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+*** START OF THE PROJECT GUTENBERG EBOOK 77736 ***
+
+
+
+
+                             COLOR PROBLEMS
+
+
+            A PRACTICAL MANUAL FOR THE LAY STUDENT OF COLOR
+
+                                   By
+
+                         EMILY NOYES VANDERPOEL
+
+            _WITH ONE HUNDRED AND SEVENTEEN COLORED PLATES_
+
+[Illustration]
+
+                        LONGMANS, GREEN, AND CO.
+                    91 AND 93 FIFTH AVENUE, NEW YORK
+                          _LONDON AND BOMBAY_
+                                  1902
+
+
+                          Copyright, 1901, by
+                        EMILY NOYES VANDERPOEL.
+
+
+                         _All rights reserved._
+
+
+                      Rockwell and Churchill Press
+                             BOSTON, U.S.A.
+
+
+                                  _To_
+
+                              _My Father_
+
+                          WILLIAM CURTIS NOYES
+
+
+
+
+                                PREFACE
+
+
+From a scientific standpoint admirable works on color have been written,
+but they demand more time and study than many can give to them, and are
+too theoretical to be easily understood; while those written from an
+artistic standpoint may be useful to those who paint pictures but are
+not of much benefit to larger classes of people who are artists in other
+occupations. Painters of pictures must study color as well as lines and
+composition; but a better understanding of color would also be of great
+value to decorators, designers, lithographers, florists, dressmakers,
+and milliners; women in their dress and home decoration, and many
+others. For such, to combine the essential results of the scientific and
+artistic study of color in a concise, practical manual, and to classify
+the study of color in individual eyes, in light, in history and in
+nature, has been the aim of the author of this book. Also, as color
+cannot be fully appreciated by any written description, the text has
+been made as brief as possible, the plates full and elaborate.
+
+It has been asked by artists who have given years of study to form,
+perspective and composition, why it should be necessary to study color
+if one has a good eye for it, to which another question may serve as
+answer. Suppose a person intending to make art his life work has a good
+eye for form, will he, therefore, begin to paint pictures before
+learning to draw, or without going through a thorough drill in
+perspective? Later, having some subject in his mind which he wishes to
+put on canvas, he does not stop to review all the rules he studied of
+form and perspective; the knowledge and facility he gained in that study
+will enable him unconsciously to crystallize his thought into better
+shape on his canvas. Does the possessor of a naturally fine voice think
+he can dispense with the time and trouble of cultivating it? The same
+reasoning may well be applied to color and its study.
+
+                                                                E. N. V.
+
+
+
+
+                              INTRODUCTION
+
+
+For some years I have known of the study and research the author of this
+book has devoted to problems in Color, and its uses in the arts of
+Design and Decoration, and it is gratifying to me that the result of
+much of this work is to be given to the public for the use of those who
+are interested in the subject.
+
+A great deal will be found in these pages that will be of practical
+service, particularly to those who have not been able to read the works
+of Chevreul, Von Bezold, Rood, Church, and others. Indeed, even in
+these, careful study would be necessary to select passages describing
+combinations that could be applied to special work.
+
+Much attention is here given to contrasts of modified or subdued colors,
+such colors as would be required constantly in decorative designs
+covering large spaces, against which points of more positive color would
+be placed. One of the greatest difficulties in arranging a color design
+is in determining the _qualities_ and _quantities_ of color in an
+effective and agreeable way, and very few works give the useful hints on
+this subject contained in this book. Under the heading of “Historic
+Color” are some very interesting and original diagrams, presented in a
+way easily to be understood and made use of in actual practice.
+
+The study of color from the scientific side has very little attraction
+for the layman, and it is even difficult for a painter to get out of
+such study much that will help him in his work; but the presentation of
+some of the salient points of the scientific side, by one who has also
+borne in mind the artistic side, cannot fail to make this book
+attractive and useful to a great number who wish to know something of
+the laws that underlie agreeable arrangements of color.
+
+                                                       R. SWAIN GIFFORD.
+
+
+
+
+                                CONTENTS
+
+
+                 CHAPTER                           PAGE
+                         PREFACE                    vii
+                         INTRODUCTION                ix
+                         LIST OF PLATES            xiii
+                      I. COLOR-BLINDNESS              3
+                     II. COLOR THEORIES              13
+                    III. COLOR QUALITIES             26
+                     IV. CONTRASTS AND COMPLEMENTS   48
+                      V. COLOR-HARMONIES             73
+                     VI. HISTORIC COLOR             107
+                    VII. NATURE COLOR               111
+                   VIII. SPECIAL SUGGESTIONS        115
+                 ──────────────────────────────────────
+                 APPENDIX A—DEFINITIONS             125
+                 APPENDIX B—BOOKS FOR REFERENCE     133
+
+
+
+
+                             LIST OF PLATES
+
+
+         I. Wools as sorted by a Color-Blind Man.
+
+        II. Solar Spectra.
+
+       III. Table of Spectral Colors.
+
+        IV. The Spectral Colors (_a_) In their order of Luminosity;
+
+                                (_b_) Pure, and Grayed.
+
+         V. Advancing and Retiring Colors.
+
+        VI. Advancing and Retiring Colors.
+
+       VII. Tints.
+
+      VIII. Shades.
+
+        IX. Violet with its Extremes.
+
+         X. Blue with its Extremes.
+
+        XI. Green with its Extremes.
+
+       XII. Yellow with its Extremes.
+
+      XIII. Orange with its Extremes.
+
+       XIV. Red with its Extremes.
+
+        XV. Shades by Contrast.
+
+       XVI. Spectral Colors on Black, White, and Gray.
+
+      XVII. White on Spectral Colors.
+
+     XVIII. Black on Spectral Colors.
+
+       XIX. Gray on Spectral Colors.
+
+        XX. Spectral Red with its Complement.
+
+       XXI. Spectral Red Disk for Experiment in Complements.
+
+      XXII. Spectral Red and its Complement, Blue-Green, in their
+              relative Proportions.
+
+     XXIII. Spectral Orange and its Complement, Green-Blue, in their
+              relative Proportions.
+
+      XXIV. Spectral Yellow and its Complement, Spectral Blue, or
+              Spectral Blue and its Complement, Spectral Yellow, in
+              their relative Proportions.
+
+       XXV. Spectral Green and its Complement, Purple, in their relative
+              Proportions.
+
+      XXVI. Spectral Violet and its Complement, Yellow-Green, in their
+              relative Proportions.
+
+     XXVII. Milton-Bradley Color Machine.
+
+    XXVIII. Table of Complements arranged in Pairs.
+
+      XXIX. Table of Complements arranged in a Circle.
+
+       XXX. Contrast Diagram.
+
+      XXXI. Color analysis from a Prize Dinner-table.
+
+     XXXII. Color analysis from Teacup and Saucer.
+
+    XXXIII. Harmony of one Color; Harmony of Contrast; Complex Harmony.
+
+     XXXIV. Color analysis of a Book Advertisement.
+
+      XXXV. Harmony helped by Outline.
+
+     XXXVI. Good Dyads, or Pairs.
+
+    XXXVII. Good Triads.
+
+   XXXVIII. Harmony by Gradation.
+
+     XXXIX. Harmony by Change of Quality.
+
+        XL. Harmony by Change of Quantity.
+
+       XLI. Harmony by Change of Both Quality and Quantity.
+
+      XLII. Harmony by the Addition of another Color.
+
+     XLIII. Harmony by the Addition of Black.
+
+      XLIV. Harmony from a Dominant Hue.
+
+       XLV. Harmony by Interchange.
+
+      XLVI. Harmony by Counterchange.
+
+     XLVII. The True Character of some of the so-called “Whites.”
+
+    XLVIII. Some Changes by Gradation.
+
+      XLIX. Color analysis from Assyrian Tiles.
+
+         L. Color analysis from Assyrian Tiles.
+
+        LI. Color analysis from Assyrian Tiles.
+
+       LII. Color analysis from a Mummy Cover.
+
+      LIII. Color analysis from an Egyptian Mummy Case.
+
+       LIV. Color analysis from a Mummy Case.
+
+        LV. Color analysis from a Mummy Cloth.
+
+       LVI. Color analysis from a Mummy Cloth.
+
+      LVII. Color analysis from a Mummy Cloth.
+
+     LVIII. Color analysis from a Mummy Cloth.
+
+       LIX. Color analysis from a Mummy Cloth.
+
+        LX. Color analysis from a Mummy Cloth.
+
+       LXI. Color analysis from a Mummy Cloth.
+
+      LXII. Color analysis from an early Greek Vase.
+
+     LXIII. Color analysis from a Greek Vase.
+
+      LXIV. Color analysis from a Greek Vase.
+
+       LXV. Color analysis from a Greek Vase.
+
+      LXVI. Color analysis from Arab Mosaics.
+
+     LXVII. Color analysis from Arab Illumination.
+
+    LXVIII. Color analysis from Moorish Tiles.
+
+      LXIX. Color analysis from a Panel of the Alhambra.
+
+       LXX. Color analysis from a Panel of the Taj Mahal, India.
+
+      LXXI. Color analysis from Damascus Tiles.
+
+     LXXII. Color analysis from Celtic Ornament.
+
+    LXXIII. Color analysis from Italian Majolica Vase.
+
+     LXXIV. Color analysis from Panel of Dutch Inlaid Cabinet of the
+              15th Century.
+
+      LXXV. Color analysis from Spanish Embroidery.
+
+     LXXVI. Color analysis from Spanish Embroidery.
+
+    LXXVII. Color analysis from an Antique Persian Rug.
+
+   LXXVIII. Color analysis from an Antique Rug.
+
+     LXXIX. Color analysis from an Antique Rug.
+
+      LXXX. Color analysis from an Antique Rug.
+
+     LXXXI. Color analysis from an Antique Rug.
+
+    LXXXII. Color analysis from an Antique Rug.
+
+   LXXXIII. Color analysis from an Antique Rug.
+
+    LXXXIV. Color scheme of an Antique Rug.
+
+     LXXXV. Color analysis from an Antique Rug. (Plate lxxxiv.)
+
+    LXXXVI. Color analysis from Japanese Silk Tapestry.
+
+   LXXXVII. Color analysis from Japanese Silk Tapestry.
+
+  LXXXVIII. Color analysis from Japanese Silk Brocade.
+
+    LXXXIX. Color analysis from border of Japanese Cloisonné Vase.
+
+        XC. Color analysis from Japanese Cloisonné Vase.
+
+       XCI. Color analysis from Japanese Skirt Panel.
+
+      XCII. Color analysis from Japanese Brocade.
+
+     XCIII. Color analysis from Chinese Porcelain.
+
+      XCIV. Color analysis from a Black Hawthorn Vase.
+
+       XCV. Color analysis from a Rose-colored Vase.
+
+      XCVI. Color analysis from Yellow Chinese Porcelain Vase.
+
+     XCVII. Color analysis from a Chinese “Eggshell” Plate.
+
+    XCVIII. Color analysis from a Butterfly.
+
+      XCIX. Color analysis from a Stone.
+
+         C. Color note from a Discolored Propeller Flange.
+
+        CI. Color note from Leaves on a Tree.
+
+       CII. Color note from a Sunset Sky.
+
+      CIII. Color note from Bare Woods on the Edge of a Meadow.
+
+       CIV. Color note from Evergreens against a Gray-Blue Rain cloud.
+
+        CV. Color note from a Shadow on White Ground.
+
+       CVI. Color note from a Bluebird.
+
+      CVII. Color note from a Slice of an Orange.
+
+     CVIII. Color note from an Orange Canna Blossom.
+
+       CIX. Color note from a Bunch of Azaleas.
+
+        CX. Color note from Oak leaves against a Distant Hillside.
+
+       CXI. Color note from Oats seen from the Edge of the Field.
+
+      CXII. Color note from a Pussy Willow.
+
+     CXIII. Color note from a Trout Pond.
+
+      CXIV. Color note from a Tree Fungus.
+
+       CXV. Color scheme from Winter Landscape.
+
+      CXVI. Spectral Red, neutralized by Black and White.
+
+     CXVII. Spectral Yellow, neutralized by Black and White.
