenomenon4 #eai4 ,rose-coloured ,bonnet4--,rose colour reflected upon the skin is very feeble1 except on the temples2 wherever the rosy parts are contiguous to parts feebly lighted by daylight1 the latter will appear very lightly tinged with green4 #ebj4 ,green ,bonnet4--,green colour reflected upon the skin is very feeble1 except on the temples2 wherever the green parts are contiguous to parts feebly lighted by daylight1 the latter will appear slightly rosy2 the effect of green in colouring it rose1 is greater than the effect of reflected rose in colouring it green4 #eba4 ,yellow ,bonnet4--,yellow colour reflected upon the skin is very feeble1 except on the temples2 wherever the yellow parts are contiguous to parts feebly illuminated by daylight1 the latter will appear very sensibly violet4 #ebb4 ,violet ,bonnet4--,violet colour reflected on the skin is very feeble1 even on the temples2 wherever the violet parts are contiguous to parts feebly illuminated by daylight1 the latter will appear slightly yellow2 but this coloration is very feeble1 because the reflections of violet have it themselves4 #ebc4 ,sky-blue ,bonnet4--,blue colour reflected on the skin is very feeble1 except on the temples2 wherever the blue parts are contiguous to parts feebly illuminated by daylight1 the latter will appear slightly orange4 #ebd4 ,orange ,bonnet4--,orange colour reflected on the skin is very feeble1 except on the temples2 wherever the parts are contiguous to parts feebly illuminated by daylight1 the latter will appear slightly blue4 #ebe4 ,it is evident1 then1 from these experiments1 that a coloured bonnet produces much more effect by virtue of contrast1 arising from juxtaposition with the flesh tints1 than by the coloured reflections which it imparts to them4 #ebf4 ,let us now see what advantage the painter can derive from the preceding observations1 when he prescribes a bonnet to a model1 belonging either to the light-haired or to the black-haired type4 ,,fair-,,haired ,,type4 #ebg4 ,a black bonnet with white feathers1 with white rose or red1 suits a fair complexion4 #ebh4 ,a lustreless white bonnet does not suit well with fair and rosy complexions4 ,it is otherwise with bonnets of gauze1 crape1 or lace2 they are suitable to all complexions4 ,the white bonnet may have flowers1 either white1 rose1 or particularly blue4 #ebi4 ,a light blue bonnet is particularly suitable to the light-haired type2 it may be ornamented with white flowers1 and in many cases with yellow and orange flowers1 but not with rose or violet flowers4 #ecj4 ,a green bonnet is advantageous to fair or rosy complexions2 it may be trimmed with white flowers1 but preferably with rose4 #eca4 ,a rose-coloured bonnet must not be too close to the skin2 and if it is found that the hair does not produce sufficient separation1 the distance from the rose colour may be increased by means of white1 or green1 which is preferable4 ,a wreath of white flowers in the midst of their leaves has a good effect4 #ecb4 ,i shall not advise the use of a light or deep red bonnet1 except when the painter desires to diminish too warm a tint in the complexion4 #ecc4 ,finally1 the painter should never prescribe either yellow or orange-coloured bonnets1 and be very reserved in the use of violet4 ,,type ,,with ,,black ,,hair4 #ecd4 ,a black bonnet does not contrast so well with the general appearance of the type with black hair as with the other type1 yet it may produce a good effect1 and receive advantageously accessories of white1 red1 rose1 orange1 and yellow4 #ece4 ,a white bonnet demands the same notice as that1 concerning its use1 in connexion with the blonde type 7#ebh71 except that for brunettes it is better to give preference to accessories of red1 rose1 orange1 and yellow1 rather than of blue4 #ecf4 ,bonnets of rose-red or cherry-colour are suitable for brunettes1 when the hair separates1 as much as possible1 the bonnet from the complexion4 ,white feathers accord well with red2 and white flowers1 with abundance of leaves1 have a good effect with rose4 #ecg4 ,a yellow bonnet suits a brunette very well1 and receives with advantage violet or blue accessories4 ,the hair must always interpose between the complexion and the head-dress4 #ech4 ,it is the same with bonnets of an orange colour1 more or less broken1 such as chamois1 with which blue trimmings are eminently suitable4 #eci4 ,a green bonnet is suitable to fair and light rosy complexions1 rose-red or white flowers are preferable to all others4 #edj4 ,a blue bonnet is only suitable to a fair or light-red complexion2 nor can it be allied to such as have a tint of orange-brown4 ,when it suits a brunette1 it may take with advantage yellow or orange trimmings4 #eda4 ,a violet bonnet is always unsuitable to every complexion1 since there are none to which the addition of yellow will be favourable4 ,yet1 if we interpose between the violet and the skin1 not only the hair1 but also yellow accessories1 a bonnet of this colour may become favourable4 #edb4 ,whenever the colour of a bonnet does not realize the intended effect1 even when the complexion is separated from the head-dress by large masses of hair1 it is advantageous to place between the latter and the bonnet certain accessories1 such as ribbons1 wreaths1 and detached flowers1 c41 of a colour complementary to that of the bonnet1 as ,i have prescribed for the violet bonnet4 ,the same colour must also be placed on the outside4 ,,on ,,the ,,assortment ,,of ,,colours ,,in ,,the ,,dress ,,of ,,women ,,with ,,copper-,,coloured ,,skins4 #edc4 ,the tint of the complexions of the women of the ,north ,american ,indian races is too positive to induce them to endeavour to dissimulate1 either by lowering its tone1 or by neutralizing it4 ,there is1 then1 no alternative but heightening it1 for which purpose we must use draperies either of white or of blue strongly inclining to green1 when the tint will become of a redder orange4 ,,on ,,the ,,assortment ,,of ,,colours ,,in ,,the ,,dress ,,of ,,women ,,with ,,black ,,or ,,olive ,,skins4 #edd4 ,if ,i have prescribed the harmony of contrast of tone where the colour of the complexion is copper-red1 there is a stronger reason for it when we have to drape olive or black skins2 we can then use either white or the most brilliant colours1 as red1 orange1 and yellow4 ,the consideration of contrast determines which one we ought to choose in a particular case4 ,if the complexion is intense black1 dark olive1 or greenish-black1 red is preferable to every other colour2 if the black is bluish1 then orange is particularly suitable4 ,yellow will best accord with a violet-black4 #ede4 ,results applicable to ,portrait painting4 ,the tint may be heightened without leaving its scale3-- #a4 ,by a white drapery which heightens by contrast of tone4 #b4 ,by a drapery the colour of which is exactly the complementary of the tint1 and of which the tone is not too high2 such as perhaps a green drapery for a rosy complexion2 or perhaps a blue drapery for the orange complexion of a blonde4 ,the tint may be heightened by making it leave its scale3-- #a4 ,by a green drapery of a light tone upon an orange complexion4 #b4 ,by a blue drapery of a light tone upon a rosy complexion4 #c4 ,by a yellow1 canary1 or straw-coloured drapery1 upon an orange complexion1 of which the complementary violet neutralizes some of the yellow of the complexion1 and heightens its rose4 #edf4 ,note4--,the modifications resulting from the juxtaposition of parts diversely coloured are much more positive than those arising from reflection by one part upon another4 ,if the ,painter wishes to dissimulate a ,tint of the ,complexion-- #edg4 ,as above1 he must distinguish two cases3-- #ast1 ,,when ,,he ,,sees ,,the ,,colours ,,modified ,,by ,,juxtaposition ,,only1 when the tint may be lowered without leaving its scale3-- #a4 ,by a black drapery1 which lowers it by contrast of tone4 #b4 ,by a drapery of the same scale as that of the tint1 but of a much higher tone4 ,such1 perhaps1 as a red drapery upon a rosy complexion2 or1 an orange drapery upon an orange-tinted complexion2 or1 the effect of a dark green drapery on a complexion of a green tint4 #bnd1 ,the tint may be lowered by making it leave its scale4 #a4 ,by a green drapery of very dark tone1 upon an orange complexion4 #b4 ,by a blue drapery of a dark tone1 upon a rosy complexion4 #c4 ,by a very dark yellow drapery1 upon a very pale orange complexion4 ,,applications ,,to ,,horticulture4 ,,section ,i4 #edh4 ,the applications ,i propose to make are of two kinds3 the one relating particularly to the arrangement of plants in gardens1 according to the colour of the flowers2 the other1 to the method of distributing and planting ligneous plants in masses1 which ,i suppose to have been previously planned4 ,doubtless1 ,i need not have discussed the latter subject1 but ,i have been led to it so naturally1 and the rules which guided me are so positive and simple1 that ,i have no doubt of their proving profitable to those of my readers who follow them in laying out plantations1 c4 ,the artist who conducts these operations is called a ,gardener1 or ,landscape ,gardener4 ,,on ,,the ,,art ,,of ,,arranging ,,ornamental ,,plants ,,in ,,gardens ,,so ,,as ,,to ,,derive ,,the ,,greatest ,,possible ,,advantage ,,from ,,the ,,colours ,,of ,,their ,,flowers4 #edi4 ,among the pleasures afforded us by the cultivation of choice plants1 there are few so intense as the sight of a collection of flowers1 varied in colour1 form1 size1 and position4 ,it is probably because we admire the plants individually1 and become attached to them on account of the pains they cost us1 that we have hitherto so generally neglected to dispose them in such a manner as to produce the best possible effect when their flowers are seen collectively4 ,thus1 no defect is more common than that of the proportion in which flowers of similar colours are distributed in a garden4 ,sometimes the eye is struck by blue or white1 sometimes it is dazzled by yellow4 ,add to this defect of proportion1 the ill effect produced by placing together many species of flowers1 which1 although of the same colour1 are not of the same tint3 for instance1 in spring we see the leopard's bane 7doronica71 of a brilliant golden yellow1 side by side with the narcissus1 which is of a pale greenish yellow2 in autumn1 the ,indian pink beside the ,african marigold1 dahlias of various reds grouped together1 c4 ,such arrangements as these cause the eye1 accustomed to appreciate the effects of contrast of colours1 to feel sensations quite as disagreeable as those experienced by the musician whose ear is struck with discords4 #eej4 ,previously to my observations on simultaneous contrast1 and the demonstration of the law which governs it1 it was impossible to prescribe rules which1 by instructing horticulturists to place1 with certainty of success1 flowers in proximity whose colours reciprocally enhance each other1 enabled them to avoid either the monotony resulting from the grouping of flowers of the same colour1 or the disagreeable effect of a collection of flowers whose hues are mutually injurious4 ,,assortments ,,of ,,flowers1 ,where the ,plants are apart4 #eea4 ,the associations of flowers which relate to the harmonies of contrast of colour1 are first1 those with colours mutually complementary to each other2 such as blue with orange1 or yellow with violet4 ,rose or red flowers contrast with their own leaves4 #eeb4 ,white flowers accord more or less favourably with blue and orange flowers1 already allied together2 and perfectly with rose or red flowers1 but not so well with yellow or violet flowers1 already allied4 ,white associates much less favourably when the latter is brighter or greener4 ,white flowers are the only ones that possess the advantage of heightening light tones of any colour1 and of separating those whose colours are mutually injurious4 #eec4 ,yellow flowers1 especially those which incline to orange1 accord very well with blue ones4 ,flowers of a yellow1 more green than orange1 have a very good effect with flowers of a red inclining to blue1 rather than to orange4 ,deep red flowers accord well with deep-blue flowers4 ,orange flowers are not misplaced near violet flowers4 ,,assortments ,,relating ,,to ,,the ,,harmonies ,,of ,,contrast ,,of ,,hues4 #eed4 ,it is so difficult to make associations of hues which will have a satisfactory effect1 that ,i prescribe in general the mutual association of flowers whose colours belong to neighbouring scales4 ,we must then separate ,pink flowers from those that are either ,scarlet or ,crimson4 ,orange 0 0 ,orange-yellow1 ,yellow 0 0 ,greenish-yellow1 ,i shall even go further in advising the separation of-- ,red flowers from ,orange1 ,blue or ,pink from ,violet4 ,where the ,plants are indiscriminately mixed4 #eee4 ,flowers which only present contrasts of hues and which spring from seeds sown thickly in borders1 or in beds1 will not have the same objection as when the roots are planted at a distance from each other4 #eef4 ,flowers1 presenting a disagreeable contrast of hues1 may still produce a good effect1 when their assortment makes part of an arrangement of contrasts of colours1 strongly opposed2 in this case being no longer seen isolated1 they become in a manner the element of a picture4 ,,section ,,ii4 ,,assortments ,,as ,,to ,,harmony ,,of ,,analogy4 #eeg4 ,i only reckon shrubs susceptible of this harmony2 because only perennial plants afford to the horticulturist a guarantee that the flowers of one year will be identical with those of the preceding2 consequently1 if we plant woody shrubs in such manner as to secure a regular gradation of tones1 the successive annual flowerings will be constantly according to that order4 ,we may apply this kind of arrangement to standard roses4 #eeh4 ,but ,i do not advise any one to attempt submitting annuals to this arrangement1 because of the uncertainty that exists in the tones of their colour4 ,harmonies of ,analogy of ,hues4 #eei4 ,if ,i have spoken against the associations of contrast of hues 7#eed71 ,i am more inclined to speak against the associations of analogy of hues1 always remembering the restrictions ,i have stated above 7,section #a74 ,we must not forget that my intention is to describe assortments1 whose good effects are certain4 ,now the more the colours contrast1 conformably to our law1 the more latitude there will be1 although the colours of individual flowers associated vary in tone and in hue4 #efj4 ,an objection might be addressed to me that the green of the