+
+
+
+
+                             COLOR PROBLEMS
+
+
+
+
+                               CHAPTER I
+                            COLOR-BLINDNESS
+
+
+The relation of color to light is much the same as that of music to
+sound. Color has its many hues, its long scales of tints and shades, its
+true and its false chords. Mere sound gives us but little pleasure; when
+developed, however, into its highest form, music, we are thrilled, as by
+the song of a bird, a favorite ballad, or a Beethoven Symphony. So in
+light, our enjoyment culminates at the glories of color in a flower or a
+sunset, at the shadows that play over the hills, or at the varied hues
+of a salt marsh. Hence we may aptly term color _the music of light_; and
+when we think of the wonderful ways in which it has been used and
+combined by painters and designers for hundreds of years, it must seem
+strange to us that _its_ harmonies have not been as thoroughly studied
+and classified as those of sound.
+
+Furthermore, color has come to be so closely connected with all the
+occupations and enjoyments of mankind that it is hard for us to realize
+that many persons are wholly or partially blind to its beauties. It is
+well known that there are some individuals with such perfect organs of
+hearing that they are able to distinguish the slightest sounds, who yet
+are so utterly unable to distinguish between two tones or between the
+harmonies and discords of music that they are said to have “no ear.” So
+there are those whose eyes are as well formed for seeing all and distant
+objects, but who are unable to see _color_ as it is seen by people with
+normal eyes. Such individuals may be said to have “no eye” for color,
+and are scientifically termed “color-blind.”
+
+This fact is not so well known; and, in view of it, any one interested
+in color will understand the wisdom of beginning a study of color with
+some knowledge of color-blindness, and, if possible, with having his
+eyes examined by an expert. Such an examination is a short and simple
+matter. Dr. William Thomson of Philadelphia has devised what he calls a
+“color stick,” on which colored wools are so hung and numbered that it
+is not even necessary to be an expert to use it, and with the help of
+which color-blindness can easily be detected. It has been used with
+great success over some fifty thousand miles of railroad. From the same
+hand has lately come a newer and simpler form of the same invention.
+
+Color-blindness is seldom a total want of the power to see colors, but
+is rather a want of the true normal perception of colors, and it is more
+common than is generally supposed. The most common form of the defect,
+which has been called by some “red-blindness,” is that of not seeing
+red, but of confusing it with green, as, for instance, being unable to
+see any difference between the red flower of a geranium and the green of
+its foliage; between green grass and red autumn leaves. A color-blind
+person will sort variously colored wools in the strangest way, putting
+the reds among the greens, and mixing the blues and the violets
+together.
+
+Plate I shows part of the result of an examination of a color-blind man
+by Doctor Thomson. The patient was given one hundred and fifty
+different-colored wools to sort in little heaps according as he saw them
+to be red, blue, green, etc.; he seemed to hesitate over but few of
+them. These he put by themselves in a heap called neutral. To a normal
+eye the result is almost incomprehensible, as he mixed green with all
+the other colors and made other as strange combinations. Di-chromatic
+vision has been suggested as a fitting term for such defective
+color-perception, as colors to red-blind persons amount to but two,
+_viz._, yellow and blue, with a long range of neutral grays between.
+
+There are other forms of color-blindness which are less common. Some
+persons seem to see but red and blue, classing yellow and green with
+red. A less common defect is that of not seeing violet, while there are
+a few cases on record where all sensation of color is wanting,
+everything appearing in differing degrees of gray. One such instance
+coming under the notice of the writer occurred temporarily from
+over-strained nerves in a person gifted with an abnormally fine
+color-sense. No doubt some people are born color-blind, but the defect
+is also brought on by disease, by the excessive use of tobacco, alcohol,
+and other stimulants, and may, or may not, prove permanent. According to
+Abney, the disease begins in the centre of the eye, so that those
+suffering from its early stages can match colored wools correctly, but
+when given instead small colored pellets to match make many mistakes,
+because a pellet may happen to be directly before the small blind spot
+that is insensible to its color, while the larger mass of wool extends
+before the whole retina. Doctor Charcot and his school in Paris have
+made many examinations into visual disturbances, and through these
+examinations much of the peculiar coloring and mannerism of some of the
+modern painters of the so-called impressionist, tachist, mosaist,
+gray-in-gray, violet colorist, archaic, vibraist, and color orgiast
+schools has been explained. The artists tell the truth when they say
+that nature looks to them as they paint it, but they are suffering from
+hysteria or from other nervous derangements by which their sight is
+affected.
+
+For a long time railroad engineers would not believe that examinations
+for color-blindness were necessary, but when shown the results of such
+an examination the surprise of those with normal eyes was intense. They
+realized what it would be to travel on a train in charge of an engineer
+who did not know when the red danger signal had been put in place of the
+usual green one. In other spheres of life correct knowledge of color is
+not so vitally necessary, yet to artisans of many kinds—decorators,
+florists, manufacturers, dressmakers, milliners, etc.—it is both useful
+and important.
+
+As to the extent of color-blindness, it has been estimated that in
+England about one person in eighteen is more or less afflicted with it.
+In 1873 and 1875 Dr. Farre examined in France one thousand and fifty
+officials of various grades, and found among them ninety-eight
+color-blind, or nine and thirty-five hundredths per cent. In 1876
+Professor Holmgren examined in Sweden two hundred and sixty-five persons
+on the Upsala Gefle line, with the result that thirteen were found to be
+color-blind. Seebach found five young persons out of forty-one in a
+gymnasium who were color-blind. None of them had been at all conscious
+of the defect.
+
+Among the visitors to the International Health Association in London, in
+1884, Mr. F. Galton found a large number of men and a small number of
+women with more or less defective color-perception. In this country,
+examinations in the army and navy and among railroad engineers reveal
+that color-blindness, if not as general as in England, is quite common.
+Dr. Thomson states that as far as has been gathered from statistics
+generally, the percentage of color-blind men in the civilized world is
+four per cent., or one in twenty-five,—among women one in four thousand.
+While he has seen a great number of color-blind men he has never met a
+woman with the defect.
+
+Singularly enough this color-blindness—the confounding of one color with
+another, or the want of perception of certain colors—does not prevent
+great enjoyment of both nature and art. A person so color-blind as to
+see no difference between the scarlet of a geranium blossom and the
+green of its leaves, or who buys a pair of bright green gloves supposing
+them to be brown, is still an enthusiastic and seemingly an intelligent
+admirer of landscape and art. One cannot say from what the enjoyment
+arises, but it is certainly there.
+
+There is a noted instance of a man who learned in later life that he was
+color-blind, and then first understood why he had never been able to
+pick as many strawberries as his boy companions, because with his defect
+he saw no difference between the colors of the berry and that of its
+leaf.
+
+There is, however, a very simple way in which it is possible for some
+color-blind persons to correct in a measure their erroneous impressions.
+If they have something green to match and fear they may mistake red for
+the green, by looking at their samples through a green or red glass they
+can prove whether or not they are correct. Through a green glass the
+green will keep its color, while the red will look nearly black. Through
+a red glass the red will remain unchanged and the green will seem nearly
+black.
+
+Color-blind people can have colored glasses mounted as spectacles at
+small cost, which will almost entirely relieve their defect and be of
+great help in their work.
+
+How far the eye of a color-blind person is susceptible of education is
+still uncertain. Sufficient experiment has not been made in that
+direction, but the fact that women notice color more than do men and
+are, as a general rule, more correct in their judgment of color, points
+to the fact that the eye is unconsciously educated by its surroundings.
+The constant discrimination in choice of dress and home decoration which
+enters early into a girl’s life gives an education which men, in Europe
+and America at least, are deprived of, from generally wearing black or
+quiet colors.
+
+That an eye normal in its perceptions of colors is capable of
+cultivation cannot be doubted. “It does not admit of doubt that
+individual sensibility to color admits of large variations, and that it
+is susceptible of immense improvement. This cultivation of the sense of
+color is, however, rather psychological than physiological, rather
+mental than physical. It is not that the organ of vision is improved,
+but our power of interpreting and coördinating the senses which it
+transmits to the brain. And here it is that the effects of association
+come most prominently, though often unconsciously, into play. We try to
+trace out the causes of the vast numbers of color sensations which we
+are continually receiving, but we constantly find that the cold methods
+of analysis fail to explain the mental appreciation with which we regard
+the astounding fertility of nature in its gifts of color.”[1]
+
+Artists often find that when the eyes are over-stimulated by false
+lights or colors, or want of balance in the colors looked at, the nerves
+are so irritated that a confusion of color and complementary tones takes
+place. If continued to any length of time the nerves become so fatigued
+that the color-sense is lost, and the eye responds only to gradations of
+black and white.
+
+That there are also subtle shades of difference in the sensibility to
+color even of good, normal eyes, no one who has paid any attention to
+art can fail to know. These shades of difference it is impossible to
+gauge, and they can only be known by the differing qualities of work
+produced. In a studio where perhaps a dozen pupils may be painting from
+one piece of still life, a vase, or bit of drapery, such differences can
+be clearly seen. One pair of eyes may have a tendency to see more violet
+than the others, another pair sees everything more brilliantly or in a
+higher key than the others. One student may have more difficulty in
+harmonizing on his canvas the different colors of the model than the
+rest, while another with perhaps less skill in using the paint may have
+such a fine eye for harmony as by the mere charm of his color to delight
+every one in the room.
+
+There comes with advancing years a subtle change in the condition of the
+eye which it is well to understand. With age the lens of the eye loses
+its purity or whiteness and becomes tinged with yellow. This is not
+generally known, and the change is not always strongly marked, but it
+produces a decided effect upon the perception of blue and bluish colors.
+The case of the English painter Mulready may be cited as a good
+instance. His pictures in his later years were different in color from
+his earlier ones, being much colder in tone, that is bluer or less
+yellow. If, however, they were looked at through a piece of slightly
+yellow glass they appeared of the same coloring as his earlier work,
+painted when his eyes were normal.
+
+
+
+
+                               CHAPTER II
+                             COLOR THEORIES
+
+
+A full review of the theories held about color is not necessary in a
+work of this nature, and those who have more time for and further
+interest in the subject will find mentioned in Appendix B to this volume
+the titles of a number of admirable works and treatises.
+
+The sensation of color is first and preëminently produced by light. But
+an electric discharge, internal causes, or even pressure on the eyeball
+may also cause it; just how, we do not know. In fact, the whole subject
+of color, its causes, and its mechanism, is still in the region of
+speculation, although of speculation that may be useful.
+
+Leaving aside the theory of color production by other causes, we will
+give our attention to that color sensation caused by the light of the
+sun, and briefly to that produced by artificial light.
+
+The cut on page 14 shows the construction of the eye viewed from the
+side. We see that light enters the front of the eye through the cornea
+and lens and strikes the interior coating, which is the retina. This is
+a wonderful membrane, very thin, but composed, as we see in the next
+illustration, magnified many times (page 15), of a marvellous network
+made of minute nerves and blood vessels ending on the innermost surface
+in tiny rods and cones. These rods and cones in some mysterious way are
+acted upon by light, and, like the outposts of an army, send messages of
+form and color to the brain. Color is therefore spoken of as “an
+internal sensation,” and is fine or poor as are the eyes and brain of
+the person who sees it.
+
+[Illustration:
+
+  THE CONSTRUCTION OF THE HUMAN EYE AS VIEWED FROM THE SIDE.
+
+  (Nearly life size.)
+]
+
+What is light, we ask? Scientists answer that it is something which
+comes to us from a luminous or light-giving body. Sir Isaac Newton
+pronounced it to consist of fine atoms moving toward us rapidly. A later
+theory is called the _wave theory_—that there exists throughout space a
+fine impalpable medium, “the light-bearing ether,”—that this ether moves
+in waves, which, beating upon the retinas of our eyes as ocean waves
+beat upon the shore, produce what we call _light_.
+
+[Illustration:
+
+  CROSS-SECTION OF THE RETINA, SHOWING THE RODS AND CONES.
+
+  (Very much magnified.)
+]
+
+Sunlight compared to candle or gas light appears to be white; this white
+was proved by Sir Isaac Newton in 1672 to consist of many colors
+combined in one ray. He was the first to divide such a ray of sunlight,
+which he did by letting it fall through a slit in the window of a
+darkened room, then through a prism, or three-sided piece of glass, on
+white paper. If this experiment be repeated there will be seen “a long
+streak of pure and beautiful colors which blend into each other by
+gentle gradations.” Anyone who has seen a rainbow has seen the same
+separation of colors, as the raindrops act in the same way as the prism
+and divide the rays of sunlight into their component colors.