leaves1 which serves as a ground to the flowers1 destroys the effect of their contrast4 ,but it is not so2 and to be convinced of it1 it is sufficient to fix upon a screen of green silk1 two kinds of flowers in conformity with the arrangement of the coloured bands 7pl4 #a4 fig4 #g71 and to look at them from a distance of about ten paces2 for when the eye is fixed on two well-defined objects simultaneously1 surrounding objects1 especially distant ones1 produce but feeble impressions4 ,,on ,,the ,,art ,,of ,,assorting ,,ligneous ,,plants ,,in ,,gardens1 ,,so ,,as ,,to ,,derive ,,the ,,best ,,possible ,,advantage ,,from ,,the ,,colour ,,of ,,their ,,foliage4 #efa4 ,if we consider trees and shrubs no longer under the relation of the colour of their flowers1 but with regard to the manner in which we may employ their foliage in the decoration of gardens1 we shall perceive that there is only a very small number of contrasts of scale and hue which we can realize while vegetation is active2 yet in autumn1 when plants1 losing their leaves before falling1 assume various colours1 as red1 rose1 scarlet1 orange1 and yellow1 these1 by their brilliancy1 recall the season of flowers4 ,most trees and shrubs present1 in the summer season1 only the green of their foliage2 and1 although this green varies in tone and hue1 the differences are always trifling4 #efb4 ,harmonies of ,contrast4--,the most decided contrast of colour that we can establish between the leaves of ligneous plants1 is that of green1 with foliage nearest to red4 ,but even the purple beech is more of a red-brown than a dark red1 properly so called1 for the colour of leaves results from a mixture of red and green1 which1 according to the principle of mixing colours must produce black1 if they are in suitable proportion1 or a brown tone of the green or red scale1 according as one or the other colour predominates4 ,the contrast of hue is established by the assortment of a bluish-green and a yellowish green of tones unequally high1 by the contrast of a bluish-green brown with a yellowish light green1 c4 #efc4 ,harmonies of ,analogy4--,nearly all the masses of various trees in our landscape gardens present certain harmonies of hues mostly resulting from associations established according to considerations foreign to those of the assortment of foliage--an evident result1 remembering 7#efa7 that the colours of the leaves of the greater part of plants are of green belonging to scales more or less allied1 and of tones but little distant from each other4 7a7 ,harmonies of analogy of hues formed of allied tones belonging to neighbouring scales1 are those which it is least difficult to obtain4 7b7 ,arrangements of foliage presenting a series of equidistant tones of the same scale of green4 ,,on ,,the ,,distribution ,,and ,,planting ,,of ,,trees1 ,,etc41 ,,in ,,masses4 #efd4 ,the principal object of the two following chapters is to supply a deficiency in works on gardening as to the manner of distributing and planting trees in masses1 c41 the outlines of which have been previously sketched conformably with precise rules4 ,for authors say nothing on this subject1 and the embarrassment of a landowner who wishes to plant an estate already planned out1 is further increased by this circumstance1 that1 in the majority of cases1 the author of the plan of the projected garden1 after having defined the lines of the plantations1 indicated the places where isolated trees must be placed1 designated the kinds of trees which should constitute groups1 and others which must enter into the formation of masses with trees and shrubs 7which he does not generally indicate71 leaves the care of planting and other details to ordinary gardeners4 ,yet the distribution of trees and shrubs1 however easy it may appear1 in a piece of ground otherwise perfectly planned1 contributes more than is generally supposed to the pleasure of a landscape garden1 and presents also more difficulties than to allow of its being effected in a satisfactory manner1 when it is abandoned1 as generally happens1 to chance4 ,in fact1 if1 at the end of a few years1 we observe the greater part of masses planted as they frequently are1 we shall be struck with defects which were not at first perceptible1 because we were then under the influence of the pleasure we always experience at witnessing the development of plants which have been confided to a carefully prepared soil2 and besides1 there are some defects which are only perceptible after a certain time1 such1 for example1 as that resulting-- #a4 ,from the plants being placed too near together4 #b4 ,from placing1 in the front row1 clumps which rise too high1 or which lose their lower branches4 ,such are the elder tree1 and sumach4 #efe4 ,it was after many years of lost enjoyments1 through having planted without fixed rule1 masses otherwise well designed in their contours1 that ,i was led by my own experience to seek the means of avoiding similar errors in future4 ,the rules ,i now give are not the result of reflection merely2 they have been practised many years1 and ,i am much deceived if those who observe them will not derive great facilities in their application1 and experience from them a lively satisfaction4 #eff4 ,i will now define several expressions employed to designate the different associations of plants which may form part of a landscape garden4 ,an assemblage of trees and shrubs1 occupying a large space1 is termed a forest4 ,but in a landscape garden a similar assemblage1 or that which has been arranged to present the appearance of a vast space1 is called a wood1 if it is composed of trees and underwood2 and a park1 if it consists of trees only4 ,illustration3 ,,arrangement ,,of ,,plants ,,in ,,landscape ,,gardening4 ,,plate ,,xviii4 ,a collection of trees1 shrubs1 bushes1 and underwood1 is called a grove2 when it consists only of trees1 it is termed a group of trees4 ,there are thickets of shrubs1 bushes1 underwood1 and of flowering herbaceous plants4 ,there are thickets formed of a single species of plants1 and thickets formed of several species4 ,the first are called homogeneous1 and the second heterogeneous1 or varied4 ,there are isolated masses1 and masses subordinated together4 ,a small mass of flowers or shrubs1 isolated1 and of a circular or elliptical form1 is called a bed4 ,,chapter ,i4 ,of ,lines of ,plants4 #efg4 ,i call a line of plants1 plants placed at equal distances from each other1 in straight or curved lines3 these plants may be trees1 shrubs1 bushes1 underwood1 or flowering herbaceous plants4 #efh4 ,a line of plants of sufficient extent1 and of which the plants are close enough to conceal from view objects placed behind them1 is called a screen4 ,all masses planted according to my method are composed of lines of plants parallel to each other2 in other words1 there is between two similar lines an equal distance throughout4 ,but the distance between the first and the second may differ from the distance between the second and the third1 and so of the others4 ,the result would be the same if the lines were closed curves1 as1 for instance1 circles or ovals4 ,the lines of plants are the elements of the masses4 ,,article ,i4 ,of the ,lines of ,plants called ,screens4 #efi4 ,when we desire to conceal any object of considerable extent1 we have recourse to a screen of plants4 ,whenever the extent of the land will not permit of the planting of several lines1 constituting a mass1 evergreens1 such as thujas1 almond-laurels1 c41 are those to be preferred1 succeeded by the hornbeam1 lilac1 privet1 c4 ,the most homogeneous screens1 that is to say1 those which are formed of a single species of plant1 are preferable to all others for the object they are intended to fulfil2 and to avoid the monotony of a single species1 we must have recourse to one which offers varieties4 ,for example1 a screen composed of violet and white lilacs1 will possess at the same time the advantage of homogeneity for concealing what is behind it1 and the advantage of variety of foliage2 the leaves of the violet-lilac being of a less yellow-green than those of the white lilac4 ,we may alternate one or more plants of violet-lilac with one plant of white lilac4 ,of ,lines of ,plants considered as ,elements of ,masses4 #egj4 #ast4 ,if the plants in the same line are not of the same species1 it is essential that they do not differ too much from each other in respect to height4 #bnd4 ,where a line happens to be entirely seen1 the same species must be placed alternately4 #crd4 ,we must avoid placing the same species in two neighbouring lines1 when we would employ varied masses which are composed of several lines only4 ,,rule4--,when two lines of vegetation are planted to constitute a mass1 in planting the first or exterior line1 we must follow the rule indicated above 7#egj71 then go on planting the second line1 in the same manner as the first1 except that the stakes indicating the centre of vegetation must be placed chequer-wise relatively to the centre of vegetation of the first line4 ,i will cite an example of a plantation of two lines intended to conceal a wall4 #ast ,line4 #a4 ,almond-laurel4 #b4 ,violet-lilac4 #c4 ,laburnum4 #d4 ,violet-lilac4 #a;a4 ,almond-laurel1 c4 #bnd ,line4 #a4 ,clump of prunus mahaleb4 #b4 ,idem1 c4 ,the distance between the clumps of the first line is four or five feet4 ,we may plant the first line in screen1 and the second with trees larger than in the first2 we may also plant the second line with roots of prunus mahaleb1 comprehending between two roots three or five clumps of the same species4 ,of ,homogeneous ,masses4 #ega4 ,the homogeneous mass includes only a single species of plant1 because the intention of the gardener in forming it1 is to produce an effect of individuality4 ,in the large ,french garden1 designed by ,le ,notre1 where the trees combine so effectually with the elements established by the architect1 to prolong1 so to speak1 a similar work1 the symmetrical plantations are identical1 and generally composed of trees of a single species4 #egb4 ,although homogeneous masses of trees have a good effect in a large composition1 it is not so with those which are composed of a single species1 or of a single variety of flower4 ,they almost always present a monotonous aspect1 especially if the latter have a definite extent2 and if the species of plant of which they are composed is in flower only a part of the year1 the defect of monotony will be greatly increased4 ,homogeneous masses of shrubs or of flowers are only suitable when they are in leaf or in flower during a great portion of the year2 as their extent is small1 and they serve simply as a bond of union between different parts more or less distant from each other4 ,of ,heterogeneous or ,varied ,masses4 #egc4 ,i shall distinguish two cases--one where it is a heterogeneous or varied mass1 isolated1 intended to serve as an individual composed of distinct parts2 and the other where it consists of many varied masses1 allied together1 and separated by paths1 at least in some parts4 ,isolated ,masses4 ,if each line consists of only a single species1 we must arrange the lines according to their size4 ,for example--#a4 ,lilacs4 #b4 ,laburnum4 #c4 ,judas trees4 #egd4 ,heterogeneous or varied masses placed together so as to form a whole1 are generally separated from each other by glades1 or unplanted intervals1 but cultivated or sown in grass1 or by paths4 ,to make what follows thoroughly understood1 ,i must point out the essential difference that exists between landscape gardening and ,french 7geometrical7 gardening4 #ege4 ,french gardening is regular and symmetrical1 the paths are straight1 and the eye is only impressed by objects slightly varied2 for when there are squares or straight borders1 symmetry necessarily requires that the objects on one side be repeated on the other4 ,the result is1 that when the spectator has visited the principal points of this composition1 which are never very numerous1 he has seen everything it has to offer to his curiosity4 #egf4 ,i will not say1 with some writers1 that landscape gardening is conceived with an entirely different aim4 ,the spectator who surveys a landscape garden1 should be excited1 so to speak1 at every step1 by the sight of various objects4 ,the different points of view must be as numerous as possible1 the paths must always1 therefore1 be traced1 so that from no point can their whole extent be discovered4 ,the plantations must be disposed so as to conceal the walls1 fences1 or other disagreeable ill-placed objects4 ,they must allow the eye the greatest possible scope1 at all the points the gardener wishes to be displayed2 and the views must vary with the different points successively observed4 #egg4 ,to achieve this1 it is evident that there must be no straight paths1 but only curved ones4 ,when paths pass between masses1 the intervals between these masses must also permit to be seen groups of objects1 which must form planes1 skilfully prolonging the perspective1 as far as possible4 ,the masses1 though varied1 must nevertheless be allied together1 so that neighbouring masses may harmonize as dependent parts of the same whole4 ,,article ,,ii4 #egh4 ,harmony between masses distant from each other1 in which harmonies may be established by the same general means as they are between neighbouring masses4 ,the foliage in the masses being much more abundant than the flowers1 the shades of their greens will not differ so much from each other as the colours of their flowers2 consequently1 the distant masses1 however varied in their foliage1 are always in harmony of form and colour1 if they have been planted according to our rules2 and if they are composed solely of ligneous plants1 which lose their leaves in winter1 or solely of evergreens1 which do not lose them2 but in the opposite case1 that is to say1 when the masses are formed1 the one of deciduous trees1 and the other of evergreens1 some remarks must be made relative to the conditions of harmony1 which are the more necessary1 as even the most studied landscape gardens generally err in this respect2 for a clump or a mass of evergreens is almost always out of keeping in a large space where masses of deciduous trees are found4 ,to remedy this defect we must multiply the groups or masses of evergreens1 so as to establish between all of them this same correlation which is required by deciduous trees2 but it is not necessary that the trees should occupy a space equal to that occupied by ordinary trees2 it is sufficient if their forms recur at suitable