+
+The “spectrum” is the name given to the streak of colors when produced
+by the help of the prism, and it and the rainbow contain the same colors
+in the same order. The experiment has also been made of passing this
+streak of colors through a second prism, when they again unite and the
+ray of simple white light reappears.
+
+An instrument called a “spectroscope” has been invented, and is
+constantly used by scientific students of color, which analyzes a ray of
+light still better than the simple prism. With its aid, early in this
+century, Wollaston and Fraunhofer discovered that the spectrum of
+sunlight, in addition to its colors, was crossed by many fine, dark,
+fixed lines. These have been named Fraunhofer lines, and are most useful
+in dividing and mapping out the limits of the different colors. Still a
+later invention called a “diffraction grating,” made either of speculum
+metal or of glass silvered on the back and ruled with fine parallel
+lines, sometimes as many as eighteen thousand to the English inch, is
+used in place of a prism. With the use of improved methods Professor
+Rowland of Johns Hopkins University has made one ruled with some fifty
+or sixty thousand lines. A ray of sunlight can be divided by this
+without the disadvantage of crowding the colors in the middle, as is
+unavoidable by the wedge-shaped glass of the prism.
+
+Plate II shows a solar spectrum as produced by a prism and also one as
+shown by a diffraction grating. They both give the colors and the main
+Fraunhofer lines, the latter being numbered.
+
+Although not essential to the practical use of this manual, we will now
+return to the theories of the primary colors, so called, upon which
+differing views have been held. Sir David Brewster’s theory of three
+primaries—red, yellow, and blue—has been the most popular, because of
+the ease with which the three so-called secondary colors may be made by
+mixing paint of the three primaries, as follows: red and blue, violet;
+blue and yellow, green; yellow and red, orange. Artists have generally
+adopted it; Chevreul, the great director of the Gobelin tapestries,
+based his whole color system on the theory of three primary colors—red,
+yellow, and blue; three secondary colors made by combinations of the
+first three—orange, green, and violet; and three tertiary colors made
+from combinations of the second three—olive, russet, and citrine. We
+must, however, discriminate carefully between pigments, paints, and
+light. By experiment we prove that yellow and blue light do not make
+green, but white; that red and green light make yellow; and so on, so
+that the theory of Thomas Young is now more generally followed by
+scientists. As Rood gives it in his _Modern Chromatics_, “there can be
+in an objective sense no such thing as three fundamental colors, or
+three primary kinds of colored light. In a totally different sense,
+however, something of this kind is not only possible, but, as the recent
+advances of science show, highly probable. We have already seen in a
+previous chapter that in the solar spectrum the eye can distinguish no
+less than a thousand different hues. Every small, minute, almost
+invisible portion of the retina possesses this power, which leads us to
+ask whether each atom of the retina is supplied with an immense number
+of nerve fibrils for the reception and conveyance of this vast number of
+sensations.
+
+[Illustration:
+
+  DIAGRAM ILLUSTRATING THE YOUNG-HELMHOLTZ THEORY OF COLOR
+  SENSATION.
+]
+
+“According to the theory of the celebrated Thomas Young, each minute
+elementary portion of the retina is capable of receiving and
+transmitting three different sensations; or we may say that each
+elementary portion of its surface is supplied with three nerve fibrils,
+adapted for the reception of three sensations. One set of these nerves
+is strongly acted on by long waves of light and produces the sensation
+we call red; another set responds most powerfully to waves of medium
+length, producing the sensation we call green; finally, the third set is
+strongly stimulated by short waves, and generates the sensation known as
+violet.” (This might perhaps rather be called violet blue, as scientists
+differ as to the exact shade.) “The red of the spectrum, then, acts
+powerfully on the first set of these nerves; but according to Young’s
+theory, it also acts on the two other sets, but with less energy. The
+same is true of the green and violet rays of the spectrum; they each act
+on all three sets of nerves, but most powerfully on those specially
+designed for their reception.” All this will be better understood by the
+aid of the accompanying diagram, which is taken from Helmholtz’s great
+work, _Physiological Optics_. In this figure, along the horizontal lines
+1, 2, 3 are placed the colors of the spectrum properly arranged, and the
+curves above them indicate the degree to which the three kinds of nerves
+are acted on by these colors. Thus we see that nerves of the first kind
+are powerfully stimulated by red light, are much less affected by
+yellow, still less by green, and very little by violet light. Nerves of
+the second kind are much affected by green light, less by yellow and
+blue, still less by red and violet. The third kind of nerves answer
+readily to violet light, and are successively less affected by other
+kinds of light in the following order: blue, green, yellow, orange, red.
+The next point in the theory is that if all three sets of nerves are
+simultaneously stimulated to about the same degree the sensation which
+we call white will be produced. This result would almost lead us into
+calling white a color—and the most brilliant one of all. These are the
+main points of Young’s theory, which was published as long ago as 1802,
+and more fully in 1807. Attention has been called to it within the last
+few years by Helmholtz, and it is mainly owing to his labors and those
+of Maxwell that it now commands such respectful attention. Thus far the
+study of color-blindness has furnished evidence in favor of the theory
+of Young, and its phenomena are more easily explained by this than by
+any other theory.
+
+A recent invention by Frederick E. Ives of Philadelphia has also been
+cited in its support. Through the use of what he calls a
+photo-chromoscopic camera he takes through three color screens—a red, a
+green, and a blue one—three negatives. These negatives, placed in an
+instrument called by him a stereo-photo-chromo-scope (which resembles a
+stereoscope, and which also holds three screens of the same colors),
+produce to the eyes an image so perfect in color and relief that “people
+have been seen to place their hand in front of it before they were
+convinced that they did not see a direct reflection.” Various sets of
+three hues, or modified hues, might be used to produce the same effect.
+
+In 1878, having re-investigated the subject thoroughly, Hering published
+in Vienna a paper advocating another theory. According to this “the
+retina is provided with three visual substances, and the fundamental
+sensations are not three, but six,—
+
+                            Black and white,
+                            Red and green,
+                            Blue and yellow.
+
+Each of these three pairs corresponds to an assimilation or
+diassimilation process in one of the visual substances; thus red light
+acts on the red-green substance in exactly the opposite way from green
+light, and when both kinds of light are present in suitable proportions
+a balance is effected, and both sensations, red and green, vanish.”[2]
+
+One of the latest accounts of these theories (of Young-Helmholtz and
+Hering), written in English, is to be found in Dr. Foster’s _Text-book
+of Physiology_. It contains a full and clear discussion of the merits
+and demerits of both theories from a scientific standpoint. From it we
+give the accompanying diagram illustrating Hering’s theory of color
+vision.
+
+[Illustration:
+
+  DIAGRAM ILLUSTRATING HERING’S THEORY OF COLOR SENSATION.
+]
+
+Edridge Green also discusses both theories fully in connection with
+color-blindness.
+
+On one point all these theories agree, which is that perfect or normal
+color vision is made up of three factors, or as Foster says, it is
+“_tri-chromic_, based on three or the equivalent of three primary
+sensations.” The first, the Brewster theory, states that they are red,
+yellow, and blue colors; the second, the Young-Helmholtz theory, that
+there are three kinds of nerve fibrils in the retina, affected
+respectively by red, blue, and green, and their combinations of the
+spectrum; while that of Hering is that in the eye there are three
+changeable visual substances which are increased or diminished
+accordingly as the rays of black and white, yellow and blue, or red and
+green, fall upon them.
+
+Le Conte, in his work _Sight_, says of the latter part of this
+theory, “according to Hering, complementary colors are the result of
+opposite affections of the retina, so that there are only two
+essentially distinct color affections of the retina, which, with
+their opposites, produce two pairs of complementary colors; the one
+with its opposite produces red and green; the other with its
+opposite, yellow and blue. This, though more doubtful, seems a
+probable cause of complementariness.” Also, “Stanley Hall ...
+believes that color is perceived by the cones (in the retina) alone;
+further, that different parts of the same cone vibrate with
+different degrees of rapidity, and therefore respond to different
+colors, and the conical form is adapted for this purpose. In order
+to gain a clearer conception we may imagine each cone to be made up
+of a number of buttons of graduated sizes joined together. These
+buttons, on account of their different sizes, would vibrate with
+different degrees of rapidity, and therefore co-vibrate with
+different colors. White light, he supposes, vibrates the whole
+series; red light the thicker, and violet the thinner portion of the
+series; or, taking Hering’s view of the primary colors, we may
+imagine that red and green rays affect one portion and yellow and
+blue rays another portion of the same cone.”
+
+From the fact that in 1876 F. Boll discovered that the retina contained
+a red or purple substance that quickly disappeared on exposure to light,
+Kuhne elaborated, after further experiments with light upon that
+substance, a still later theory of color vision which supposes that the
+light waves produce in the retina different compounds that give rise to
+the sensation of the different colors.
+
+Mrs. Franklin of Baltimore has lately given us a theory of “light
+sensation,” as she prefers to call it, which has been favorably
+received.[3] The question of the specific uses of the rods and cones in
+the retina has been a puzzling one, and she suggests that they may be of
+the same nature, but in different stages of development,—in other words,
+that the rods are undeveloped cones. As there are more cones than rods
+in the middle of the retina, and as color is seen more vividly there,
+the inference is that the cones are susceptible to both light and color,
+while the rods are only sensitive to light. Such a theory seems to
+explain the results of many experiments heretofore made by scientists.
+Some discussion of the subtile and beautiful colors produced by
+interference, refraction, absorption, and polarization, as well as by
+opalescence, fluorescence, and phosphorescence, might aptly follow here,
+but that such discussion hardly comes within the scope of this mainly
+practical book. Readers who wish to understand and experiment with them
+are referred to the works of Rood, Church, and Dove.
+
+
+
+
+                              CHAPTER III
+                            COLOR QUALITIES
+HUE, PURITY, LUMINOSITY—COLD AND WARM COLORS—TINTS, SHADES, BROKEN TINTS
+
+
+Colors have three principal qualities, called scientifically “constants
+of color,” which should be studied as a preparation for the study of the
+harmony of colors. These qualities are hue, purity, and luminosity. To
+make these as clear as possible, we will for the present, at least,
+ignore the delicate divisions of the spectrum made by both scientists
+and artists of which about one thousand have been counted, and divide it
+arbitrarily into six pure spectral colors differing from each other by
+their hues as by their wave lengths; the wave lengths we give according
+to Rood, expressed in ten-millionths of a millimetre (¹⁄₁₀₀₀₀₀₀₀). (See
+Plate III.) These six divisions can be placed beside and compared with
+flowers and colored materials, and are printed to imitate colored light
+as nearly as pigments and paper can give them. At best, any such
+imitation falls far short of nature.
+
+The first quality or constant of colors is _hue_, this term being
+generally agreed upon by scientists to mean color pure and simple,
+according to its wave length in the spectrum. Plate III gives us six
+hues—violet, blue, green, yellow, orange, and red. Each of these is
+quite different from the next one, as the violet hue is from the blue
+hue, the blue hue from the green hue.
+
+The second quality or constant of colors is _purity_, that is, its lack
+of any mixture of white, black, or any other color. These not only
+weaken the color but change its character, as will be found by mixing
+white paint with vermilion paint, which will be seen to grow more pink,
+as well as lighter, as the white is added.
+
+The third quality or constant of colors is their _luminosity_ or
+_brightness_, also sometimes called _clearness_. It is measured by the
+total amount of light reflected to the eye, and is therefore independent
+of hue and purity. The amount of luminosity of a color can be determined
+correctly by means of an invention called Maxwell’s Disks. These disks
+date back to the time of Ptolemy, but were brought into use early in
+this century by Maxwell. A disk, or round piece of cardboard, painted
+with the color to be tested, is put behind two smaller disks, one of
+white and one of black, which can be so adjusted that on turning them
+all rapidly the gray formed by the mingling of black and white matches
+in luminosity the one back of it.
+
+From such experiments we see that a room papered or painted in yellow
+will give you the lightest room, because it will reflect more light to
+the eye than any of the other colors; one done in orange will come next,
+and so on through the list. A practical knowledge of these different
+luminosities is most useful in decoration, both on account of the
+contrast between colors for this reason as well as for their hues. Also
+for the ability to lighten a dark part of a room by placing there a
+piece of luminous coloring, and _vice versa_ to darken what is too
+bright. We must here add that these terms, purity of color and
+luminosity, are used by artists in quite a different sense, as they call
+paintings noticeable for purity of color, meaning only that the tints in
+them have no tendency to look dull or dirty, but not at all implying the
+absence of white or gray light. They call color in a painting luminous
+simply because it actually recalls to the mind the impression of light,
+not because it actually reflects much light to the eye. Plate No. IV
+gives the six spectral colors in their order of luminosity.
+
+We will now take up in turn each of the six hues by itself and study it
+in its variations towards its neighboring hues.
+
+That we do not appreciate the influence of color upon man as well as
+upon the lower animals, is true; but color has not been studied by us as
+it probably will be in the near future. The powers of attraction of
+different colors for ants and bees have occupied the time and close
+observation of Sir John Lubbock and of many other scientists, and now
+the effect of different colors is being tried on the children in some
+schools and on the patients in certain insane asylums. A few facts are
+enough to show that there is still much to learn in that direction, and
+that these questions can be investigated with profit. One of these facts
+is that a certain shade of purple always produced the condition of the
+skin commonly known as “goose-flesh” upon a girl in a normal condition
+of health.
+
+Goethe in his _Theory of Colour_, as translated by Sir Charles Eastlake,
+records observations and experiments of the most minute character with
+regard to light and colors—of a character hardly touched upon by others.
+His suggestion of using colored glass for study in colors is very
+valuable. He says, “People experience a great delight in color
+generally. The eye requires it as much as it requires light. We have
+only to remember the refreshing sensation we experience, if on a cloudy
+day the sun illumines a single portion of the scene before us and
+displays its colors. That healing powers were ascribed to colored gems
+may have arisen from the experience of this indefinable pleasure.
+
+“From some of our earlier observations we can conclude that general
+impressions produced by single colors cannot be changed, that they act
+specifically and must produce definite specific states in the living
+organ.
+
+“They likewise produce a corresponding influence on the mind. Experience
+teaches us that particular colors excite particular states of feeling.
+It is related of a witty Frenchman, “Il pretendoit que son ton de
+conversation avec Madame étoit changé depuis qu’elle avait changé en
+cramoisi le meuble de son cabinet, qui étoit bleu.” (He imagined that
+the tone of his conversation with Madame was changed since she had
+changed the coloring of her sitting-room from blue to crimson.)
+
+“In order to experience these influences completely, the eye should be
+entirely surrounded with one color; we should be in a room of one color,
+or look through a colored glass. We are then identified with the hue, it
+attunes the eye and mind in mere unison with itself.[4]
+
+“The colors on the _plus_ side are yellow, red-yellow and yellow-red.
+The feelings they excite are quick, lively, and aspiring.
+
+“The colors on the _minus_ side are blue, red-blue and blue-red. They
+produce a restless, susceptible, anxious impression.”
+
+Each of these six hues can be divided roughly into three, as they are
+pure or tend toward their neighboring hues. So violet, of which we have
+pure normal or spectral violet, with red-violet on one hand, blue-violet
+on the other; or yellow, of which we have pure normal or spectral
+yellow, with orange-yellow on one side, green-yellow on the other.
+
+Violet is a cold color, red-violet warmer than blue-violet. It is grave,
+dignified, as compared with the other colors. Being a retiring color, it
+will serve well as a background, as it will throw forward any more
+luminous color put upon it. In flowers we have examples of this color in
+its variety in violets, lilacs, asters, sweet peas, and morning-glories.
+In the latter it is exquisitely shaded from one extreme to the other.
+The wild Eupatorium furnishes a fine example of red-violet, the
+cultivated variety an equally good one of the blue-violet, almost cold
+enough for a blue. There is no sound pigment which can be used alone to
+paint this color. The violet in the originals for these plates was made
+with French blue and crimson lake, and crimson lake is not considered a
+permanent color. Violet of all kinds suffers from artificial light,
+losing much of its blue, and becoming more red and dull.
+
+Blue is a cold color, and a retiring one, especially suited for
+backgrounds, as one will notice in studying a blue sky, against which
+the landscape stands out with great beauty. In flowers, examples of this
+color are more rare than of others. The blue gentian is not a true blue,
+it is so close on blue-violet. Forget-me-nots, chicory, centaureas, and
+larkspur give us blue in differing varieties. The sky from the deep
+violet blue of a winter’s night to the pale, greenish tones near the
+horizon on a summer’s day shows us an unsurpassed scale of this hue.
+
+Goethe says of it, “It may be said that blue brings a principle of
+darkness with it.
+
+“This color has a peculiar and almost indescribable effect on the eye.
+As a hue it is powerful, but it is on the negative side, and in its
+highest purity is, as it were, a stimulating negation. Its appearance,
+then, is a kind of contradiction between excitement and repose.
+
+“As the upper sky and distant mountains appear blue, so a blue surface
+seems to retire from us.
+
+“But as we readily follow an agreeable object that flies from us, so we
+love to contemplate blue, not because it advances to us, but because it
+draws us after it.
+
+“Blue gives us an impression of cold, and thus again reminds us of
+shade. We have before spoken of its affinity with black.
+
+“Rooms which are hung with pure blue appear in some degree larger, but
+at the same time empty and cold.
+
+“The appearance of objects seen through a blue glass is gloomy and
+melancholy.
+
+“When blue partakes in some measure of the _plus_ side the effect is not
+disagreeable; sea-green is rather a pleasing color.”
+
+Genuine ultramarine is an expensive but very pure blue paint made from
+lapis-lazuli. Artificial ultramarine generally inclines towards violet.
+A good deal of green and violet light is reflected from cobalt blue.
+There is some green in Prussian blue, in indigo, and in cerulean blue.
+Prussian blue, if used quite thickly, reflects some red. The blue for
+the original of Plate X was made of French blue (artificial
+ultramarine), tinged on the violet end with crimson lake, and on the
+greenish end with emerald green, which latter is not a permanent color,
+but which approaches nearest of any pigment to the green hue in the
+spectrum. Blue is one of the colors most used in decoration.
+
+Green may be cold or warm, retiring or advancing according as it
+approaches blue or yellow, although pure spectral green is of a cold
+nature. When one studies the great scale of greens as seen in a
+landscape lit up with full sunshine, and notices the intense
+yellow-green where the sun shines through the leaves, the pale gray
+greens produced by the sun’s glancing over the polished surfaces of
+others, and the rich dark green in the shadows, it seems as if no other
+color would admit of so varied a scale or be more restful to the eye.
+
+Goethe says: “The eye experiences a distinctly grateful impression from
+this color. The beholder has neither a wish nor the power to imagine a
+state beyond it. Hence for rooms to live in constantly, the green color
+is most generally selected.” This assertion may be doubted, many persons
+objecting to green, the truth probably being that it has been found
+difficult to use, and not having been understood or well treated has not
+been appreciated. Its healthfulness cannot be doubted if one considers
+how refreshing the surroundings of trees and grass are to an invalid who
+has been surrounded by city bricks and stones. Can we not derive a like
+benefit from this color by decorating our city rooms with varying tones
+of soft gray greens, like nature, relieved here and there with a touch
+of brightness, as flowers, birds, and butterflies gleam amid the foliage
+in their native haunts? The rules for heightening these contrasts with
+certain varieties of green will be given in the chapter on contrasts.
+The extremes of green blend better than those of other colors. Emerald
+green has been used as being the best paint with which to imitate the
+normal green of the spectrum, but it must be remembered that it is a
+trifle bluer than it should be to be exact.
+
+Of yellow Goethe writes, “This is the color nearest the light.
+
+“In its highest purity it always carries with it the nature of
+brightness, and has a serene, gay, softly exciting character.
+
+“In this state applied to dress, hangings, carpets, etc., it is
+agreeable. Gold in its perfectly unmixed state, especially when the
+effect of polish is superadded, gives us a new and high idea of this
+color; in like manner, a strong yellow, as it appears on satin, has a
+magnificent and noble effect.
+
+“We find from experience again that yellow excites a warm and agreeable
+impression. Hence in painting it belongs to the illumined and emphatic
+side.
+
+“This impression of warmth may be experienced in a very lively manner if
+we look at a landscape through a yellow glass, particularly on a gray
+winter’s day. The eye is gladdened, the heart expanded and cheered, a
+glow seems at once to breathe towards us.”
+
+Yellow is both a warm and an advancing color, especially useful to apply
+as ornament on other colors, as gold embroidery is beautiful on any
+color. With the exception of white there are more yellow flowers than of
+any other color. In Moorish decorations, which are some of the finest in
+the world, gold is used as ornament on blue and red grounds; in fact,
+throughout the history of ornament, yellow is more often used in that
+way than as a groundwork.
+
+A thin wash of Aurora yellow gave the color for the original of Plate
+XII. This paint, when put on thickly, tends too much toward orange to
+imitate well the very narrow band of yellow in the spectrum. It is made
+from cadmium, and, according to Church,[5] the deep or orange cadmiums
+are all more lasting than the pale or lemon-colored kinds.
+
+Orange is still a warmer color than yellow, and is also an advancing
+color. Goethe says, “All that we have said of yellow is applicable here
+in a higher degree. The red-yellow (orange) gives an impression of
+warmth and gladness, since it represents the hue of the intenser glow of
+fire, and of the milder radiance of the setting sun.” Orange is perhaps
+the most intense color and should be used sparingly in decoration, as it
+needs great care as to the quality and quantity of other colors to
+balance it. Orange cadmium was used for the original of Plate XI.
+
+Red is a warm color and an advancing one. Goethe says, “The agreeable,
+cheerful sensation which red-yellow excites increases to an intolerably
+powerful impression in bright yellow-red.
+
+“The active side is here in its highest energy, and it is not to be
+wondered at that impetuous, robust, uneducated men should be especially
+pleased with this color. Among savage nations the inclination for it has
+been universally remarked, and when children left to themselves begin to
+use tints (paints), they never spare vermilion and minium.
+
+“In looking steadfastly at a perfectly yellow-red surface, the color
+seems actually to penetrate the organ. It produces an extreme
+excitement, and still acts thus when somewhat darkened. A yellow-red
+(scarlet) cloth disturbs and enrages animals. I have known men of
+education to whom its effect was intolerable if they chanced to see a
+person dressed in a scarlet cloak on a gray, cloudy day.” In nature we
+have red only in small portions, a few red birds or those with throats
+or spots of red; almost no butterflies, but many flowers. The rose,
+which leads in beauty the long procession of flowers, contains an
+immense scale of this color on the violet side, from the palest blush to
+the deepest crimson, almost purple. There being less of red in nature
+than of any other color, it becomes by contrast the decorative color. It
+has also the quality of changing less with lessening light than any
+other color, and is particularly fine in combination with blue.
+Vermilion and carmine were used to make the spectral red of Plate XIV,
+though they are far from reproducing the vivid quality of the original.
+Vermilion used with oil is much more permanent than with water. Of the
+lakes, Church says in his _Chemistry of Paints and Painting_: “No artist
+who cares for his work, and hopes for its permanency, should ever employ
+them.”
+
+There is another quality shown in Plate III by which colors may be
+divided into the warm and cold classes. The six spectral colors we have
+so far been studying in this chapter may be roughly divided as follows:
+
+                             COLD.  WARM.
+                             Violet Yellow
+                             Blue   Orange
+                             Green  Red
+
+although some varieties of green may be classed among the cold colors
+because of the large amount of blue they seem to contain, and others may
+be classed among the warm ones from their seeming to contain so large an
+amount of yellow.
+
+It is well to remember that cold colors seem to retire or go back from
+the eye, while the warm ones seem to come forward, and that the right
+use of these qualities greatly affects architecture and decoration. (See
+Plates V and VI.)
+
+To recapitulate, we have first, three qualities or constants of
+_colors_: hue, purity, luminosity; then the qualities of being warm or
+cold. Following upon these are divisions of the tones into three other
+groups or scales of tints, shades, and gray or broken tints.
+
+These scales have been confined to six for the sake of simplicity, but
+the reader may multiply them infinitely to correspond with the infinite
+gradations in nature.
+
+1. TINTS.—“The reduced scale—that is, the normal hue mixed with
+progressive increments (additions) of white, thus forming _tints_.” The
+spectral hue of the color weakened by white. Plate VII.