intervals4 ,in a word1 for evergreens to produce a good effect1 they must compose a whole1 which unites or intercalates with the general effect of the masses of deciduous trees4 ,we may oppose allspice trees to pines1 cedars to larches2 different groups1 composed of three or four trees only1 suffice to harmonize a large space of ground occupied with two or three groups composed of half a hundred similar trees4 #egi4 ,there are certain cases in which the want of either perspective or harmony requires1 in a large mass1 a line of trees which is neither concentric with its circumference1 nor identical with the central line1 if there be one2 such1 for example1 as the line ,p4 ,r41 which is found in the masses #a and #b 7,pl4 #ah72 for if the planting of this line be correct1 and according to the preceding principles1 the trunks1 which define it1 beyond the concentric plantings1 must be in the points of intersection of the line ,p4 ,r41 with the concentric lines1 and the central line1 if there be one2 and the trunks must be as much as possible at equal distances from each other4 ,such a plan1 always easy to make1 will enable a landowner1 when once his masses are planned1 their concentric lines traced1 and the species to be planted determined upon1 to order from the nurseryman the exact number of each species he requires4 #ehj4 ,after tracing the lines of plantations1 and putting in the stakes to mark out the centre of the holes to be dug1 we must draw upon grey paper lines representing those of the masses we intend to plant1 taking as many equidistant points as there are stakes in the corresponding lines of plantation2 we then fasten on these points wafers1 or little circles of paper1 of the colour of the flowers or the foliage of the plants1 according to the desired effect4 ,by this means we can judge of the harmony of the colours of flowers with the different hues of green composing the mass1 and thus rectify any defect in the plan before we begin to plant4 ,the principles on which the preceding rules are founded are those of height1 form1 variety1 facility of development1 and distinctness of view4 ,harmonious arrangement1 with reference to these points1 not being so exclusively the object of this work as the subject of colour1 must be passed with this indication4 ,contrast of ,colours4 #eha4 ,this principle1 regarded generally1 is included in the preceding1 since a difference in colour will render plants distinct which have numerous analogies2 but viewed specially1 it produces among perfectly dissimilar plants1 effects which can only be obtained from colour2 and it is then that the principle of contrast is to be taken into consideration4 ,in the application of the law of contrast to the arrangement of flowers1 we must never forget the difference between an assemblage forming a line of plants1 and an assemblage of flowers belonging to plants of various heights1 standing on different planes1 so as to produce the effect of a picture4 ,i have alluded to this before 7#eea72 for in a linear arrangement1 for example1 there is nothing more unpleasant than the blue flowers of the ,german iris1 associated with the light violet of the lilac4 ,but if we add to this association large tufts of alyssum saxatile1 ,persian iris1 and red tulips1 so that the golden yellow1 white1 and deep red1 appear on one plane1 and the deep blue and the light violets on a more distant plane1 we shall obtain general effects of a most agreeable kind4 ,repetition4 #ehb4 ,when a line of plants exhibits the repetition of the same species1 and presents them regularly at the same intervals1 an effect is produced which1 although very agreeable1 is but little appreciated--for it is very rarely met with in gardens4 ,it is especially the repetition of a similar arrangement of colours that is agreeable1 and which recommends the observance of this principle4 ,repetition of the same arrangement of plants of various kinds1 and of course distinct to view1 contributes greatly to prolong the extent either of an alley or of a mass2 a similar general effect repeated a certain number of times becomes a standard1 by means of which the eye judges the space to be greater than if it were bordered with individuals of the same species or variety equal in number to the former4 ,this effect is carried to the utmost extent when the arrangement is composed of a certain number of tufts--five1 for instance--placed between two trees1 which rise above them1 but not too high4 ,repetition and distinctness of view concur in producing an agreeable effect4 #ehc4 ,variety1 like every other principle1 should never be carried too far1 and it is a great mistake to suppose that plantations made without design1 and which thus it might seem must be extremely diversified1 produce in this respect more effect than those which have been arranged according to the principles of distinct view1 contrast1 and repetition4 ,whenever objects must have a certain superficial extent1 we gain nothing by multiplying varieties of them4 ,thus1 the repetition of an arrangement of three colours1 including white or black1 will generally be more agreeable than that of an arrangement of five colours4 ,diversity of colours1 pushed to the extreme1 can only be permitted in a continuous border1 or a bed of different varieties of the same species of flowers1 as a border of larkspur1 china aster1 or anemones2 but1 for flowering shrubs1 we shall gain everything by not indefinitely multiplying their colour1 in a view which the eye can embrace at once4 ,and as with colours so with forms1 which must not be too diversified in the same arrangement4 ,symmetry4 #ehd4 ,we should deceive ourselves very much if we supposed the principle of symmetry to be excluded from landscape gardening4 ,but1 in order to perceive it or to put in practice1 it is necessary to distinguish the symmetry of similar parts1 and the symmetry of parts merely corresponding4 ,the former is that of two equal parts of one whole1 as the two halves of a circle1 of a square1 of an equilateral or isosoceles triangle1 c42 while ,symmetry of parts merely corresponding1 is that of two parts of the same whole1 which1 without being equal1 have the same form1 or nearly so2 such are the two triangular parts of the ,mass #c1 ,plate #ah4 ,or1 that of two separate parts1 more or less analogous in form1 extent1 or nature1 which have a correspondence of position relatively to an intermediate object4 ,or1 that of two masses or groups of trees1 or of a mass and a group of trees which are presented1 the one to the left1 the other to the right4 ,general ,harmony4 #ehe4 ,in the general composition of a large landscape garden1 it is not enough to have satisfied all these principles1 if the different masses subordinated together1 which we shall now regard as individuals1 as well as the various constructions of wood or of stone1 are not combined by some harmonious relation suitable for satisfying the principles of general harmony4 ,the isolated or subordinated masses near or distant from each other must be allied together by the same vegetable form or by analogous forms1 or by the same arrangements of several species2 or1 lastly1 by the same colours of flowers or of foliage4 ,by the aid of similar means1 we ally the house and other buildings to the different parts of the garden4 ,when the neighbouring masses1 especially those formed near buildings1 are not sufficiently allied together1 or the perspective of their concentric or median lines is not satisfactory1 we have recourse to a different line of vegetation1 which cuts the first and thus adds to the general harmony4 ,thus1 as ,i have so strongly insisted1 when we decide to plant evergreens in a landscape garden1 they must be distributed throughout the composition4 ,,sixth ,,division4 ,,intervention ,,of ,,the ,,preceding ,,principles ,,in ,,the ,,judgment ,,of ,,coloured ,,objects1 ,,relatively ,,to ,,their ,,colours1 ,,considered ,,individually1 ,,and ,,to ,,the ,,manner ,,in ,,which ,,they ,,are ,,associated4 #ehf4 ,in this division my object is purely critical4 ,the positive conclusions at which ,i have arrived upon certain assortments of colours1 so as to derive the best result from them under given circumstances1 become rules1 adapted to guide those who would judge a work of art in which such assortments occur4 ,the generalizations established in the preceding chapters1 with the object of aiding the numerous artists who use colours1 now critically considered1 will serve as the basis of a conscientious and sound judgment upon the merit of any work in which these generalizations are concerned4 ,they will1 ,i trust1 possess the double advantage of all the rules involved in the nature of such things2 they guide the workman who does not disdain them1 and they direct the critic who judges the work of which these rules govern some element4 ,we cannot then refuse to recognise the utility of such an examination1 both for artists and for the public1 to whom they are more particularly addressed1 in the hope that a clear demonstration of what is laudable or censurable will form such a public taste as1 by preventing a reliance on first impressions1 will lead to a sound judgment2 and that we may not henceforth strive to enlist public suffrages by falling into unsuitable singularity1 or by wandering from the truth4 #ehg4 ,if there exists a subject worthy of being studied critically on account of the frequency and variety of the cases it presents1 it is unquestionably this2 for whether we contemplate the works of nature or of art1 their varied colours form one of the finest spectacles man is permitted to enjoy4 ,hence the desire of reproducing the coloured images of objects which excite our admiration or interest1 has produced the art of painting4 ,the imitation of the painter's works has given birth to tapestry1 and carpets1 and mosaics2 while the necessity for economically multiplying designs has led to ornamental printing4 ,the love of colour has also induced man to paint his dwelling and to dye his garments and household decorations4 #ehh4 ,the sight of colours1 so simple a thing for the greater part of mankind1 is1 according to some philosophers1 a phenomenon entirely out of the domain of positive knowledge1 inasmuch as they consider that it varies with the organization1 and even the imagination1 of individuals2 consequently1 they think that it cannot be inferred that1 because one man sees an object in a certain way1 another will see it in like manner under the same external circumstances4 ,they believe that no generalization1 deduced from observation1 can direct the artist with certainty1 either in the art of seeing his model or in faithfully reproducing a coloured image of it3 they also think that no useful physiological generalization can arise from a profound study of the modifications his organs experience from the sight of the colours that bodies present to him4 ,i cannot admit that we ought to abstain from the study of a subject because it presents variable phenomena4 ,all those who are engaged in the study of the positive sciences1 should inquire for some fact capable of illustrating the study of these phenomena4 #ehi4 ,i entered upon this study1 not having spontaneously chosen it1 but because it appeared to me indispensable before pretending to establish a sound judgment on the beauty of the dyer's colours4 ,as soon as ,i felt the necessity for this study1 in my capacity of ,director of the ,dyeing ,department of the ,royal ,manufactories1 my first care was to discover whether ,i saw colours as the generality of persons see them4 ,i was soon perfectly convinced that ,i did1 and not till then did ,i venture to make my researches the subjects of public lectures4 ,these have been repeated before the students of the ,polytechnic ,school4 ,certain questions addressed to my auditors to satisfy me that they saw the things ,i put before their eyes as ,i saw them myself1 have1 in the majority of cases1 always proved them to be so1 and yet my demonstrations were given in the reception-hall at the ,gobelins1--a place ill adapted for the exhibition of the phenomena of contrast to a large audience4 ,certain observations by myself1 tested by a great number of persons in my laboratory1 and afterwards publicly exhibited1 form the subject of this book2 all who repeat my experiments will discover whether my opinion is well-founded1 or whether an opinion is correct which pretends that the sight of colours is not capable of giving a general positive result4 ,because some individuals have organs of sight so imperfect that they cannot distinguish green from red1 or blue from grey1 c41 must we write our treatises on optics without mentioning either red1 green1 or blue1 and cast away these colours from the palette8 ,assuredly human nature is too limited to allow of our making such a sacrifice of our common organization to the infirmity of an individual4 #eij4 ,in order to comprehend clearly how experiment and observation1 after having disentangled the causes which exercise a determinate influence upon the sight of colours1 led me to adopt the opinion that these phenomena are perfectly defined by the law of contrast and the conclusions therefrom1 doubtless it will suffice to consider how #a4 ,our former ignorance respecting the different states of the eye1 which1 in seeing colours1 give rise to the phenomena of simultaneous1 successive1 and mixed contrasts4 ,and our former ignorance respecting the definite influence that the direct or diffused light of the sun exercises1 according to its intensity1 upon the colours of bodies1 have led to the establishment of an opinion contrary to my own2--that is to say1 the opinion that the same colour appears so diversely to different persons1 and even to the same person1 that nothing general or precise can be deduced from the sight of coloured objects1 with regard to their respective colours4 #b4 ,to consider how the following have passively contributed to belief in this opinion4 ,the limited number of ideas we have generally about the modifications of coloured bodies1 by their mutual mixtures2 or in other terms1 upon the colours resulting from these mixtures4 ,the want of a precise language to convey the impressions we receive from colours4 #eia4 ,it is indisputable that if we are ignorant of the regularity with which the eye passes successively through stages1 the extremes and the mean of which are very different1 in viewing the colours which put the organ into the condition of perceiving the phenomenon of one of the three contrasts 7#gg7 