+
+2. SHADES.—“The darkened scale—that is, the normal hue mixed with
+progressive increments (additions) of black, thus forming _shades_.” The
+spectral hue of the color darkened with black. Plate VIII.
+
+3. “The dulled scale—that is, the normal hue mixed with progressive
+increments of gray, thus forming broken tints commonly called grays.”
+The spectral hue of the color changed by black and white. Besides these
+regular scales which can be approximately rendered in paint or colored
+inks there is an infinite variety of what we might call irregular scales
+which can never be given save in nature. They are those in which a color
+is changed or neutralized by one or more of the other colors. These
+cannot even be named, for their multitude.
+
+With the aid of a color wheel on which he used disks of black, white,
+and the six prismatic colors, Professor Rood has drawn up and formulated
+the proportions of 488 of these compound or neutralized colors. With the
+formulæ a number of them have been printed in color quite successfully.
+It is probably the first attempt to establish standard colors, and a
+most valuable one, which it is hoped may bear fruit. If those and the
+arbitrary terms for colors and their different states could come into
+general use it would greatly help all descriptions of color-harmonies.
+
+Having become familiar with the six colors, we now arrive at the object
+for which we have gone through the previous study; namely, the first
+kind of _color harmony_, one-color combinations, also called
+combinations of self-tones, the simplest and the preliminary harmony to
+that of combined colors. The first rule to be observed in making
+one-color combinations is to avoid putting together what we may call,
+borrowing the term from the language of music, the large intervals, or
+extremes, of a color in their pure spectral hues. For example, in
+arranging a basket of flowers, never put those of a crimson or
+violet-red, such as an American Beauty rose, next to a scarlet or
+orange-red flower, such as a scarlet geranium. These are too unlike each
+other, being at the large intervals of the hue. They injure each other
+and are therefore disagreeable.
+
+As a second rule, all colors, even those above-named, may be combined in
+one harmony, but this harmony must be produced from the fact that tints,
+or shades, or both combined, are used, rather than the simple spectral
+hues. In fact, nature uses pure colors most sparingly; they appear, if
+you will remember, in small bright spots in jewels, in somewhat larger
+quantities in flowers and fruit, in the wings of butterflies and the
+plumage of birds, to relieve and ornament the more subdued great masses
+of neutral greens and grays that make up the ordinary garb of nature.
+
+But to return to the combinations of larger intervals of color we were
+considering. For instance, while scarlet (orange-red) and crimson
+(violet-red) do not combine well, at a French sea-shore resort was seen
+the combination of a pink (that is, a tint of violet-red) dress, shaded
+by a brilliant scarlet (orange-red) parasol carried by its wearer. It
+was as daring a combination as could be made; its success was complete
+owing to the pale tint of the dress and the correspondingly correct hue
+of the scarlet of the parasol. The effect was helped and complemented by
+the large mass of the sea as background. No rule can prescribe these
+tints or shades exactly, a gifted eye only can combine them with
+success; but the fact might serve as a hint to those who find by
+examination and experiment that they have such an eye.
+
+Besides the use of tints and shades to help us in combining what would
+otherwise be inharmonious color, gradation is another means we can
+employ to serve our purpose. For instance, considering different blues,
+which are not agreeable together, we will look at a cloudless sky; we
+find that above us it may be of a deep blue verging on violet blue,
+while, as we let the eye follow it down through the infinite and
+exquisite gradations it contains, near the horizon we come gently upon
+our other blue, the greenish one, and feel no discord. The rainbow,
+which is, in fact, a kind of spectrum, is the best possible example of
+the great use of gradation; there we have all the pure colors, one
+differing immensely from the other, but the gradations between them are
+so fine and complete as to prevent the least discord. In opals and pearl
+shells, in peacock’s feathers and soap bubbles, such coloring is also
+seen enhanced by being broken by soft grays and greens. It is caused by
+what is scientifically called interference; that is, the thin layers of
+the material interfere or break up the waves of light and so produce the
+color.
+
+Reflection in colored materials can be used to help greatly in
+harmonizing them. Look at a piece of red sealing-wax. Hold it up by a
+window and the high gloss on it will reflect so much light as to make
+the side toward the light appear almost white. On another side the true
+or local color, the brilliant red, will be seen, and the side in shadow
+will be of another color still, darker and more crimson or violet-red.
+Red satin will have the same varieties in its high lights, middle, and
+shaded parts, and these whiter lights and shaded parts really gray and
+subdue the color of the material. A woollen cloth of the same color
+which has less power of reflection will therefore have less of the gray
+about it. With practice, fine and beautiful one-color combinations,
+greatly varied, can be made by using materials of different textures but
+of the same color.
+
+What has been said so far of colors applies to them as seen in ordinary
+daylight, but we must also know how they are affected by lessened,
+increased, and artificial light. Rood made many elaborate experiments in
+this direction, too numerous to be given here. With these in view,
+Church gives the following table of the main changes that occur in
+colored objects from the changing of the light in which they are
+commonly seen:
+
+           IF LIGHT                   INCREASE,— DIMINISH.
+           Red                becomes Scarlet    Purplish.
+           Scarlet               „    Orange     Red.
+           Orange                „    Yellow     Brown.
+           Yellow                „    Paler      Olive-Green.
+           Yellow-green          „    Yellower   Greener.
+           Blue-green            „    More blue  Greener.
+           Art’f. ultramarine becomes Blue       More violet.
+           Violet                „    More blue  Purple.
+           Purple                „    Redder     More violet.
+
+We must also note the effect produced by double light; as, for instance,
+at sunset when we find in one direction the cool light from the blue of
+the sky, in another the warm light from the setting sun. This is more
+complicated and difficult to understand.
+
+Reflections from near objects produce similar effects; as, for instance,
+in the city, the light reflected from a red brick wall and that from a
+blue sky. An artist painted a portrait in which the likeness was spoiled
+by the unnatural amount of red in the complexion. On examination it was
+found to have been put there rightly, inasmuch as the artist certainly
+saw it; the error lay in choosing a place for the subject where the red
+reflection from a brick wall was thrown on his face. In a room, a yellow
+wall paper and a curtain of some other color may throw combined and
+confusing though perhaps at the same time most interesting reflections
+on some object. The combined effects of daylight and gas or lamp light
+are similar.
+
+We will next consider the effect upon colored objects of a light, itself
+colored,—of what is called a dominant light. (See Plate VI, with
+instructions.)
+
+Chevreul made many experiments with these. Church gives them to us, with
+modifications, in the following concise form:
+
+     Red   rays falling on white  make it appear red.
+      „         „       „  red       „      „    deeper red.
+      „         „       „  orange    „      „    redder.
+      „         „       „  yellow    „      „    orange.
+      „         „       „  green     „      „    yellowish-gray.
+      „         „       „  blue      „      „    violet.
+      „         „       „  violet    „      „    purple.
+      „         „       „  black     „      „    rusty black.
+    Orange      „       „  white     „      „    orange.
+      „         „       „  red       „      „    reddish-orange.
+      „         „       „  orange    „      „    deeper orange.
+      „         „       „  yellow    „      „    orange-yellow.
+      „         „       „  green     „      „    dark yellow-green.
+      „         „       „  blue      „      „    dark reddish-gray.
+      „         „       „  violet    „      „    dark purplish-gray.
+      „         „       „  black     „      „    brownish-black.
+    Yellow      „       „  white     „      „    yellow.
+      „         „       „  red       „      „    orange-brown.
+      „         „       „  orange    „      „    orange-yellow.
+      „         „       „  yellow    „      „    deeper yellow.
+      „         „       „  green     „      „    yellowish-green.
+      „         „       „  blue      „      „    slaty-gray.
+      „         „       „  violet    „      „    purplish-gray.
+      „         „       „  black     „      „    olive-black.
+    Green       „       „  white     „      „    green.
+    Green       „       „  red       „      „    yellowish-brown.
+      „         „       „  orange    „      „    grayish-leaf-green.
+      „         „       „  yellow    „      „    yellowish-green.
+      „         „       „  green     „      „    deeper green.
+      „         „       „  blue      „      „    bluish-green.
+      „         „       „  violet    „      „    bluish-gray.
+      „         „       „  black     „      „    dark greenish-gray.
+     Blue       „       „  white     „      „    blue.
+      „         „       „  red       „      „    purple.
+      „         „       „  orange    „      „    plum-brown.
+      „         „       „  yellow    „      „    yellowish-gray.
+      „         „       „  green     „      „    bluish-green.
+      „         „       „  blue      „      „    deeper blue.
+      „         „       „  violet    „      „    bluer.
+      „         „       „  black     „      „    bluish-black.
+    Violet      „       „  white     „      „    violet.
+      „         „       „  red       „      „    purple.
+      „         „       „  orange    „      „    reddish-gray.
+      „         „       „  yellow    „      „    purplish-gray.
+      „         „       „  green     „      „    bluish-gray.
+      „         „       „  blue      „      „    bluish-violet.
+      „         „       „  violet    „      „    deeper violet.
+      „         „       „  black     „      „    violet-black.
+
+In this table the effect of yellow light gives us the effect of gas or
+lamp light on colors, as they are yellow in character. To make his
+experiments with artificial light as sure as possible, Rood, or
+Chevreul, in daylight, threw the light from a gas burner on colors set
+in a camera so as to judge at the same time of the effects of the two
+kinds of light, for we must remember that commonly when we see colors by
+gas or lamp light we are so surrounded ourselves by the same yellow
+light that everything is tinged by it, and our judgment is affected; all
+we see being yellower, yellow objects will look less yellow for want of
+the contrast seen in daylight. This effect is now understood and
+provided for by dry goods merchants, who have for some time shown
+materials for evening dresses in rooms lighted by gas. A fairly good
+idea of the appearance which pictures, colored materials, articles of
+dress and decoration will make by gas or lamp light can be had by
+looking at them through a piece of pale orange-yellow glass.
+
+Electric and calcium lights, being much whiter than that of gas or oil,
+make less difference in colors, but their intensity being different from
+that of ordinary diffused daylight, it produces different and more
+intense effects.
+
+
+
+
+                               CHAPTER IV
+                       CONTRASTS AND COMPLEMENTS
+
+
+Given a certain amount of any color, say normal or spectral red, and
+wishing to make it look as bright as it can, what color shall we put
+with it, and how much of that color, to attain our purpose? To answer
+that question correctly, having in the last chapter studied the harmony
+possible in what have been called self-tones, or one-color combinations,
+we will take up contrasts, of which we have several kinds, as follows:
+
+          Simultaneous contrasts of tone, neutral.
+          Simultaneous contrasts of color on neutral grounds.
+          Successive contrasts.
+          Mixed contrasts.
+          Contrasts of complements.
+          Contrasts of other hues or lesser contrasts.
+          Contrasts of brightness.
+          Contrasts of purity.
+          Contrasts of cold and warm colors.
+
+The first point to understand clearly is the law of simultaneous
+contrast of tone as studied and written about by Chevreul in his
+elaborate work on color. Church explains this law: “Contrast caused by
+difference in brightness is commonly called contrast of tone. This kind
+of contrast may occur alone or it may be associated with contrast of hue
+and contrast of purity. It will be well to consider first the simplest
+cases, in which contrast of tone is not accompanied by other contrasts.