we shall be led to consider the sight of colours as a very variable phenomenon1 while the successive stages through which the organ passes being once distinguished1 the variations of the phenomenon become perfectly definite4 #eib4 ,if we are ignorant of the law of simultaneous contrast1 we shall suppose that the same colour varies in tint according to the colour with which it may be associated2 and if we are ignorant that contrast affects the tone as well as the colour1 we cannot explain how two similar colours 7for instance1 blue and yellow at the same depth of tone7 will appear redder by juxtaposition2 while1 if the blue is very deep relatively to the yellow1 it will appear black1 rather than violet1 and the yellow will appear more green than orange4 ,finally1 if we are ignorant of the effect of the brightness which a complementary can give to a dull colour1 we cannot explain the great difference there is between the effect that a red ground has upon imitative gilt ornaments1 and the effect of the same ground upon metallic gilt ornaments 7#chd74 #eic4 ,doubtless1 also1 if it be not known that in a complex object1 the eye can only see clearly at the same moment a small number of parts and that the same part may appear to different eyes with different modifications1 according as it is seen juxtaposed with one or another colour1 as in the instance given 7#djg74 #eid4 ,we might know the regularity of the successive states of the eye during the sight of coloured objects1 and the law of simultaneous contrast of colours1 and yet1 if we were ignorant of the influence of various degrees of intensity of light in varying the colour of bodies and in rendering the modifications of contrast more or less evident1 we should be led to believe in an indefinite variation in the aspect of colours2 but this variation is perfectly defined by the following remarks3-- ,if the direct light of the sun or diffused daylight illuminates a monochromous body unequally1 the part most vividly lighted is modified as it would be if it received orange1 and the modification appears the stronger the greater the difference of light on the parts 7#bhj73 thus the more intense the light1 the more it gilds the body it illumines2 it is thus always easy to foresee the effects of it when we know the result of the mixture of orange with various colours4 #eie4 ,the phenomena of simultaneous contrast being less evident in a very vivid light than in a weaker light 7#fc71 it follows that if we disregarded the difference in the effects1 we should greatly deceive ourselves in our appreciation of the phenomena of contrast of similar colours4 ,simultaneous contrast1 which tends to make the differently coloured parts appear as distinct as possible1 is carried to a maximum1 precisely when the light being feeble1 the eye requires the greatest contrast of colour to perceive distinctly the various parts upon which it is fixed4 #eif4 ,we may perceive the modifications presented by bodies when lighted1 and yet we may experience much difficulty in accounting for them1 for want of knowing how to represent exactly the modifications which the coloured materials experience1 in their colour1 according as they receive light or white1 shade or black2 or according as they are mixed together4 ,it is partly to make these modifications clearly known that ,i have designed the chromatic hemisphere 7#acd1 et seq474 ,in describing it1 ,i have attached less importance to its material realization than to the rational principle upon which it depends4 ,on looking at the lines of this diagram independently of all colouring1 we understand how any colour is reduced by white1 deepened by black1 and broken by black and white1 and how1 by mixture with a pure colour1 it produces hues4 ,i shall add subsequently some new considerations on the gradations of colour made with coloured materials4 ,my object would not have been attained had not the chromatic hemisphere given me the means of representing1 by a simple nomenclature1 the modifications which a colour undergoes by the addition of white and black1 modifications which produce the tones of its scale2 those which it receives from black yielding broken scales1 and those resulting from the addition of a pure colour1 produce scales which are hues of the first colour4 #eig4 ,finally1 to the definitions which ,i have given of the words tone1 scale1 hue1 broken colours1 ,i must add the distinction of the associations of colours into harmonies of analogy1 and harmonies of contrast 7#agb74 ,i am convinced that all those who accept the small number of definitions ,i have given1 will find much advantage from them in accounting for the effects of colours1 and in expressing their views to others4 ,by their aid it will be easy to notice relations which might have escaped observation1 or which1 in the absence of precise language1 could not have been clearly communicated4 #eih4 ,it would be ignoring a fact to attribute the opinion ,i have combated1 exclusively to ignorance of what ,i have just recapitulated1 or to believe1 that in order to establish the contrary opinion1 which ,i maintain1 it is sufficient to dissipate this ignorance4 ,but ,i am satisfied with pointing out the error1 without making the least pretension to overthrow it1 otherwise than by stating what ,i believe to be the truth4 #eii4 ,the study of the positive facts just reviewed1 leads to a certainty in the view of colours which all may acquire who devote themselves to it4 ,they will see how fruitful it is in applications1 and that it is independent of every hypothesis1 and that it would be impossible to obtain this result1 if there did not commonly exist among men an average organization of the eye1 which permits them to perceive in similar circumstances the same modifications1 but with varied intensity of perception4 #fjj4 ,having noticed the series of principles upon which my book is founded1 ,i next consider these facts under the three following relations3-- #a4 ,the certainty they give in judging of the colour of an object4 #b4 ,the certainty they give to our judgment in the various arts which address the eye by coloured materials4 #c4 ,the union they establish between the principles common to many arts1 which speak to the eye as it were various languages1 in employing different materials4 #d4 ,the influence that the disposition of the spectator's mind may have upon his judgment of a work of art4 ,,section ,i4 ,,on ,,the ,,connexion ,,of ,,the ,,law ,,of ,,simultaneous ,,contrast ,,of ,,colours ,,with ,,the ,,judgment ,,we ,,form ,,upon ,,all ,,coloured ,,bodies1 ,,under ,,the ,,relations ,,of ,,the ,,respective ,,beauty ,,of ,,purity ,,of ,,their ,,colours1 ,,and ,,of ,,the ,,equality ,,of ,,the ,,distance ,,of ,,their ,,tones ,,if ,,these ,,bodies ,,belong ,,to ,,the ,,same ,,scale4 #fja4 ,the most simple and general conclusion deduced from the law of contrast is certainly that which concerns the judgment we exercise1 either by taste or profession1 on a colour1 whether presented by a coloured paper1 a textile fabric1 a glass1 an enamel1 a picture1 c4 ,all those who have some experience in the matter consider one condition as essential to be fulfilled to avoid error1 namely1 that the colour concerning which we have to determine be compared with another colour analogous to it4 ,if we are ignorant of the law of contrast1 the result of this comparison is not exact1 whenever the objects compared are not identical4 ,i now proceed to demonstrate this by examples adapted to the application of the principle spoken of4 ,further1 a more remote consequence of the law affords the means of knowing whether the tones of a scale of wool or silk are equidistant4 ,,on ,,the ,,comparison ,,of ,,two ,,samples ,,of ,,the ,,same ,,colour4 #fjb4 ,when we have to do with two patterns of any kind1 which are related to the same colour1 if there is no identity between the tints1 we must take into account the contrast which exaggerates the difference2 thus if the one be greenish-blue1 it will make the other appear less green1 or more indigo1 or even more violet1 than it really is2 and1 reciprocally1 the first will appear greener than when viewed alone2 the same with the reds1 if one is more orange than the other1 the latter will appear more purple1 and the former more orange1 than they really are4 ,,influence ,,of ,a ,,surrounding ,,colour ,,upon ,,one ,,colour ,,when ,,compared ,,with ,,another4 #fjc4 ,since the contrast of colours which are not analogous1 tends to improve and purify them1 it is evident that whenever we would exercise a correct judgment upon the beauty of colours1 after comparing them with the colours of objects analogous to the first1 we must take into account the kind of work1 and the manner in which they are juxtaposed1 if the objects compared are not the exact representation of the same subject4 ,for1 other things being equal1 the same colours not blended1 and which are not sufficiently analogous to injure each other1 will certainly appear more beautiful disposed in contiguous bands than if each were seen on a ground which consisted of it exclusively1 and which consequently produced only a single impression of colour upon the eye4 ,colours forming palms like those of ,oriental shawls or patterns1 as of ,turkey carpets1 produce a much greater effect than if they were shaded or blended1 as they generally are in paintings4 ,consequently1 for example1 in comparing a stripe of crimson in a ,cashmere shawl of various stripes with the crimson of a ,french shawl1 we must destroy the contrast of colours by placing around it a piece of grey or white paper1 cut out so as to allow this stripe only to be seen1 when the parts compared will be submitted to the same influence from the surrounding objects4 #fjd4 ,so1 when we compare the colours of old tapestries1 pictures1 c41 with colours recently dyed or painted4 ,time acts very unequally1 not only on the different kinds of colours of dyed stuffs1 but also upon the tones of the same scale4 ,thus1 the deep tones of certain scales1--those of violet1 for example1--fade1 while the deep blues of the indigo-blue scale1 the deep tones of madder1 kermes1 cochineal1 are permanent4 ,also1 the light tones of the same scale fade during a time which has no sensible effect in altering its deep tones4 ,whence the colours which have most resisted the destructive action of time1 being more isolated from each other1 as well as deeper and less blended1 appear to have more brilliancy4 ,there are many pigments1 as most of the lakes1 which are in the same condition as compared with ultramarine1 the oxides of iron1 the blacks1 c4 ,on the ,effect of ,contrast upon the ,browns and the ,lights of most of the ,scales of ,wool and ,silk employed in ,tapestry and ,carpets4 #fje4 ,when we look at the whole effect of tones of most of the scales made use of in these manufactures1 the phenomenon of contrast exaggerates the difference of colour observed between the extreme and the middle tones of the same scale4 ,for instance1 in the scale of indigo-blue1 applied to silk1 the lights are greenish1 the browns are tinged violet1 while the intermediate tones are blue2 but the difference of green and violet at the two extremes is augmented by the effect of contrast4 ,so in the scale of yellow1 the light tones appear greener1 and the browns redder1 than they really are4 #fjf4 ,in speaking of a difference existing between the deep and the light tones of most of the scales of wool and silk1 which is exaggerated by contrast1 ,i will add some remarks relative to the gradations the dyer produces4 ,this gradation is very seldom perfect1 as the light tones are exactly represented to the eye by the colour taken at its normal tone1 reduced by white4 ,thus1 a compound which at the normal tone is pure yellow1 or slightly tinged with orange1 will1 by reduction1 produce light tones of a greenish-yellow4 ,an orange-red compound upon silk or wool will yield light tones tinged violet-red4 ,to obtain a correct gradation1 we must in most cases add to the weak tones a new coloured material1 adapted to neutralize or weaken the defect spoken of4 #fjg4 ,many of the colouring matters used in painting produce the same result when reduced with white4 ,i do not speak here of changes which may be the effect of chemical action2 ,i allude only to those which result from an attenuation of the coloured material4 ,for example1 the normal tone of carmine is a much purer red than its light tones1 which are evidently tinged with lilac4 ,ultramarine1 so beautiful in itself1 yields light tones which1 with respect to the blue rays1 appear to reflect more violet rays than the normal tone4 ,in consequence of these facts1 it is difficult to colour the chromatic diagram1 because many trials must be made to obtain the modification of colour which yields the normal tone of a scale1 by the addition of such coloured materials as will render the gradation correct4 ,,means ,,afforded ,,by ,,contrast ,,for ,,ascertaining ,,whether ,,the ,,tones ,,of ,a ,,scale ,,of ,,colour ,,are ,,equidistant4 #fjh4 ,contrast1 which augments the difference existing between two tones of the same colour1 affords the means of judging with greater certainty than could otherwise be done1 whether the numerous tones of a scale are at the same distance from each other4 ,thus1 if the tone #b1 placed between #c and #d1 appears equal to the tone #a1 it follows1 if the tones are equidistant1 that #c placed between #d and #e will appear equal to #b2 that #d put between #e and #f will appear equal to #c1 and so with the others4 ,if the tones are too near together to yield this result1 we must move them successively1 not one degree1 but two or three4 ,this means of judging of the equality of distance that separates the tones of the same scale1 is based upon the fact1 that it is easier to establish an equality than to estimate a difference between patterns of the same colour4 ,,of ,,the ,,binary ,,associations ,,of ,,colours1 ,,critically ,,considered4 #fji4 ,in order to sum up in few words the generalities which must serve as the bases of our judgment1 not on one colour compared with another of the same sort1 but on the associations of two colours1 which any object whatever presents to our eyes1 we must consider combinations both of complementary and non-complementary colours4 #ast4 ,combination of ,complementary ,colours4 ,this is the only association where the colours mutually improve1 strengthen1 and purify each other without leaving their respective scales4 ,this case is so advantageous to the associated colours1 that the combination is also satisfactory when the colours are not absolutely complementary2 also when they are made dull with grey4 ,i therefore prescribe the complementary association when we have recourse to the harmonies of contrast in painting1 in tapestry1 in the arrangement of coloured glass windows1 in the assortment of hangings with their borders1 in that of stuffs for furniture and clothing2 and1 lastly1 in the arrangement of flowers in our gardens4 #bnd4 ,combination of ,non-complementary ,colours4 ,the product of this combination is distinguished from the preceding in this1--the complementary of the juxtaposed colours1 differing from the other colour to which it is added1 there must necessarily be a modification of hue in the two colours1 as well as a modification of tone1 if they are not taken at the same height4 #faj4 ,juxtaposed non-complementary colours can certainly give rise to three different results3-- #a4 ,they may improve each other4 #b4 ,the one may be improved1 the other may lose some of its beauty4 #c4 ,they may injure each other4 ,the greater the difference between the colours1 the more favourable will the juxtaposition be to their mutual contrast2 consequently1 the more analogy they will have1 and the more chances there are that the juxtaposition may injure their beauty4 #a4 ,two non-complementary colours improve each other by juxtaposition4 #faa4 ,yellow and blue are so dissimilar1 that their contrast is always sufficiently great for their juxtaposition to be favourable1 although the juxtaposed colours belong to different scales of yellow and blue4 #b4 ,one colour juxtaposed with another which is not its complementary1 may be improved1 while the latter may be injured4 ,a blue1 which is improved by a yellow1 being placed beside a violet 7blue rather than red7 may lose some of its beauty1 by becoming greenish2 while the orange it adds to the violet1 neutralising its excess of blue1 rather improves than injures it4 #c4 ,two non-complementary colours may injure each other4 ,a violet and a blue are reciprocally injurious1 when the first greens the second1 and the latter neutralizes sufficient of the blue in the violet to make it appear faded4 ,it might also happen that although the colours juxtaposed be modified1 neither gaining nor losing in beauty1 that the one may gain without the other losing2 lastly1 that the one may neither gain nor lose1 while the other loses4 #fab4 ,in the association of two colours of equal tone1 the depth of the tone may have some influence on the beauty of the association4 ,for example1 a deep indigo-blue and an equally deep red1 gain by juxtaposition2 the first1 by losing some violet1 will become a pure blue1 the second1 in acquiring orange1 will become brighter4 ,if we take light tones of the same scales1 it may happen that the blue will become too green to be good as a blue1 and that the red1 acquiring orange1 will be too yellow to be a pure red4 #fac4 ,in the association of two coloured objects of tones very distant from each other1 belonging to the same scale1 or to scales more or less allied1 the contrast of tone may have a favourable influence upon the beauty of the light tone2 because1 in fact1 if the latter is not a pure colour1 its juxtaposition with the deep tone1 upon the whole brightening it1 will purify the colour from whatever grey it may have4 #fad4 ,it is very necessary for the correction of our judgment of these principles on the binary associations of colours1 not to lose sight of all that precedes1 concerning colours that are 8dead10 or without gloss1 and that their combination be considered independently of the form of the objects presenting them1 for the twofold reason1 that the glossiness of the coloured surfaces1 and the form of the bodies which these surfaces bound1 may modify the effect of two associated colours2 consequently1 the analysis ,i have made of the optical effects of colours would be incomplete without speaking of the possible influence of these causes4 ,influence of ,gloss taken into consideration in the ,effect of ,contrast of two ,colours4 #fae4 ,the optical product of the juxtaposition of contrasted flat colours is composed of two effects3--#a4 ,the effect which arises from each of the juxtaposed colours1 by receiving the complementary of the colour contiguous to it1 is thus strengthened or tinged agreeably1 independently of any augmentation of gloss4 #b4 ,the effect arising from gloss in the two juxtaposed colours4 ,here it may be remarked that associations which ,i have not prescribed1 such as red with violet1 or blue with violet1 have a fine effect in the plumage of certain birds and butterflies2 for1 in these natural associations1 the effect arising from the addition of the complementaries to each1 which would injure the flat colours1 is entirely insensible in surfaces which acquire metallic brilliancy from their organic structure4 ,finally1 ,i shall add1 that it would be necessary1 before raising the objection1 to demonstrate that the same red1 associated with green1 the same violet associated with yellow1 and the same blue associated with orange1 equally glossy1 would be less effective than in natural assortments4 ,influence of ,form taken into consideration in the ,effect of ,contrast of two ,colours4 #faf4 ,elegance of form1 the arrangement of the parts1 their symmetry1 the effects of light and shade1 and the association of ideas which may connect this form with an agreeable recollection1 will prevent the perception of the ill effect of two associated colours1 even when not glossy4 ,thus1 for example1 in flowers1 combinations1 which would not produce a good effect upon two plain surfaces1 are very beautiful4 ,for example1 the flower of the sweet pea1 which has the combination of red and violet4 #fag4 ,the critic must be directed by the considerations here summed up3-- #a4 ,the kind of association3 the greater the difference between the colours1 the more they beautify each other2 and1 the less difference there is1 the more they will tend to injure one another4 #b4 ,the equality in depth of tone4 #c4 ,the difference of tone1 the one being deep1 the other light4 #d4 ,the glossiness of the surfaces which reflect the colours to the eye4 #e4 ,the form of the coloured body4 ,,of ,,the ,,complex ,,associations ,,of ,,colours1 ,,reviewed ,,critically4 #fah4 ,it is evident that the rules prescribed for judging of a colour1 and the associations of two colours1 in an absolute manner1 must serve for judging as to the colours of an association1 however complex it may be4 ,we shall consider the masses of colours which are upon the same plane1 the extent which each occupies1 and the harmony which unites them4 ,on submitting to a similar examination the colours on the other planes1 we can then look at the colours of the latter4 ,the critic who is well satisfied with seeing clearly at the same time1 only a very small number of the objects that a picture presents to him and who is also accustomed to examine a coloured composition in this manner1 is in the position of a person who reads in succession writing on the same side of a sheet of paper2 one series of lines crossing the first at right angles1 and the third composed of lines running diagonally across the paper4 ,the critic must review the ensemble of the picture as to its colours1 and then1 being attentive to their particular and general associations1 he will be in a condition to enter into the thought of the painter1 and to see whether he has employed the most suitable harmonies to express it4 ,although it is easier to form with opposed colours than with neighbouring colours binary assortments favourable to the associated colours1 yet1 when a great number of pure and brilliant colours are employed1 it is more difficult to harmonize them than if we produced the effect with a small number of colours1 which would involve only the harmony of analogy1 or that of scale1 or of hue4 #fai4 ,although harmony of contrast most favourably causes two colours to impart value to each other1 yet1 when we desire to derive the greatest advantage from a union of numerous brilliant colours in any work--a picture1 for instance1--this diversity presents some difficulties in the general harmony1 which a smaller number of colours1 and especially of brilliant colours1 would not present4 ,it is1 therefore1 evident that1 if we compare two effective pictures1 well adapted to be judged under the relation of colour 7other things being equal71 the one which presents more harmony of contrast of colour will have the greater merit1 on account of the difficulty overcome in the employment of the colours2 but it must not be inferred that the painter of the other picture is not a colourist2 for the art of colouring is composed of several elements1 and the talent of opposing pure colours to each other1 is only one of these elements4 #fbj4 ,let us now consider the relations existing between the subjects of painting and the harmonies they admit of4 ,we know that the more pictures address the eye by numerous contrasts1 the more difficulty the spectator experiences in fixing his attention2 especially if the colours are pure1 varied1 and skilfully distributed upon canvas4 ,it results1 therefore1 from this1 that these colours1 being much more vivid than the flesh tints1 the painter who wishes that his idea should be found in the expression of his figures1 and who1 deeming this part of his art superior to the rest1 is convinced that the eyes of most people ignorant of the art of seeing1 being carried away by their first impressions1 are incapable of returning from these to receive others2--the painter1 ,i say1 who knows all this1 and is conscious of his power1 will be restrained in the use of harmonies of contrast1 and prodigal of the harmonies of analogy4 ,but he will not derive advantage from these harmonies1 especially in a subject covering a vast space filled with human figures1 as the 8,last ,judgment0 of ,m4 ,angelo1 unless he avoids confusion by correct drawing1 by a distribution of the figures in groups1 skilfully distributed over the canvas1 so that they may cover it almost equally1 yet without cold symmetry4 ,the eye of the spectator must embrace all these groups easily1 and seize the respective positions2 while in looking into one of them he must discover a variety which will invite his attention to other groups4 #fba4 ,the painter who fails to gain the effects of the physiognomies1 c41 in having recourse to the harmonies of analogy1 will not have the same advantage in fixing general attention1 as the painter who employs the harmonies of contrast4 ,the harmonies of contrast of colour are especially applicable to scenes 7illumined by a too vivid light71 representing ftes1 ceremonies1 c41 which may be sober without being mournful2 they are also applicable to large subjects1 comprising groups of men animated with various passions4 ,hence1 the critic must never compare the colouring of two large compositions without taking into account the difference which may exist in the suitableness of each subject with one kind of harmony rather than with the other4 ,painting in ,flat ,tints4 #fbb4 ,to apply painting in flat tints to historical1 portrait1 and landscape painting--in a word1 to the imitation of any object of which we can produce a faithful representation1 would be going back to the infancy of art2 but to abandon it to practise exclusively the system of painting where all the modifications of light are reproduced according to the rules of chiaro-'scuro1 would be an error which can be demonstrated beyond question4 #a4 ,that1 in every instance in which a picture must be placed at such a distance from the spectator that the details of chiaro-'scuro will not be visible1 we must have recourse to flat tints1--not neglecting1 however1 to use masses of light and shade adapted to give relief1 if it is considered suitable4 #b4 ,that1 in every case where the picture is necessary to the decoration of an object1 flat tints are preferable to chiaro-'scuro1 because the use of the object almost always prevents the picture which ornaments it from being clearly seen under all circumstances4 ,thus painting in flat tints is preferable to the other-- ,for ornamenting boxes1 tables1 screens1 which1 from the various positions their use requires1 only allow to be seen a part of the pictures which decorate them2 or1 if the paintings are entirely visible1 as those of a screen1 they will be presented relatively to the daylight in a manner quite different from each other1 on account of these various positions of their parts2 ,for decorating curved surfaces1 as those of vases1 the surfaces of which are never plain4 #c4 ,that the qualities peculiar to painting in flat tints are3-- ,purity of outline2 ,regularity and elegance of forms2 ,beautiful colours properly assorted4 ,whenever suitable1 the most vivid and the most contrasting colours may be advantageously employed4 ,simplicity in the whole1 so as to render clear and distinct view easy4 ,,of ,,the ,,arts ,,which ,,address ,,the ,,eye ,,by ,,employing ,,coloured ,,materials ,,of ,a ,,definite ,,size1 ,,considered ,,relatively ,,to ,,the ,,physical ,,condition ,,of ,,these ,,materials1 ,,and ,,to ,,the ,,peculiarity ,,of ,,the ,,art ,,in ,,which ,,they ,,are ,,employed4 #fbc4 ,if we examine paintings with sufficiently powerful magnifiers1 we shall see that the coloured material1 far from being continuous in all its parts1 is in separate particles1 and consequently1 if the naked eye does not perceive them separately1 it is because they are too small4 ,in fact1 the coloured threads 7elements of tapestries and carpets71 and rigid coloured prisms 7elements of mosaics71 which are visible to the naked eye1 may be reduced to such a state of division1 and so mixed and combined1 that at the distance from which we view them united they appear as a uniform coloured surface--as if painted2 whence the possibility of making1 with these elements1 works which correspond to those painted in chiaro-'scuro2 but it will be easier to execute such as correspond with flat tints4 ,,tapestries1 ,,carpets1 ,,mosaics1 ,,and ,,coloured ,,glass ,,windows1 ,,corresponding ,,to ,,paintings ,,in ,,chiaro-',,scuro4 ,tapestries with ,human ,figures4 #fbd4 ,tapestries with human figures derive their origin from the taste of mankind for painting4 ,they had adorned churches1 palaces1 and castles1 before they appeared in simple dwellings4 ,from the filamentous condition of the elements constituting them1 their size1 the direction the weaver