+It is impossible, however, to reduce experiments on tone-contrast to
+their simplest expressions, because a third element always comes in,
+namely, the background on which the pair of tones is placed for
+examination. Whether this background be black, white, gray, or colored,
+it must necessarily differ in some one direction from one or both the
+trial pieces, and will therefore itself produce a contrast. To minimize
+the complication thus introduced we may try an experiment for producing
+the phenomena of tone-contrast in three ways, using three backgrounds
+with identical trial pieces on each. We first take two strips of light
+gray paper, A and A′, in Plate XV, and place them a few inches apart on
+a large sheet of (white) paper in a good light. We then prepare two
+similar strips of a considerably darker shade of gray, B and B′, and
+place them, as shown in the diagram, B′ alongside of A′ and the other
+the same distance from B′ as A is from A′. On close observation it will
+be seen that A′ close to B′ appears lighter than A, which lies at some
+distance, while B appears correspondingly darker than B′. The effect of
+contrast in enhancing differences of tone may be studied thus: Make such
+openings, five in number, in a piece of card, as will serve to divide
+each of the strips A and B into three portions. When viewed through this
+card, held between the trial pieces and the eye, it will be found that
+the two adjoining parts of the strip are most contrasted in tone, and
+the others less so in proportion to their distance from the line of
+contact. The experiment should now be repeated with a background of
+black velvet, and again with a background of gray paper lighter in tone
+than either of the strips. The effect of contrast of tone is still
+better seen in a series of toned strips placed next each other. In such
+a case the effect on all the strips save the end ones is that of
+_double_ contrast. For the second strip or second tone has one side of
+it made apparently darker by reason of the contiguity of the lighter
+tone of strip, while the other side seems lighter, owing to the
+contiguity of the darker tone of strip 3. The general result of these
+double contrasts is that the whole series or scale of tones gives the
+appearance of a number of hollows, although, in fact, the apparent
+hollows are perfectly flat areas of uniform shade. The effect of this
+experiment is approximately represented in Plate XV, where the real
+flatness of each tone of the six may be verified by covering up all the
+others by a card. Tones of any one color instead of gray may be thus
+employed to illustrate this kind of simultaneous contrast, but its
+characteristic effect is not seen unless the contrasting tones differ
+considerably in intensity, increase by regular gradations, and are near
+each other, or in absolute contact. However, if tones of a color,
+whether in tints or shades, be used, there is generally a complication
+introduced, owing to the difficulty of getting a series of such tones
+which shall be the same in hue.
+
+“This phenomenon of simultaneous contrast of tone of course largely
+affects ... all drawings in black and white and in monochrome.”
+
+Following upon the law of simultaneous contrast of tone is the law of
+simultaneous contrast of color formulated by Chevreul, as follows: “In
+the case where the eye sees at the same time two contiguous (or
+adjoining) colors, they will appear as dissimilar as possible, both in
+their optical composition and the height of their tone. We have, then,
+at the same time simultaneous contrast of color, properly so called, and
+contrast of tone.” Plate XVI gives the simplest examples of this
+simultaneous contrast of color, the six spectral colors we have been
+studying on grounds of white, black, and gray. The colors seem brighter
+on the black ground and darker on the white, while with the gray the
+yellow alone is much affected, it seeming to grow brighter. The
+following plates (Nos. XVII, XVIII, and XIX) give the same coloring, but
+reversed, the white, black, and gray being in spots or disks on the six
+colored grounds. By covering the squares on Plate XIX. with the prepared
+sheet of paper having a square opening just large enough to allow but
+one of its six divisions to be seen at a time, we shall find that each
+one of the disks or spots looks, not pure gray, but tinged with another
+color. This result gives us our first hint of what is called a
+complementary color. In the case of the gray on blue the gray will
+appear rusty or yellowish, yellow being the complement of blue; the gray
+on yellow will appear bluer, blue being the complement of yellow; on the
+green the gray will look purplish-red, on the orange greenish-blue, on
+red bluish-green, and on the violet yellowish-green.
+
+Black lace over colors is always affected by them in a similar way. Over
+yellow, its complement being blue, the lace will look at its best, that
+is, blackest; over blue, the lace will tend to yellow, and will lose
+something of its strength and the fulness of its black; over greens, it
+will partake of their complement, red, and tend to look rusty.
+
+In connection with this tinging of black with the color complementary to
+that of the color of the ground on which it is placed, Chevreul tells an
+interesting anecdote. A manufacturer was given black and colored wools
+with which to make some goods, the pattern to be black on colored
+grounds. When they were delivered the man who had ordered the goods
+complained that he had not been given the same black wool, that the
+blacks were not pure and clear. The manufacturer declared he had used
+the same wools. A lawsuit followed, in the course of which Chevreul was
+called upon to give his testimony as to color, when he proved that,
+according to the law of simultaneous contrast of color, the black wool
+was the same, but when woven in figures, as for instance, black on blue,
+the complementary color to blue, namely, yellow, being called up by the
+eye, made the black look a rusty-brownish black instead of pure clear
+black. He added that the only way to make the black on blue look pure
+would be to color it with a little of the blue so as to overcome its
+yellowish complement.
+
+This delicate impression of the color complementary to the one we are
+looking at, is called up involuntarily by the eye, of which the nerve
+fibrils become fatigued by the strong color, and incline to see the
+extreme opposite or complementary color. The complement of a color may
+also be called up or produced by looking fixedly at a round spot like
+that on Plate XX for some time. After a while there may be seen a faint
+image of its complement on the white paper around it. A still better way
+of seeing the complement of a color is by looking fixedly for some time
+at a disk of the selected color placed on white paper (Use Plate XXI);
+then suddenly slip a sheet of white paper over it, and, continuing to
+look at the place where it was, the same-sized image of its complement
+will be seen. Here we have the answer to the question at the beginning
+of the chapter: bluish-green is the color complementary to spectral red.
+The eye becomes tired with looking at the red, and the nerve fibrils
+excited by it incline to see its complement, bluish-green. We can,
+however, prove this conclusion most correctly by means of what are
+called Maxwell’s disks. If we cut out a disk or circular piece of
+cardboard and paint it spectral red, then cut a second one just like it
+but paint it bluish-green, cutting a slit in both from the edge to the
+middle so we can slip one into the other as shown in Plate XXII, and
+then turn them rapidly, the color in both will seem to fade away until,
+when turning fast enough, we shall see no color at all,—simply a
+complete disk of light gray. That result proves that spectral red and
+bluish-green are true complements of each other, because a certain
+number of parts of red neutralize a certain number of parts of
+bluish-green. If, instead of using paints and paper we were able to use
+colored light, the result would be even better; we should have white
+light as the result of mixing the red and the bluish-green in the right
+quantities. Pigments are so dull or non-luminous compared with light
+that with them we can only produce gray, or as it has been called, dark
+white, or white in shadow. To be quite sure that we have gray, let us
+add in front of our disks two smaller ones of black and white, and we
+will find the gray produced by the mixture of the black and white to
+match perfectly the gray made of spectral red and bluish-green. To
+measure the quantity of each color necessary, we can put behind the two
+disks a white disk that is not slit, the circumference of which is
+divided, as in Plates XXII, XXIII, XXIV, XXV, and XXVI, into one hundred
+parts. These are plates of the six specified spectral colors with their
+complements. The numbers give the quantity in one-hundredths of each
+color. The “number of luminosity” means the quantity of white in
+proportion to black, in one-hundredths necessary to make the gray of
+that particular degree.
+
+The Milton-Bradley Company, of Springfield, Massachusetts, make an
+excellent little machine, including several sets of disks of different
+sizes and good colors, and a stout frame on which to put the disks, with
+a crank by which to turn them. It can be set up and screwed on a table,
+so that any one can make for himself these delightful experiments. Plate
+XXVII is an illustration of this machine. There is hardly a limit to the
+number of the other complementary colors that can be made with this set
+of disks. Study of this set of complementary colors is most important as
+a foundation for all contrasts. Experiment has also proved that colors
+have more than one complement.
+
+“Complementary colors of full brightness and purity afford the most
+striking examples of the effect called contrast. When each of a pair of
+such colors differs as much as possible from its fellow in hue, but is
+of the same degree of brightness, it is found, while the brightness of
+both is enhanced, that the hue of both is unchanged by the close
+neighborhood or contiguity of the two colors. But if the pair be not
+truly complementary, or if in brightness or purity one color differ from
+the other, then such difference will not be seen exactly as it is, but
+such dissimilarity as exists, whether it be of one hue, of purity, or of
+brightness, will be increased or enhanced by juxtaposition. This is the
+primary law of contrast, which embraces three varieties dependent
+respectively upon differences as to the three constants of color,
+namely, hue, purity, and brightness (or luminosity). If two adjacent
+colors differ in brightness, that which is the brighter, or, in other
+words, the more luminous, will increase in brightness, while the less
+luminous will have its brightness diminished. If two adjacent colors
+differ in hue, such difference will be increased, each hue tending to
+change as if it had been mixed with the complementary of the other. In
+the case of complementaries no increase of difference in hue is,
+however, possible.”[6]
+
+Plate XXVIII shows us the six spectral colors with their complements,
+not in quantity, but as a table. After thorough study of this table of
+first and simplest contrasts, the practical advantage of Plates XXII to
+XXVI will be apparent. To make it easier we give Plate XXIX, which shows
+the same set of complements. Here they are arranged in a circle in which
+each color is opposite its own complement. This circle leads us from the
+strongest contrasts of complements to _lesser contrasts_. This should
+also be studied till it can be remembered for future reference. Being in
+simple spectral colors, it is easier than the more numerous tints of
+shades of neutralized colors, and is also a key for understanding and
+classifying them. It is well here to note how many complements are green
+or greenish in hue.
+
+Concerning the law of simultaneous contrast, with regard more especially
+to lesser contrasts, Rood says: “When any two colors of the chromatic
+circle are brought into competition or contrasted, the effect produced
+is apparently to move them both farther apart. In the case, for example,
+of orange and yellow, the orange is moved toward the red, and assumes
+the appearance of reddish-orange; the yellow moves toward the green, and
+appears for the time to be greenish-yellow. Colors which are
+complementary are already as far apart in the chromatic circle as
+possible; hence they are not changed in hue, but merely appear more
+brilliant and saturated.” Plate XXX will be found of great assistance in
+comparing pairs of colors with each other. Here we have a diagram of a
+chromatic circle. By placing over it the transparent color screen found
+at the end of the book, and moving it slowly in the same direction, it
+will be seen that red when contrasted with greenish-blue causes this
+last color to move away from the centre of the circle in a straight
+line; hence, as the new point is on the same diameter, but farther from
+the centre, we know that the greenish-blue is not made more or less blue
+or green, but is simply caused to appear more saturated or brilliant.
+The new point for the red lies also on the same diameter, but is nearer
+the centre of the circle; that is, the color remains red, but appears
+duller or less saturated. Experience confirms this. If a considerable
+number of pieces of red cloth, for example, are examined in succession,
+the last one will appear duller and inferior in brilliancy to the
+others, but it will still appear red. Proceeding with the examination of
+the effects produced on the other colors, we find that the orange has
+been moved toward yellow and also toward the centre of the circle; hence
+our diagram tells us that red, when put into competition with orange,
+causes the latter to appear more yellowish and at the same time less
+intense. So we can go on comparing one color with another and find out
+the effect of each by moving the one circle over the other in different
+directions, always finding that the complements as moved away from each
+other only grow more brilliant but more changing in color. Church gives
+us a list of the changes due to the principal pairs of lesser contrasts
+from the observations of Chevreul, Rood, etc., as follows:
+
+(It may be remarked that this table of changes as here given is more
+easily understood than in its original form as given by Church.)
+
+       PAIRS OF COLORS.          CHANGE DUE TO SIMULTANEOUS CONTRAST.
+ Red with orange               inclines to          purple.
+ Orange with red                        „           yellow.
+ Red with yellow                        „           purple.
+ Yellow with red                        „           green.
+ Red with blue-green           becomes more         brilliant.
+ Blue-green with red                    „                    „
+ Red with blue                 inclines to          orange.
+ Blue with red                          „           green.
+ Red with violet                        „           orange.
+ Violet with red                        „           blue.
+ Red with purple                        „           orange.
+ Purple with red                        „           blue.
+ Orange with yellow                     „           red.
+ Yellow with orange                     „           green.
+ Orange with green                      „           red.
+ Green with orange                      „           blue-green.
+ Orange-yellow with turquoise  becomes more         brilliant.
+ Turquoise with orange-yellow           „                    „
+ Orange with violet            inclines to          yellow.
+ Violet with orange                     „           blue.
+ Orange with purple                     „           yellow.
+ Purple with orange                     „           blue.
+ Yellow with green                      „           orange.
+ Green with yellow                      „           blue-green.
+ Yellow with turquoise                  „           orange.
+ Turquoise with yellow                  „           blue.
+ Yellow with blue              becomes more         brilliant.
+ Blue with yellow                       „                    „
+ Green with blue               inclines to          yellow-green.
+ Blue with green                        „           violet.
+ Green with violet                      „           yellow-green.
+ Violet with green                      „           purple.
+ Green with purple             becomes more         brilliant.
+ Purple with green                      „                    „
+ Blue with violet              inclines to          green.
+ Violet with blue                       „           purple.
+ Violet with purple                     „           blue.