gives them in twisting the weft upon each thread of the warp1 results a coloured image presenting two systems of lines cutting each other at right angles4 ,from this structure it results1 that a tapestry will not produce the effect of a painting 7the surface of which is entirely uniform71 if the spectator does not view it from a point sufficiently distant2 so that1 these lines ceasing to be visible1 the delineation which separates each part of the design from the contiguous parts1 will appear like the delineations of a painting1 as much so as the indentations of the outlines which are oblique to the weft will permit4 ,hence the objects represented by it must be large1 of various colours1 forming harmonies of contrast rather than harmonies of analogy4 #fbe4 ,every model which does not fulfil the previous conditions is bad1 and as1 in pictures which have not been painted with the intention of being reproduced in tapestry1 it is difficult to meet with the union of pure outline with harmonies of colours sufficiently numerous and contrasted1 it follows that what would be very advantageous to the art1 is the execution of pictures intended to serve exclusively as models1 painted broadly1 so as to resemble1 in some degree1 painting in flat tints4 ,the weaver not having1 at least at present1 models painted on this system1 has to make1 not only1 as we say1 a translation1 but also a free and not a literal translation1 of the model2 and it is this1 in my opinion1 which distinguishes the artist-weaver from the mere workman4 ,far from contending1 then1 with painting1 the weaver1 on the contrary1 must study the circumstances in which he should yield in the struggle1 so that he may avoid the difficulties with the means at his disposal2 and when1 especially1 he must deviate from his model4 ,tapestries for ,furniture4 #fbf4 ,the preceding consideration respecting the size of objects that figured tapestries should reproduce1 is not applicable to tapestry for furniture1 seeing that the threads of the warp produce lines which1 far from being disagreeable1 are often imitated by the paperstainer4 #fbg4 ,these fabrics being intended for chairs1 couches1 curtains1 screens1 c41 the painter charged with composing designs for this class of works1 must never forget that tapestries may occupy dark places1 where they are imperfectly and often indistinctly seen2 consequently he must select simple and elegant forms1 in harmony of colour with the tapestry1 c41 in the apartment4 ,these models1 even more than those for tapestries with human figures1 must assimilate with painting in flat tints4 ,from among the facts ,i could quote to support this opinion1 ,i shall select the following4 ,there was a deep rose-red curtain1 the centre representing a large bouquet of flowers of various colours1 framed1 as it were1 in a garland of white roses4 ,the artist had painted the model under the idea of executing this garland with silver thread2 but this metal being objectionable1 on account of its tarnishing by various exhalations1 preference was given to white and grey silk1 imitating the tones yielded by a silver object in relief4 ,an experiment showed that it could not be attained by these means1 because the contrast of the ground made all the half-tints appear green-grey1 and these in their turn made the lights appear rusty-pink1 in consequence of the greenish colour of their contrast4 ,this annoyance being communicated to me1 ,i advised ,m4 ,deyrolle1 in reproducing the model1 to make use of only three light tones of the rose scale in silk1 and a white linen thread4 ,by this means ,i expected that the complementary of the ground1 neutralizing the rose1 would produce a greyish half-tint1 well adapted to set off the white4 ,the result was such as ,i had foreseen4 ,a second copy1 made with a mixture of the light tones of the pure rose scale1 slightly broken1 gave an image less white1 less silvery than the preceding2 or1 in other terms1 appearing a little greenish when compared with the first1 and more harmonious4 ,it resembled the effect obtained with rose-red under lace or tulle1 which permits little of the ground to be seen4 ,this example indicates the means of executing white designs upon any kind of ground4 ,savonnerie ,carpets4 #fbh4 ,carpets are larger than the tapestries for hangings2 on the other hand1 being liable from their position to be soiled by the feet1 and to receive furniture on some part1 they are in a less favourable condition than tapestries for being distinctly seen4 ,this1 then1 is one reason why we should choose models1 of design and colour adapted to the circumstances necessitated by custom1 and in harmony with what is around4 ,mosaics4 #fbi4 ,mosaics being composed of minute prisms1 and of materials susceptible of polish1 we can rigorously copy very small objects1 and1 consequently1 approach much nearer to painting in chiaro-'scuro than by employing threads4 ,but to arrive at this result1 without being unfaithful to the peculiarity of the art1 the materials must be sufficiently solid1 and joined together so intimately as to resist the agencies which would destroy a painting2 for if this end be not attained1 we cannot see the use of copying a picture in mosaic4 ,so that to justify the production of such works1 we must make sure that1 in the situations in which they are placed1 they will resist the agents which would destroy the works of the painter4 ,windows of ,coloured ,glass4 #fcj4 ,a work executed in small prisms of transparent coloured glass1 in imitation of painting in chiaro-'scuro1 would be a true transparent mosaic4 ,i do not know that such an imitation has ever been executed4 ,all the coloured glass windows which ,i have spoken of as decorations of ,gothic churches1 are composed exclusively of small pieces of glass of uniform colour1 united by strips of lead or of iron2 or altogether of these small pieces of glass1 and of glass upon which we have applied with a pencil materials which afterwards have been vitrified3 we can only entertain the question of the latter in this article4 ,we may propose two different objects in the production of these windows3 either the coloured pieces are altogether secondary in the work1 that is to say1 occupying a much smaller extent of surface than the others1 they do not attain to the perfection of painting1--such is the case with the greater part of the windows of large ,gothic churches1--or else these pieces are the principal parts1 which1 predominating over the others1 we attach great importance to the design and to the gradation of tints2 such are several windows executed at the ,royal ,manufactory at ,svres4 ,the more such works resemble the preceding windows by the effect of their variety1 brilliancy1 and apposition of colours1 the more they attain the object they must essentially fulfil4 ,tapestries1 ,carpets1 ,mosaics1 and ,coloured ,glass ,windows1 corresponding to ,painting in ,flat ,tints4--,tapestries with ,human ,figures4 #fca4 ,although ,i have advised for tapestry models executed on the system of painting in chiaro-'scuro to resemble painting in flat tints1 yet ,i shall not recommend taking the models entirely according to this latter system4 ,tapestry for ,furniture4 ,it is quite otherwise with patterns of tapestry for furniture4 ,i believe that we can make some very beautiful works by copying patterns in flat tints2 and that1 in the decoration of large apartments1 we may obtain an excellent effect from this kind of tapestry4 ,i believe1 also1 that it would be more suitable for forming part of a general system of decoration1 than the kind of tapestry of which ,i have spoken in the preceding article4 ,moreover1 it is more favourable than the latter to the splendour of the colours4 ,the preceding observations are entirely applicable to the production of carpets4 ,mosaics4 #fcb4 ,mosaics being composed of more rigid and coherent coloured materials than are employed in the arts which combine coloured materials1 ,i believe that it will be requisite1 in judging works of this sort1 to consider the power of the materials to resist the effects of friction1 water1 and atmospheric agents as essential qualities2 the colour will follow4 ,windows of ,coloured ,glass4 #fcc4 ,considering coloured glass windows under the threefold relation of transmitting light into large ,gothic churches1 of their accordance with the decoration of objects consecrated to the rites of the ,church1 of transmitting a coloured light entirely in unison with the religious sentiments1 ,i prescribe a uniform colour for rose windows and straight windows with circular or pointed tops1 the smallest number of colours in the glass1 glass of uniform colour predominating over the other to produce the best possible effects of colour4 ,,of ,,the ,,disposition ,,of ,,the ,,mind ,,of ,,the ,,spectator ,,in ,,respect ,,to ,,the ,,judgment ,,he ,,forms ,,of ,,an ,,object ,,of ,,art ,,which ,,attracts ,,his ,,eye4 #fcd4 ,it is not enough to have indicated the rules to be followed and the principles to be observed in the production of effects1 and the judgment of them in relation to art2 we must also speak of the disposition of the spectator for receiving1 more or less intensely1 the impression of those effects4 ,to take no notice of this disposition would be to display ignorance of human nature1 and of the utility of the examination1 which should be impartially pursued also by the critic1 who may exaggerate blame as well as praise4 ,without examining the influence that the passions exercise in opinions formed on works of art1 ,i will say a few words upon a predisposition which may be remarked in a portion of the public1 at least at certain epochs1 and which has its source in man's vanity2 then ,i will point out the part which the association of ideas performs in our adoption of opinions4 #fce4 ,when a body of painters1 called a school1 has produced some chefs-d'uvre1 it frequently happens that a great number of mediocre works1 executed under the pretence of continuing them1 far from being favourable1 are1 with a portion of the public1 injurious to them1 on account of the monotony resulting from an imitation1 more or less servile1 of their form1 colour1 and even of their subjects4 ,the public1 under these circumstances1 are ready to applaud any innovation that will excite emotions which it has not for some time found in contemporary painting1 and it is then that amongst the public1 voices are raised against great works1 which have nothing in common with the tame imitations of them produced by mediocrity4 ,indeed1 there comes an epoch when innovation1 losing the only advantage it possessed of presenting to the eye images differing from those which it had been a long time accustomed to see1 the public returns to the chefs-d'uvre1 and forgets all the feeble works composed in imitation of them by feeble pupils2 and we will add that1 if works professing to be of the new school1 and endowed with undeniable merit1 should exist1 they would1 in the estimation of connoisseurs1 take the places they ought to occupy2 whilst those which had arrested attention by innovation only1 would disappear for ever4 #fcf4 ,finally1 to notice the effect which associations of ideas have on our opinions4 ,for example1 he who arrives at ,versailles1 full of admiration for the age of ,louis ,,xiv41 repeoples the gardens with all the great men that have frequented them1 and his thoughts recurring to the ftes given by an elegant and polished court1 the admiration of ,europe1 he will judge the work of ,lentre more favourably than he who1 without being hostile to the grand sicle1 will see nothing but a garden subordinate to a palace4 ,and the ,christian who associates in his mind the architectural form1 the brilliancy of the coloured glass1 and the religious ceremonies of the ,gothic ,church1 all which he has venerated from his childhood1 will be in a disposition to prefer the cathedral of ,cologne to that of ,st4 ,peter's at ,rome2 while the latter would be associated with the profoundest veneration in the mind of a ,christian of ,rome4 ,,on ,,the ,,colours ,,of ,,military ,,uniforms4 ,the following section1 in which are described the advantages of contrast with regard to the heightening and purifying of the colour of cloths for dress1 properly belongs to the chapters on clothing1 pp4 #afe1 c4 ,but1 as in the present day1 the colours of men's ordinary dress are not usually very various or strongly contrasted1 this portion of the work has a more special application to military uniforms2 the choice of colours being regulated by the principles laid down and exemplified throughout the work4 ,and1 independently of economical considerations1 the selection and arrangement of colours for military uniforms demand investigation as to the prominence or obscurity resulting from their combination1 as well as to their sthetical effect4 ,of ,uniforms composed of ,complementary ,colours4 ,by the law of contrast1 red and green of similar tone in the same uniform1 will heighten each other4 ,let us suppose the augmentation of colour by juxtaposition to equal one-tenth1 its optical effect may be stated as #a_/4 ,if a single coloured uniform1 by one year's wear lose one-tenth of its colour1 it is clear that the uniform of the above two colours after being worn the same time will be as effective as the single colour was originally4 ,similar reasoning may be applied to all colours that are complementary1 as orange and blue1 violet and greenish yellow1 c42 it is necessary however to take into consideration their difference of tone4 ,among colours which are not complementary1 but which produce an agreeable contrast1 may be mentioned particularly blue and yellow1 blue and scarlet1 green and yellow4 ,blue and ,yellow4--,these two colours harmonize well1 the blue imparting to the yellow an orange tint so much the deeper as the tone of the blue is raised1 while the yellow communicates to the blue a beautiful tint of violet1 or if the blue have any unpleasant greenish tint the yellow will neutralize it4 ,if1 however1 there be a great difference in the tone of the two colours1 contrast arising from this difference might destroy the effect of the contrast of colours2 so that a deep blue might appear black or less violet1 while the yellow1 being enfeebled1 might seem greenish4 ,blue and ,scarlet4--,deep blue and scarlet make a beautiful assortment1 the blue giving fire to the scarlet2 the latter rendering the blue more pure4 ,there is no doubt that for effect a clearer blue and a fresh orange would be preferable1 if there