+ Purple with violet                     „           red.
+
+“It must not be imagined that the changes enumerated in the above table
+are at all equal to one another in amount. We have, indeed, always some
+change, but it varies much in the case of different pairs. When the
+chromatic interval (on the color-circle) is small, then the change of
+_hue_, in virtue of simultaneous contrast, is large; when the interval
+is large the change of hue is slight, but it is accompanied by change of
+brightness; when the interval is as large as possible there is no change
+of hue, but the brightness of both hues is increased.”
+
+After simultaneous contrasts Chevreul gives us successive contrasts,
+which latter “may be observed when we tire one set of retinal fibrils by
+gazing for some time on a surface of a very decided color and
+brightness. Afterward, on looking at a colorless surface of white, gray,
+or black, it will be found to be tinctured with the complementary of the
+first color.” If we stare at a piece of bright red paper and then look
+at white paper we will see blue-green, the complement of the red. So, if
+we look at a series of pieces of red cloth the first will appear the
+brightest, the second less so, the third still less, but if the eye is
+rested by looking at a piece of bluish-green cloth the red will then be
+seen of its original brightness. When a black spot laid on red cloth is
+looked at steadily for some time, then is taken suddenly away, the place
+where the black spot was will appear to be of a brighter red than that
+around it on account of the less fatigue there has been to that part of
+the retina. A salesman who understood complementary colors could use
+this law of successive contrasts with great effect in showing goods.
+
+Still another form of contrast is called _mixed contrast_. “The
+distinction of simultaneous and successive contrast renders it easy to
+comprehend a phenomenon which we may call mixed contrast; because it
+results from the fact that the eye, having seen for a time a certain
+color, acquires an aptitude to see for another period the complementary
+of that color and also a new color, presented to it by an exterior
+object; the sensation then perceived is that which results from this new
+color and the complementary of the first. The following is a very simple
+method of observing this mixed contrast: One eye being closed, the right
+for instance, let the left eye regard fixedly a piece of paper of the
+color A; when this color appears dimmed, immediately direct the eye upon
+a sheet of paper colored B; then we have the impression which results
+from the mixture of this color B with the complementary color, C, of the
+color A. To be satisfied of this mixed impression it is sufficient to
+close the left eye, and to look at the color B with the right: not only
+is the impression that produced by the color B, but it may appear
+modified in a direction contrary to the mixed impression C + B, or, what
+comes to the same thing, it appears to be more A + B.”[7]
+
+That the complementary of a color exists in its shadow may be seen by
+watching a stretch of snow when the sun is hidden by a cloud: the snow
+is white, the shadow gray. When the cloud passes away, the light on the
+snow makes it look yellow; the shadow will also be seen to be more or
+less blue as the atmosphere is more or less clear and free from the
+moisture which veils the sunlight. The same result in a greater or less
+degree exists in all shadows, which shows how useful study of the
+complementary colors is for painters.
+
+The purple or violet shadows of the “impressionists” are in many cases
+exaggerations. On snow, dust, or sand, violet shadows are to be found in
+certain conditions of the atmosphere, but “impressionists” often do not
+seem to take into sufficient account the color called by artists “local
+color” of the substance or material on which the shadow is thrown, or
+the color of the sky reflected in the shadow. A true colorist detects
+these subtle varieties. An artist who has not a fine eye for color uses
+the pure colors given by scientists, thus making the crude, harsh
+pictures so much criticised. They are true to a great extent
+scientifically, but are cold and glaring, and without the true spirit of
+nature.
+
+In studying the complements of these six spectral hues we come across
+the theory that because a color and its complement together make white,
+therefore they must prove to be an agreeable harmony. Now, is that true?
+At first sight we answer, No. We do know that if we wish to make a color
+as brilliant as possible, we must add to it its complement. Under
+certain circumstances that may give us a good result, but artistic taste
+declares that a pure spectral color and its complement make a
+combination so strong and vivid as almost to amount to crudeness, and to
+jar on a sensitive eye. Still, the theory that complementary colors make
+a true and perfect harmony is well considered in the following extract
+from Eastlake:
+
+“Every treatise on the harmonious combination of colors contains the
+diagram of the chromatic circle more or less elaborately constructed.
+These diagrams, if intended to exhibit the contrasts produced by the
+action and reaction of the retina, have one common defect. The opposite
+colors are made equal in intensity; whereas the complemental color
+pictured on the retina is always less vivid, and always darker or
+lighter than the original color. This variety undoubtedly accords more
+with harmonious effects in painting.
+
+“The opposition of two pure hues of equal intensity, differing only in
+the abstract quality of color, would immediately be pronounced crude and
+inharmonious. It would not, however, be strictly correct to say that
+such a contrast is too violent; on the contrary, it appears the contrast
+is not carried far enough, for though differing in color, the two hues
+may be exactly similar in purity and intensity. Complete contrast, on
+the other hand, supposes dissimilarity in all respects. In addition to
+the mere difference of hue, the eye, it seems, requires difference in
+the lightness or darkness of the hue. The spectrum of a color relieved
+as a dark on a light ground is a light color on a dark ground, and _vice
+versa_. Thus, if we look at a bright red wafer on the whitish surface,
+the complemental image will be still lighter than the white surface; if
+the same wafer is placed on a black surface the complemental image will
+be still darker. The color of both these spectra may be called greenish
+(bluish-green), but it is evident that a color must be scarcely
+appreciable as such, if it is lighter than white and darker than black.
+It is, however, to be remarked, that the white surface round the light
+greenish image seems tinged with a reddish hue, and the black surface
+round the dark image becomes slightly illuminated with the same color,
+thus in both cases assisting to render the image apparent.
+
+“The difficulty or impossibility of describing degrees of color in words
+has also had a tendency to mislead, by conveying the idea of more
+positive hues than the physiological contrast warrants. Thus, supposing
+scarlet to be relieved as a dark, the complemental color is so light in
+degree and so faint in color that it should be called a pearly gray;
+whereas the theorists, looking at the quality of color abstractedly,
+would call it a green-blue, and the diagram would falsely present such a
+hue equal in intensity to scarlet, or as nearly equal as possible.
+
+“Even the difference of mass which good taste requires may be suggested
+by the physiological phenomena, for unless the complemental image is
+suffered to fall on a surface precisely as near to the eye as that on
+which the original color was displayed, it appears larger or smaller
+than the original object, and this in a rapidly increasing proportion.
+Lastly, the shape itself soon becomes changed. That vivid color demands
+the comparative absence of color, either on a lighter or darker scale,
+as its contrast, may be inferred again from the fact that bright
+colorless objects produce strongly colored spectra. In darkness the
+spectrum, which is first white, or nearly white, is followed by red; in
+light, the spectrum, which is first black, is followed by green. All
+color, as the author observes, is to be considered as half light,
+inasmuch as it is in every case lighter than black and darker than
+white. Hence no contrast of color with color, or even of color with
+black or white, can be so great (as regards lightness or darkness) as
+the contrast of black and white, or dark and light abstractedly. This
+distinction between the differences of degree and the differences of
+kind is important, since a just application of contrast in color may be
+counteracted by an undue difference in lightness or darkness. The mere
+contrast of color is happily employed in some of Guido’s lighter
+pictures, but if intense dark had been opposed to his delicate
+carnations, their comparative whiteness would have been unpleasantly
+apparent. On the other hand, the flesh-color in Giorgione, Sebastian del
+Piombo (his best imitator), and Titian, was sometimes so extremely
+glowing that the deepest colors and black were indispensable
+accompaniments. The manner of Titian, as distinguished from his
+imitation of Giorgione, is golden rather than fiery, and his biographers
+are quite correct in saying that he was fond of opposing red (lake) and
+blue to his flesh. The correspondence of these contrasts with the
+physiological phenomena will be immediately apparent, while the
+occasional practice of Rubens in opposing bright red to a still cooler
+flesh-color will be seen to be equally consistent....
+
+“It was before observed that the description of colors in words may
+often convey ideas of too positive a nature, and it may be remarked
+generally that the colors employed by the great masters are, in their
+ultimate effect, more or less subdued or broken. The physiological
+contrasts are, however, still applicable in the most comparatively
+neutral scale.”
+
+Chevreul gives us in his book, _Colour_ (a work published in 1835, which
+has gone through many editions and translations, having finally been
+edited and republished in 1889 by his son), an elaborate system of color
+contrasts based upon the older theory of three primary colors, red,
+yellow, and blue. There followed upon this in 1890 one by Charles La
+Couture, _Répertoire Chromatique_, containing an ingenious and beautiful
+system of color scales also founded upon the Brewster theory of red,
+yellow, and blue as primary colors. Of these color charts it has been
+well said that they are only able to display the effects, not of mixing
+colored light, but colored pigments.
+
+The following are rules to be used in regard to contrasting colors:
+
+_Rule I._—A pair of complementary colors in their pure spectral tones in
+the proportions in which they neutralize or complement each other, as in
+Plates XXII to XXVI, should only be used if you wish to produce a bold,
+striking, perhaps harsh effect; or if you wish to create a focus in your
+picture, your room, or your decoration. In the latter case it will be
+well to soften the effect (especially in the case of a picture) by
+repeating the same colors in tints or shades in some other part of the
+work.
+
+_Rule II._—Harmony of contrast exists only in proportion to the changes
+in quality or quantity in equal portions of pure spectral tones.
+
+_Rule III._—The more neutral you make the tint or shade of one of the
+pair of complements, so much the more may you add to its quantity. For
+instance, a small quantity of bright spectral red will balance a large
+quantity of pale blue-green.
+
+_Rule IV._—By using two or more tints, or shades and tints, of one of
+the pair of complements, so much the finer becomes the harmony. The
+artist Turner sent to an exhibition of the Royal Academy in England a
+marine which was accepted and hung, but which, being a quiet picture
+consisting mainly of pale, grayish sea-greens, attracted little
+attention. On varnishing day, however, he went to the Academy and
+painted in the foreground of his picture a scarlet buoy, when to the
+surprise of every one, owing to the correct balance of the quality and
+quantity of his complementary contrast, the scarlet and blue-green so
+intensified each other that the picture became a striking one, dulling
+the others around it and drawing constant admiration.
+
+From a dinner table set out at a flower show in the Madison Square
+Garden, which took a first prize, Plate XXXI is taken. It was a harmony
+of yellow and blue.
+
+  1. Yellow chrysanthemums.
+
+  2. Yellow lamp-shades.
+
+  3. Yellow satin centrepiece.
+
+  4. Yellow candies.
+
+  5. Yellow candies.
+
+  6. Yellow candies.
+
+  7. Yellow-brown almonds.
+
+  8. Gold ornament on glass, china, and candies.
+
+  9. Dark purple-blue grapes.
+
+In this case some of the yellow was in pure spectral tones, the blue
+very strong, dark, and neutralized.
+
+_Rule VI._—The finest harmony of contrast will be found where tints and
+shades of both the pair of complements can be combined. Then a small
+amount of both in spectral tones may be introduced to give accent to the
+rest. Plate XXXII gives a blue and yellow harmony taken from an English
+china cup composed of two blues and two yellows, both neutral. The
+ground, being of a pale tint of yellow, is greater in quantity according
+to Rule III. The dainty pattern painted on it is in the two blues; the
+delicate stems holding and uniting the conventional leaves and flowers
+are of brown (or dark yellow). The brown, being the darkest color, is
+the smallest in quantity, as the harmony is intended to be light and
+cheerful.
+
+Harmonies in blue and yellow have been used with great success in old
+decoration, when blended, modified, and interchanged with each other,
+and are one of the most useful combinations of colors that can be made.
+They are largely used in Italian and Spanish tiles and other porcelains.
+They are complementary colors strongly opposed to each other, but the
+reason for their being more agreeable than other pairs of complements
+seems to arise from the fact that one, the yellow, is so much more
+luminous (or lighter) than the other that it affords a greater contrast
+than appears in the other pairs of complements.
+
+_Rule VII._—Even pure spectral colors may be used with good effect by
+blending them in small portions, as in what are technically called
+diaper patterns.
+
+We have still a further power of adding to our harmony of contrasts by
+the use of different materials, such as paper, paint, plaster, silk,
+satin, velvet, plush, and metals, in which the variety of surfaces gives
+an infinite number of tones, absorbing and reflecting, etc. These will
+be considered in the chapter on color-harmonies, and seem really
+inexhaustible. In that chapter is given a list of pairs of the lesser
+contrasting colors, such as have been found by observation of historic
+color to be the most agreeable to the eye.