be no white in the uniform4 ,green and ,yellow4--,this combination pleases by its gaiety1 which suits cavalry of the line4 ,but the green should be yellower and clearer than that which associates well with red2 for the twofold reason that the yellow1 by neutralizing a portion of the yellow in the green1 raises the colour of the blue1 and consequently lessens the brilliancy of the green4 ,besides1 this effect tends constantly to increase1 as the yellow of the green fades sooner than its blue4 ,on the other hand1 the yellow cloth receiving red from the green1 must not be taken too deep4 ,this case furnishes a good example of the economical advantage of contrasts of colour generally2 and it will be seen that good arrangements are so much more difficult to make1 as we depart from the contrast of complementary colour4 ,of a single ,colour and ,white4 ,we must refer to our preceding observations with respect to the juxtaposition of white with colours 7#agh7 to reason upon these combinations in uniforms4 ,colours are heightened1 their complementaries are added to the white1 and effects are produced which are so much the more perceptible as the colours are less raised in tone4 ,if the white is rusty the juxtaposition of blue will heighten its tint2 violet placed beside it will clear it1 rendering it yellow2 green will increase its redness2 yellow1 and especially orange yellow1 will enfeeble it4 ,a white uniform has a good effect1 not only when white pantaloons are worn with a white coat1 or with facings1 collar1 c4 of white to a light coloured coat2 but it has a good effect also with light trousers2 for instance1 light blue and white coat1 or collar and facings4 ,white trousers also do well with a uni-coloured coat4 ,bi-coloured ,uniforms with ,white4 ,white produces a really good effect only with blue and orange1 or blue and red1 being much inferior with green and yellow1 or blue and yellow4 ,it is1 however1 very suitable for trousers1 with any combination of two agreeable colours in the coat4 ,nothing more clearly demonstrates the advantage of blue or red with white1 than the difference between a uniform of deep red and blue without white1 and the same with white facings and buff-skin belt1 c4 ,bi-coloured ,uniforms with ,black4 ,black enters advantageously into the composition of many uniforms of two luminous colours1 such as scarlet1 orange1 yellow1 or bright green4 ,a scarlet coat with facings of greenish1 rather than orange1 yellow1 is perfectly adapted to black trousers4 ,and black trousers may be associated with sombre colours in the other parts of the dress for a uniform which is not to be conspicuous or seen far off4 ,uniform of more than two ,colours1 not comprising ,black and ,white4 ,although three colours may be combined without producing a bad effect1 yet ,i give the preference to a bi-coloured dress with a mixture of black and white4 ,and ,i may remark here that if the sight of several colours be more agreeable than of one only1 there are disadvantages in the union of many colours1 especially if the colours are scattered on different objects1 or several parts of the same object4 ,uniform of several ,shades of the same ,colour4 ,strictly speaking1 it is possible to make an agreeable arrangement of colours belonging to the same or neighbouring scales2 yet the difficulty of doing this1 and the chances of success where there is a contrast of colour1 determine me to reject the former1 at least whenever brilliant colours are employed2 but for sombre-coloured arrangements they may be employed4 ,in proof of this1 ,i will mention the bad effect of those ,french uniforms1 in which there is a juxtaposition of madder and of cochineal reds4 ,uniforms of two ,tones of the same ,scale4 ,this arrangement is not successful1 for the lighter loses its colour1 and if the deep tone acquire it1 it is scarcely ever advantageous4#c ,we will not therefore dwell upon it4 #c ,it must be remembered that ,chevreul speaks here of colours exclusively as to their optical effect1 and that the very objection which he states to such an arrangement of colours1 would be one of its best recommendations to the advocates of an obscure1 in preference to a conspicuous uniform1 as for ,rifle ,corps4 ,of a ,mono-coloured ,uniform4 ,if uniforms of contrasted colours are advantageous in an economical point of view1 if light coloured uniforms present advantages when it is desirable to exhibit to the enemy the numbers who oppose him1 there are many cases in which the object is rather to conceal and dissimulate their presence1 than to display them4 ,well1 for such purposes1 or if there is to be established a sort of hierarchy among the various corps1 by means of dress1 we may have recourse to a single and sombre-coloured uniform4 ,the ,influence of ,superficial ,extent upon ,combinations of ,colours in ,polychromous ,uniforms4 ,i have already several times had occasion to speak of the influence of extent in the proportions of colours even when well associated1 ,i must now add that it is not enough merely to make a satisfactory combination1 but that to produce the best results from colours1 they must be employed in suitable respective proportions4 ,when a colour is in feeble proportion to another1 it must be spread as equally as possible throughout the garment2 as1 for example1 in the uniform of the artillery1 blue and scarlet2 the latter1 although far less in superficial proportion1 produces a very good effect1 because it is distributed throughout the uniform4 ,in a polychromous uniform1 where one colour is found in several garments1 we must avoid confounding the colour with the superposed or contiguous parts1 so as to make one portion seem to belong to another4 ,for example1 the ,french regiments wear red trousers1 with a blue coat turned up with the same red as the trousers4 ,what happens8 ,at a certain distance the one seems a part of the other1 and the blue coat-tails seem far too narrow4 ,it would be easy to remedy this defect by putting blue with red braid for the portions of the coat turned up4 ,from the above1 ,i admit the two following principles3--#a4 ,whenever the coat and trousers are of the same colour1 and there is a second colour put upon the coat in feeble proportion1 it must be repeated on the trousers1 in a broad band1 if the soldier wear boots1 or in a braid1 if he wear shoes4 #b4 ,whenever the trousers are not of the colour which forms the basis of the coat1 but of facings or distinctive parts1 a band or simple braid of the main colour of the coat will restore to the trousers their distinctness4 99 99 99 99 99 ,these remarks show how desirable it is that the choice of colours1 and especially of those which are distinctive of regiments or corps1 should be the result of rules1 established by their adaptation to the duties to be rendered by the regiments wearing them4 ,,index4 ,a4 ,arial perspective1 #hc4 ,analogy1 harmonies of1 #dh4 ,arabesques1 varieties of1 #afd4 ,architecture1 ,egyptian1 employment of colours in1 #ach2 ,greek1 #aci2 ,gothic1 #ada2 application of colours to the interior of edifices1 #adc4 ,art1 judgment which a spectator forms as to an object of1 #bbe2 associations of ideas connected therewith1 #bbf4 ,arts1 which address the eye by employing coloured materials1 considered relatively1 #bah2 as coloured tapestries1 carpets1 mosaics1 c4 #bai et seq42 coloured materials in flat tints1 #bbd4 ,association of ideas in judging of a work of art1 #bbf4 ,assortments of different colours1 red1 orange1 yellow1 green1 blue1 and violet1 with white1 black1 and grey1 #di et seq42 binary and tertiary1 #ej4 ,author's inquiries1 history of the1 #bja4 ,b4 ,beauvais1 tapestries of1 #ajb2 difference of from the ,gobelins1 #aac4 ,binary assortments of colours1 #ej1 #ei4 ,binary combinations of primary colours with black1 #ed1 #ee4 ,binary mixture of primary colours1 #ajd4 ,black1 juxtaposition of coloured bodies with1 #ai2 assortments of different colours with1 #ed1 #fc et seq42 binary combinations of colours complementary with1 #ee2 not complementary with1 #ef2 its association with luminous colours1 #fd2 inferior to white in certain assortments1 #fe4 ,black and white1 effects of their juxtaposition1 #ai4 ,black draperies1 #aga4 ,blue1 complementary to orange1 #af1 #ag1 #ah1 #bj2 placed beside greenish-blue1 #be2 subtracted from green and from violet1 #dd2 its arrangement with a binary colour1 #fc4 ,blue and black1 effects of juxtaposition of1 #bj2 combinations of1 #ee4 ,blue and grey1 effects of juxtaposition of1 #bb4 ,blue and orange1 assortments of1 with white1 #ea2 with black1 #ee2 with grey1 #fj4 ,blue and violet1 assortments of with white1 #ec2 with black1 #eh2 with grey1 #fb4 ,blue and white1 effects of their juxtaposition1 #ah4 ,blue draperies1 #agj4 ,blue light1 modifications produced by1 #ga4 ,bonnets1 coloured1 effect of upon the complexion1 #aga-d2 rose-coloured1 #agc2 green1 yellow1 violet1 sky-blue1 and orange1 #agd2 colours of1 suited for fair-haired women1 #age2 for black hair1 #agf4 ,borders1 coloured1 of paper-hanging1 #abc2 flowered1 #acj1 #aca1 #acc4 ,broken colours1 #ce4 ,browns of wool and silk employed in tapestry and carpets1 effect of contrast on the1 #bjh4 ,c4 ,calico-printing1 colours of1 #aah2 false judgment of the value of recipes for colouring compositions1 #aai2 laws of contrast demonstrated in1 #aai1 #abj2 modifications which colours undergo on different coloured grounds1 #abj4 ,carmelite mixture1 #ajh4 ,carpets1 of ,savonnerie1 #ajb1 #bbb2 assortment of colours for1 #afa2 corresponding to paintings in chiaro-'scuro1 #bai1 #bbb2 in flat tints1 #bbd2 effect of contrast on the browns and lights of1 #bjh4 ,chairs1 colour of1 for harmonizing with the interior of a house1 #aeg4 ,chemical nature of coloured bodies1 #bc4 ,chiaro-'scuro1 art of painting on the system of1 #fi2 various modifications of coloured light1 #fi1 #gj2 of white light1 #ge et seq42 difficulties of1 #he1 #hf2 paintings in1 #bai et seq4 ,chromatic diagrams1 #cg2 their construction1 #ci2 their uses1 #da et seq4 ,chromatic hemisphere1 principles of the1 #bjc4 ,churches1 coloured glass windows in1 #aac et seq41 #adg1 #bbc2 general decoration of the interior of1 #adg2 white glass windows1 #adh4 ,clothing1 harmony and contrast of colours in1 #afe2 of men1 ib42 of women1 #afg4 ,coloured light1 modifications of1 #fi et seq4 ,colouring in painting1 #hb et seq4 7,see ,,painting47 ,,colours1 ,,harmony and ,,contrast of1 #a et seq42 simultaneous contrast of1 #d1 #h1 #i1 #aj2 effects of juxtaposition of1 #aa1 #ah1 #ba1 #bd2 primary and secondary1 #be2 various kinds of contrast1 #bi2 definitions of terms1 #cd2 different distinctions of1 #ce2 chromatic diagrams1 #cg et seq42 general harmony of1 #df2 assortments of1 #di et seq42 modifications and effects of coloured light1 #fi et seq42 in painting1 #hb2 in arial perspective1 #hc2 harmony of local colours1 #he2 the laws of contrast1 #hi1 #ie2 distribution of1 #aja2 of textile fabrics1 #ajb1 #aje2 of glass windows1 #aac1 #adg2 colour printing of calicos1 papers1 c41 #aah et seq42 of clothing1 #afe2 application of to horticulture1 plants1 flowers1 c41 #agi et seq42 employment of in architecture1 #ach-adc2 general principles of1 #aig2 sight of1 #aih1 #bjj2 study of1 #aii2 contiguous1 #bje2 influence of one colour upon another1 #bjf1 #bjg2 binary associations of1 critically considered1 #baj2 combination of1 ib42 complex associations of1 #bad2 of tapestries1 carpets1 mosaics1 c4 #bai et seq4 ,combinations of colours1 #ee4 ,complementaries of colours1 #ah-bc1 #dc1 #de4 ,complementary colours1 mixture of1 for threads1 #aje2 combination of1 #baj4 ,complexions of women1 colours of1 in association with the drapery1 #afi-aga2 effect of head-dresses upon the1 #aga-d1 #age1 #agf2 results of dress as applicable to portrait painting1 #agh2 dissimulating a tint of the1 ib4 ,composition1 predominance of a certain colour in1 #ajj2 distribution of colours in1 #aja4 ,compound colours1 #bf1 #bg1 #bh4 ,,contrast of ,,colours1 #a1 #d1 #h2 law and formul of1 #h1 #i1 #aj1 #bi et seq42 simultaneous and successive1 #bi1 #hg2 mixed1 #bi-cc1 #hh2 law of1 #cd2 harmonies of1 #dh1 #bag2 lectures on1 at the ,gobelins1 #hj2 uses of the law of1 #hi et seq42 principles of1 #ia2 results of1 #ic2 applications of the law of1 #ie et seq42 principles of in connexion with the production of tapestry1 #aji2 law of demonstrated in calico-printing1 #aai-aba2 advantages of with regard to clothing1 #afe2 harmonies of in gardening1 #ahb1 #ahc1 #ahd2 in the arrangement of plants and flowers1 #aid2 effect of upon the browns and lights of wool and silk employed in tapestry and carpets1 #bjh4 ,cornices for the interior of a house1 #aeg4 ,d4 ,daylight1 modifications produced by the1 #gc4 ,definitions of terms of art1 #cd4 ,diagrams1 chromatic1 #cf-df4 ,distribution of colours in a composition1 #ajj1 #aja4 ,draperies of women as associated with complexion1 #afi-aga2 rose-red1 ib42 delicate green1 yellow1 violet1 and blue1 #agj2 orange1 white1 and black1 #aga2 results applicable to portrait painting1 #agh4 ,dress of women1 assortment of colours in the1 #agg4 ,e4 ,egyptians1 various colours used by the1 #ach4 ,eye1 different states of the1 in seeing colours1 #bjj1 #bja1 #bjb4 ,f4 ,females1 colours of their clothing1 #afg2 the dress assorting with fair skins1 ib42 colours of the hair and head-dress of1 #afh2 of the complexion and the contiguous drapery1 #afi4 ,figures1 coloured1 in paper-hangings1 #aba-c4 ,flat tints1 painting on the system of1 #fi1 #ha1 #hb1 #bag2 for ornamenting boxes1 tables1 screens1 c41 #bah4 ,flowers1 ,coloured1 in paper-hangings1 #aba2 arrangement of according to their colours1 #ahj2 assortments of1 when the plants are apart1 #aha2 when they are indiscriminately mixed1 #ahb2 assortments of1 as to harmonies of contrast and analogy1 #ahb1 #ahc2 small masses of designated a bed1 #ahg2 law of contrasts in the arrangement of1 #aid4 ,foliage of ligneous plants1 assortment of according to their colour1 #ahd4 ,forest1 definition of a1 #ahf4 ,form1 its influence in the effect of contrast of two colours1 #bac4 ,formul which represent the law of simultaneous contrast of colours1 #h4 ,french gardening1 #aia4 ,furniture1 tapestries for1 #bbj4 ,g4 ,galleries of the ,fine ,arts1 on the interior decoration of1 #aej4 ,gardening1 applications of colour to1 #agi et seq4 7,see ,,horticulture47 ,glass1 ,coloured1 in ,gothic church windows1 #aac et seq41 #adg2 beautiful effects of1 #aaf2 employment of1 #aag2 corresponding to paintings in chiaro-'scuro1 #bai1 #bbc2 in flat tints1 #bbd1 #bbe4 ,gloss of wool and silk1 its influence in the effect of contrast of two colours1 #bac4 ,gobelins1 lectures at the1 #hj2 tapestries of the1 #ajb1 #ajd2 qualities which they must possess1 #aaa2 difference of1 from the ,beauvais1 #aac4 ,gothic architecture1 employment of colours in1 #ada4 ,greek architecture1 employment of colouring in1 #aci4 ,greek painters1 #id4 ,green1 complementary to red1 #ae1 #ag1 #ah1 #bj2 to violet1 #dd4 ,green and black1 effects of juxtaposition of1 #bj4 ,green and blue1 change by juxtaposition1 #bg2 assortments of with white1 #ec2 with black1 #eh2 with grey1 #fb4 ,green and grey1 effects of juxtaposition of1 #bb4 ,green and violet1 change by juxtaposition1 #bf2 assortments of with white1 #ec2 with black1 #eh4 ,green and white1 effects of their juxtaposition1 #ah4 ,green and yellow1 change by juxtaposition1 #bg4 ,green draperies1 #agj4 ,green light1 modifications produced by1 #ga4 ,greenish yellow1 complementary to violet1 #c1 #af1 #ag1 #ba4 ,greenish yellow and black1 effects of juxtaposition of1 #bj4 ,greenish yellow and white1 effects of their juxtaposition1 #ah4 ,grey1 juxtaposition of coloured bodies with1 #ba2 assortments of different colours with1 #eh1 #fc et seq42 its association with luminous and sombre colours1 #fe1 #ff4 ,grounds1 black1 of paper-hangings1 #abe2 various coloured ones1 #abf-ace4 ,grove1 definition of a1 #ahg4 ,h4 ,hair1 black1 colours of bonnets suited for1 #agf4 ,hair1 fair1 colours of bonnets suited for1 #age4 ,hair and head-dresses of women1 colours of the1 #afh4 ,hangings1 coloured1 for the interior of a house1 #aeb-g2 colour of the wainscoting1 relation to the1 #aee4 ,harmonies of contrast1 #dh1 #bag2 analogy of in gardening1 #ahb1 #ahc1 #ahd4 ,harmony of colours1 #df2 distinct kinds of1 #dh2 law of1 #ie2 between masses of trees in gardening and plantations1 #aib4 ,harmony and contrast of colours1 #a et seq4 7,see ,,colours47 ,head-dresses of women1 colours of the1 #aga2 effect of upon the complexion1 #aga-d4 ,hieroglyphics1 ,egyptian1 colouring of1 #aci4 ,,horticulture1 applications of colour to1 #agi2 how to derive the greatest advantage from the various colours of flowers1 #ahj2 assortments of flowers1 so far as they relate to the harmonies of contrast of colours1 #aha2 contrast of hues1 #ahb2 harmonies of analogy1 #ahb1 #ahc2 assortments of plants1 #ahd2 distribution of trees1 #ahe2 lines of plants1 #ahg1 #ahh2 homogeneous masses of plants1 #ahi2 varied and isolated masses1 #aij2 harmony between masses distant from each other1 #aib2 arrangement of plantations1 #aic2 symmetry and general harmony1 #aif2 general principles of1 #aig et seq4 ,houses1 decorations for the interior of1 #aeb2 hangings1 #aeb-g2 cornices1 #aeg2 chairs1 sofas1 c41 ib42 on decorating the different rooms of the1 #aei2 and their appropriate assortments1 #afj2 carpets1 #afa2 pictures1 #afb4 ,hues1 definition of1 #cd1 #ce2 harmony of1 #dh2 harmony of contrast1 ib42 harmonies of contrast in flowers1 #ahb2 analogy of1 #ahc4 ,human figures1 tapestries for1 #bai4 ,i4 ,imitation of colouring1 #aja4 ,indigo1 complementary to orange-yellow1 #c1 #af1 #ag4 ,indigo and black1 effects of juxtaposition of1 #ba4 ,indigo and grey1 effects of juxtaposition of1 #bb4 ,indigo and red1 changed by juxtaposition1 #bg4 ,indigo and violet1 changed by juxtaposition1 #bg4 ,indigo and white1 effects of their juxtaposition1 #ai4 ,interiors of buildings1 painters of1 #aja2 various assortments of colours in1 #adc2 stuffs with the wood of seats1 ib42 frames for pictures and engravings1 ib42 of churches1 #adg2 of museums and galleries1 #adi2 of houses1 #aeb et seq42 when the walls are panelled1 or covered with marble or stucco1 #afc4 ,j4 ,juxtaposition of colours1 #aa1 #baa1 #bab2 of coloured surfaces with white1 #ah2 with black1 #ai2 with grey1 #ba2 of coloured bodies belonging to the same group of coloured rays1 #bd4 ,l4 ,landscape1 colours used in1 #ie2 in paper-hangings1 #aba-c4 ,landscape gardening1 #agi4 7,see ,,horticulture47 ,light1 different rays of1 #a2 its combinations of colour1 #ee4 ,light1 modifications of1 #fi et seq4 ,light1 influence of on printed or written paper1 #acg2 contrast of tone in1 #ach4 ,lights of wool and silk employed in tapestry and carpets1 effects of contrast on the1 #bjh4 ,lines of plants1 their arrangement1 #ahg1 #ahh4 ,luminous colours1 #ej2 their association with black1 #fd2 with grey1 #fe1 #ff4 ,m4 ,marbles1 in the interior of a building1 assortment of colours for1 #afd4 ,men's clothing1 colours of1 #afe1 #aff4 ,mixed contrast of colours1 #bi-cc1 #hh4 ,mixtures1 of the three primary colours1 #ajh4 ,modifications of coloured light1 #fi1 #gj et seq42 of white light1 #ge et seq4 ,mosaics1 corresponding to paintings in chiaro-'scuro1 #bai1 #bbb2 in flat tints1 #bbd4 ,museums1 on the interior decoration of1 #adi1 #aea4 ,n4 ,natural ,history1 museums of1 on the interior decoration of1 #aea4 ,non-complementary colours1 combination of1 #baj1 #baa4 ,o4 ,opposition of colours1 #fg4 ,orange complementary to blue1 #c1 #af1 #ag1 #ah1 #bj2 placed in juxtaposition with scarlet-red1 #bd2 complementary to green1 #dc2 to violet1 #dd2 effects of its predominance in a picture1 #ajj4 ,orange and black1 effects of juxtaposition of1 #bj4 ,orange and blue1 mixture of for coloured threads1 #ajf4 ,orange and green1 change by juxtaposition1 #bf4 ,orange and green1 assortments of with white1 #eb2 with black1 #eg2 with grey1 #fa4 ,orange and grey1 effects of juxtaposition of1 #bb4 ,orange and indigo1 change by juxtaposition1 #bf4 ,orange and red1 change by juxtaposition1 #bf4 ,orange and violet1 assortments of with white1 #eb2 with black1 #eg2 with grey1 #fa4 ,orange and white1 effects of their juxtaposition1 #ah4 ,orange and yellow1 change by juxtaposition1 #bg2 assortments of with white1 #eb2 with black1 #eg2 with grey1 #fa4 ,orange draperies1 #aga4 ,orange light1 modifications produced by1 #gj4 ,orange-yellow1 complementary to indigo1 #af1 #ag1 #ba4 ,p4 ,painters1 ,ancient1 of ,italy1 their excellences1 #hg4 ,painting1 ,art of1 #fi2 two systems of--chiaro-'scuro and flat tints1 ib42 on colouring in1 #hb2 of arial perspective1 #hc2 harmony of the colours1 #he1 #ie2 simultaneous contrast of colours in1 #hg2 modification of light1 #hi2 application of the law of contrast1 #ig-ii2 distribution of colours1 #aja2 painters of interiors1 ib42 imitation of coloured objects1 #ajb 7see ,,gobelins ,,tapestry72 difference of from tapestry1 #aaa2 relations existing between the subjects of1 and the harmonies they admit of1 #baf2 in the flat tints1 #bag2 in chiaro-'scuro tapestries1 carpets1 mosaics1 and coloured glass windows1 corresponding to1 #bai et seq4 ,panelling in the interior of a building1 assortment of colour for1 #afc4 ,paper1 printed or written1 influence of light on1 #acg2 contrast of tone1 #ach4 ,paper-hangings1 colours for printing1 #aah1 #aba2 designs for1 #aba2 simultaneous contrast of colours in relation to1 #aba1 #abc1 #abd2 borders1 #abc1 #acj-c2 black ground1 #abe2 various coloured grounds1 #abf et seq42 metallic gilt ornaments1 #abf1 #abi2 printed or written characters1 #acf4 ,park1 definition of a1 #ahg4 ,picture ,galleries1 on the interior decoration of1 #aej4 ,pictures in the interior of buildings1 assortment of colours for1 #ade2 assortment of1 for the interior of a house1 #afb4 ,plantations1 arrangements of1 #aic2 lines of1 ib4 ,,plants1 ,ornamental1 art of arranging according to the colours of their flowers1 #ahj1 #aha2 assortments of1 according to the harmonies of contrast and analogy1 #ahb1 #ahc2 according to their foliage1 #ahd2 distribution of1 #ahe2 lines of1 #ahg1 #ahh2 screens of1 #ahh1 #ahi2 masses of1 #ahi1 #aij2 different names of1 when employed to form a landscape1 forest1 wood1 park1 grove1 group1 thicket1 c41 #ahf1 #ahg2 isolated ones1 #aij2 arrangement of into plantations1 #aic et seq42 repetition of the same species1 #aid1 #aie2 variety of arrangement1 #aie2 symmetry of parts1 and their general harmony1 #aif4 ,portrait ,painting1 predominating colour in1 #ig2 hints respecting the colour of the drapery1 #afi-aga2 results of dress and complexion applicable to1 #agh2 dissimulating a tint of the complexion1 ib4 ,position1 varied1 effects of1 #ge4 ,prepossessions1 influence of1 #bbe4 ,primary ,colours1 #be1 #cf2 arrangements of1 #fc2 binary mixture of1 #ajd2 mixture of1 in such proportions that they do not become neutralized1 #ajh4 ,printing in colours1 #aah2 of calico patterns and paper-hangings1 #aah1 #aba1 #abc2 of carpets1 #afa4 ,pure colours1 modifications of1 #db1 #de4 ,r4 ,rays of solar light1 #a4 ,rays1 ,coloured1 juxtaposition of coloured bodies with1 #bd4 ,reading1 on the assortment of colours for1 by diffused daylight1 #ach4 ,red1 complementary to green1 #c1 #ae1 #af1 #ah1 #bj2 placed in contact with orange-red1 #bd2 its arrangement with a binary colour1 #fc4 ,red and black1 effects of juxtaposition of1 #bj4 ,red and blue1 change of by juxtaposition1 #bg2 assortments of with white1 #eb2 with black1 #ef2 with grey1 #fj2 mixture of1 for coloured threads1 #aje4 ,red and green1 assortments of with white1 #ea2 with black1 #ee2 with grey1 #ei2 mixture of1 for coloured threads1 #ajf4 ,red and grey1 effects of the juxtaposition of1 #ba4 ,red and violet1 assortments of with white1 #eb2 with black1 #ef2 with grey1 #fa4 ,red and white1 effects of their juxtaposition1 #ah4 ,red and yellow1 change by juxtaposition1 #bg2 assortments of with white1 #eb2 with black1 #ef2 with grey1 #fj2 mixture of for coloured threads1 #ajd4 ,reflection1 laws of1 #ge4 ,rose-red draperies1 #afi4 ,s4 ,savonnerie carpets1 #ajb1 #bbb4 ,scales of colours1 definition of1 #cd2 chromatic1 #cf et seq42 their different tones1 #dg2 harmony of1 #dh2 harmony of contrast of1 ib42 of wool and silk employed in tapestry and carpet1 #bjh4 ,school of painters1 #bbf4 ,screen of plants1 #ahg1 #ahh4 ,sculpture ,galleries1 on the interior decoration of1 #aej4 ,seats in the interior of buildings1 assortment of colours for1 #adc4 ,secondary colours1 #be1 #bf4 ,shrubs1 small masses of1 designated a bed1 #ahg4 ,sight of colours1 #aih1 #bjj4 ,silk employed in tapestry and carpets1 effect of contrast upon the browns and lights of1 #bjh4 ,simple colours1 pass by juxtaposition into compound colours1 #be4 ,simultaneous contrast of colours1 #d1 #h1 #i1 #aj1 #bi2 application of the law of1 #cd2 in painting1 #hg2 in calico-printing1 #aai1 #aba2 principles of1 #bje4 ,skin1 the coloured rays which may reflect upon the1 #aga4 ,skins1 copper-coloured1 black1 or olive1 assortment of dress suited for each1 #agg4 ,sofas1 colour of1 for harmonizing with the interior of a house1 #aeg4 ,solar light1 rays of1 #a4 ,sombre colours1 #ej2 proportion of to luminous ones1 #ff4 ,spotty1 use of the term1 #aja4 ,stained glass windows1 #aac et seq41 #adg4 7,see ,,glass47 ,stripes1 ,coloured1 juxtaposition of1 #bd4 ,stuffs1 ,coloured1 modifications of1 #gh1 #gi2 in the interior of buildings1 assortment of colours for1 #adc4 ,successive contrast of colours1 #bi4 ,sun1 modifications produced by the light of the1 #gc4 ,t4 ,tapestries1 #ajb2 of the ,gobelins and of ,beauvais1 #ajb1 #ajd2 qualities which they must possess1 #aaa2 difference of from the ,beauvais1 #aac2 principle of contrast in the production of1 #aji2 difference of1 from painting1 #aaa2 requisites for assimilating it to painting1 #aab2 patterns for1 ib42 effect of contrast on the browns and lights of1 #bjh2 principles involved in the colours of1 #bai2 with human figures1 #bai1 #bbd2 for furniture1 #bbj1 #bbd2 critical remarks on1 #bba2 corresponding to paintings in chiaro-'scuro1 #bai2 in flat tints1 #bbd4 ,ternary assortments of colours1 #ej1 #ea1 #ei4 ,ternary combinations of colours complementary with black1 #ee2 not complementary1 #ef4 ,textile fabrics1 colour printing on1 #aah4 ,thickets of trees1 different kinds of1 #ahg4 ,threads1 coloured to make mixtures of1 #ajb1 #ajd et seq42 red and yellow1 ib42 red and blue1 #aje2 yellow and blue1 ib42 mixture of complementary colours1 #aje4 ,tint of the complexion1 how to dissimulate it in portrait painting1 #agh1 #agi4 ,tone1 contrast of1 #d2 experimental demonstrations1 #g2 the height of to be considered1 #ff2 contrast of on written or printed paper1 #ach4 ,tones1 definition of1 #cd2 of the same scale of colour1 #dg2 of the scales of wool and silk1 judging their equidistance1 #bji4 ,trees1 assortment of in gardens according to the colour of their foliage1 #ahd2 distribution and planting of1 in masses1 #ahe2 different terms applied to groups of1 when employed to form a landscape1 #ahf1 #ahg2 harmony between masses of1 #aib4 ,v4 ,vandyke1 masterpieces of1 #ii4 ,violet1 complementary to greenish-yellow1 #af1 #ag1 #ah1 #bj2 placed in juxtaposition with scarlet-red1 #bd4 ,violet and black1 effects of juxtaposition of1 #ba2 combinations of1 #ee4 ,violet and blue1 change by juxtaposition1 #bg4 ,violet and grey1 effects of juxtaposition of1 #bb4 ,violet and red1 change by juxtaposition1 #bf4 ,violet and white1 effects of their juxtaposition1 #ai4 ,violet draperies1 #agj4 ,violet light1 modifications produced by1 #gb4 ,w4 ,wainscoting for the interior of buildings1 #aea2 colour of1 #aee1 #aef4 ,white1 juxtaposition of coloured surfaces with1 #ah2 modifications of1 #ai2 assortments of different colours with1 #ej1 #fc2 ternary assortments of colours not complementary with white1 #ea4 ,white draperies1 #aga4 ,white light1 various modifications of1 #ge et seq4 ,windows1 of coloured glass1 #aac et seq41 #bai1 #bbc2 in churches1 #adg1 #adi2 of white glass1 #adh1 #adi4 ,women's clothing1 colours of1 #afg2 assortment of colours in1 according to complexion1 #agg4 ,wood1 in the interior of a building1 assortments of colours for1 #afd4 ,wood1 definition of a1 #ahf4 ,wool1 employed in tapestry and carpets1 effect of contrast upon the browns and lights of1 #bjh4 ,y4 ,yellow1 placed beside orange-yellow1 #bd2 its arrangement with a binary colour1 #fc4 ,yellow and blue1 changed by juxtaposition1 #bg2 assortments of with white1 #ec2 with black1 #eg2 with grey1 #fb2 mixture for coloured threads1 #aje4 ,yellow and green1 assortments of with white1 #ec2 with black1 #eg2 with grey1 #fa4 ,yellow and grey1 effects of juxtaposition of1 #bb4 ,yellow and violet1 assortments of with white1 #ea2 with black1 #ef2 mixture of1 for coloured threads1 #ajg4 ,yellow draperies1 #agj4 ,yellow light1 modifications produced by1 #ga4 ,yellowish-green1 complementary to violet1 #ai4 ,yellowish-orange1 complementary to indigo1 #ai4 ,,the ,,end4 ,,london3 ,,savill ,,and ,,edwards1 ,,printers1 ,,chandos ,,street1 ,,covent ,,garden4