+
+
+
+
+                               CHAPTER V
+                            COLOR-HARMONIES
+                 HARMONIES OF COMPLEX OR VARIOUS COLORS
+
+
+It is said that the use of agreeable and harmonious colors tends to the
+sanity of the whole body by strengthening the nerves; so much so, that
+part of the treatment of insane patients in a European asylum consists
+in surrounding them with certain colors, and, probably, of changing
+these according to certain rules. From these facts we surely learn that
+there is reason beyond that of our mere enjoyment of colors to lead us
+to study color-harmonies.
+
+The most widely accepted division of these harmonies is that of
+Chevreul, who in his life of over one hundred years had time to
+formulate, revise, and amplify his laws of color, and, from his position
+as director of the manufacture of the Gobelin tapestries, great
+opportunities for experiment. The two chief groups, based respectively
+on analogy and on contrast, are resolved into three sub-divisions each.
+These are quoted as follows from Church, who has added some explanations
+to them as given in _The Law of Simultaneous Contrast_:
+
+                       “I.—HARMONIES OF ANALOGY.
+
+                      “II.—HARMONIES OF CONTRAST.
+
+“1. _The Harmony of Analogy of Scale._—This harmony is essentially that
+of a series, the harmony of gradation. It includes those cases in which
+is presented a simultaneous view of three or more tones of the same
+scale, whether these tones be tints, or shades, or broken tones. It is
+obtained in various degrees of perfection, according to the number of
+tones present, and the value of the intervals between them. When the
+tones are not easily separable by the eye, and pass into one another,
+then the effect called ‘shading’ is produced.
+
+“2. _The Harmony of Analogy of Tones._—When two or more tones of the
+same depth, or of very nearly the same depth, but belonging to different
+but related or neighboring scales, are viewed together, the harmony of
+tone is produced. Many such assortments are, however, displeasing to the
+educated eye, unless the tones be so selected as to fall into a series
+with a gradually increasing quantity of some one of their color
+elements, when they may be arranged in the third kind of harmonies of
+analogy.
+
+“3. _The Harmony of a Dominant Hue._—An example of this harmony is
+afforded by viewing a contrasted color assortment, a bouquet of flowers,
+or even a landscape, through a piece of glass so slightly tinctured with
+a color as not to obliterate, but merely to modify, the various colors
+belonging to the arrangement or composition.
+
+“1. _The Harmony of Contrast of Scale_ is produced by the simultaneous
+view of two or more distant tones of the same scale.
+
+“2. _The Harmony of Contrast of Tones_ is produced by the simultaneous
+view of two or more tones of different depths belonging to neighboring
+or related scales.
+
+“3. _The Harmony of Contrast of Hue_ is produced by the simultaneous
+view of colors belonging to distant scales, and assorted in accordance
+with the laws of contrast. This kind of contrast includes also those
+cases in which the effect is still further enhanced by difference of
+tone as well as of color.
+
+“The distinction between these two classes or groups of harmonies is
+somewhat arbitrary, for the collocation of any two tones or any two
+colors, whether its results be agreeable or otherwise, inevitably
+involves the element of contrast. Color-harmonies, so far as contrast is
+concerned, differ in degree and complexity, but Chevreul’s harmonies of
+analogy pass by steps more or less marked into distinct and undoubted
+harmonies of contrast. In every harmony there is contrast of tone or of
+color, and therefore contrast cannot be employed as a criterion of
+classification. The two fundamental ideas underlying complex
+color-harmonies may perhaps be expressed as those of _gradual change_
+and of _abrupt change_. Instead of separating color-harmonies into two
+distinct groups, it would be better to arrange them in order upon the
+arc of a circle, placing at one extremity those harmonies on which the
+succession of contiguous tones or hues is marked by the smallest
+differences, and at the other extremity, those harmonies in which the
+elements of contrast are most strongly developed. About the middle of
+the arc will be arranged those transitional harmonies in which contrasts
+of tone, contrasts of color, and contrasts of tone and color combined,
+begin to make themselves felt as modifying the effect of the regular
+sequence of tones and related hues. According to this scheme, we may
+commence with harmonies in which the succession of tones is so gentle as
+to be barely perceptible, and we may end with those harmonies in which
+the change of hue and of tone is most abrupt. A list of illustrative
+examples will help to elucidate the scheme:
+
+“1. The passage, by insensible differences, of the tints, shades, or
+broken tones of a single hue from light to dark.
+
+“2. The passage, by small but regular, definite, and perceptible steps,
+of the tints, shades, or broken tones of a single hue from light to
+dark.
+
+“3. The passage, as in the preceding example (2), of the tones of one
+hue, from light to dark, when each step is separated by a neutral
+element, such as white, gray, or black.
+
+“4. The passage, by insensible differences, of one hue, or of the tones
+of one hue into another related hue, or its tones.
+
+“5. The passage, by definite steps, of one hue, or of the tones of one
+hue, into another related hue or its tones.
+
+“6. The passage, as above (5), of related hues into each other, each
+step separated by a neutral element.
+
+“7. The passage, by insensible differences, of one hue into another
+chromatically remote hue.
+
+“8. The passage, by definite steps, of one hue into another
+chromatically remote hue.
+
+“9. The passage, as above (8), of one hue into another, when each step
+is separated by a neutral element.
+
+“10. The collocation of distant tones.
+
+“11. The collocation of chromatically distant hues with or without the
+interposition of neutral elements.
+
+“It will be noticed how the idea of seriation or gradation becomes more
+and more involved with that of change as we follow the sequence of the
+above examples. Gradually the notion of orderly succession, of a regular
+series with the presence of a pervading and dominant constituent, is
+lost by the abruptness of change caused by the introduction of foreign
+elements, or by the contiguity of distant tones and distant hues.”
+
+As both of these sets of rules for harmonies of colors are so elaborate
+as to amount almost to color charts, and would be difficult and
+complicated to print in colors, for our practical purpose we will
+roughly divide harmonies of colors under three heads; as follows (See
+Plate XXXIII):
+
+                Harmonies of one color.
+                Harmonies of contrast (of color).
+                Harmonies of complex or various colors.
+
+This division is not strictly correct, because even in a harmony of one
+color the element of contrast will appear; as, for instance, when we
+combine a pale tint of yellow, say straw color, with brown, which is a
+dark shade of yellow. As, however, in this case it is contrast of tone,
+not contrast of color, we will not let that interfere with the order of
+our arbitrary classification. The first class, harmonies of one color,
+have been considered in Chapter III. When simple, refined color is
+wanted in either dress or decoration, or where from inexperience one is
+afraid to combine colors, it is best and safest to use this simplest
+kind of color harmony. With this class, as black and white are not
+colors, we will also include harmonies of one color combined with black,
+or white, or gray, or two or all three of these. From a book
+advertisement most successful in its clear, simple, and agreeable
+character we give Plate XXXIV. It was on white paper, the proportions as
+follows: Most white, less black, least yellow, this latter always
+outlined with black. The white also showed through the yellow in some
+places and served to lighten the design.
+
+In decoration, when two tones of one color are used they are often
+separated with a fine line of white or black or gray. In Plate XXXV the
+useful effect of such a line of separation is shown. A light tint on a
+dark shade does not so much need an outline, but a dark shade on a light
+tint is much improved by white outlines. The white line increases the
+apparent strength of both tint and shade, while black will increase
+their brightness but diminish their purity.
+
+“In the consideration of the specific effects of the association of
+white, gray, or black with a single color, we follow the order in which
+the colors succeed each other in the spectrum, adding purple at the end.
+
+“1. RED.—_Red_ with _white_ becomes deeper, more saturated or purer, and
+less bright. The combination, as to intensity of contrast, is similar to
+that of green with white, being less than that of blue, violet, or
+purple with white, but more marked than that of orange or yellow with
+white.
+
+“_Red_ with _gray_, when the latter is moderately pale, becomes brighter
+and less saturated, sometimes acquiring an orange tinge.
+
+“2. ORANGE.—_Orange_ with _white_ is rendered deeper, and perhaps a
+trifle more reddish. The contrast of tone between orange and white is
+much greater than that between yellow and white; the combination is
+consequently more effective.
+
+“_Orange_ with _gray_, when the latter is pale, is deepened and
+reddened. With dark tones of gray orange becomes lighter.
+
+“_Orange_ with _black_ becomes brighter and slightly yellower.
+
+“3. YELLOW.—_Yellow_ with _white_ is rendered deeper, less bright, and
+less advancing, acquiring a slight greenish hue. The lighter the tone of
+the yellow the less pleasing is the combination.
+
+“_Yellow_ with _gray_ is rendered brighter and perhaps slightly orange.
+The combination is satisfactory when the gray is rather dark.
+
+“_Yellow_ with _black_ is rendered paler, brighter, and more advancing.
+The combination affords the most intense contrast of tone next to that
+of white with black. The blackness of the black is modified by acquiring
+a slight bluish hue which enriches it.
+
+“4. GREEN.—_Green_ with _white_ becomes deeper and purer; the
+combination is capable of yielding very beautiful effects.
+
+“_Green_ with _gray_ becomes deeper only when the gray is pale; if the
+gray be at all dark it acquires a purplish tinge.
+
+“_Green_ with _black_ is rendered brighter and paler, while the black
+suffers, being tinged with a reddish or purplish hue.
+
+“5. BLUE.—_Blue_ with _white_ constitutes a generally pleasing
+combination. The contrast of tone is very decided when the blue is at
+once pure and bright. The effect of strongly illuminated white clouds in
+deepening the tone of the blue of the sky bordering them is a good
+example of one of the chief characteristics of this combination; under
+such conditions the white often assumes a slightly yellowish tint.
+
+“_Blue_ with _gray_. Gray, if pale, deepens and purifies blue; the
+combination, though necessarily cold, is often most serviceable in
+pictorial as well as in ornamental art.
+
+“_Blue_ with _black_. This combination is less agreeable than that of
+blue with gray, or of violet with black, especially when the tone of the
+blue is deep. Light tones of blue are made still paler, but broken tones
+more saturated, by contiguity with black.
+
+“6. VIOLET.—_Violet_ with _white_ affords a strong contrast of tone; the
+combination is an agreeable one, resembling that of blue with white.
+
+“_Violet_ with _gray_. The distinctive hue of violet makes itself felt
+strongly in this combination, which is a quiet and agreeable one.
+
+“_Violet_ with _black_ gives but a slight contrast of tone when the
+violet is pure. The black acquires a rusty brown hue, which reduces its
+depth.
+
+“7. PURPLE.—_Purple_ with _white_ affords a good contrast of tone. Pale
+purples and rosy tints form agreeable combinations with white.
+
+“_Purple_ with _gray_ resembles in effect the combination of violet with
+gray; the gray, if of moderate area, becomes decidedly greenish.
+
+“_Purple_ with _black_ is rarely a satisfactory combination; the black
+acquires a greenish hue.”[8]
+
+The second class, harmonies of contrast, have been studied in Chapter
+IV. Where bold, striking, emphatic color is needed the complementary
+colors may be used. The most prominent part of a picture, a room, or a
+decoration will be, as far as color is concerned, where some color and
+its complement in nearly, or quite, spectral hues are given. This
+striking effect of contrast will lessen accordingly as the colors darken
+into shades, or lighten into tints, or become more and more neutral from
+the mixture with some other color. An eye untrained or inexperienced
+will find these complementary contrasts difficult to use, there being
+danger of producing a crude or harsh effect. Rules for their use are
+given in Chapter IV. Classifying the complementary pairs according to
+the pleasure we take in them we may put yellow and blue first, then
+orange and green-blue, red and blue-green, finally violet and green.
+Chevreul, Rood, Von Bezold, and Bruecke, having made many experiments
+and observations in their attempts to lay down rules for harmonious
+combinations, state that here we come upon problems that cannot be
+solved by purely scientific reasoning. By comparing the art of one
+country or of one period of one country with that of another, we find
+that throughout them all, certain pairs of colors have been preferred to
+certain others and we feel that æsthetic taste, which cannot be
+explained, influences us greatly in our liking for certain combinations.
+Beside taste, inheritance, training, environment, and contrast all have
+their unconscious effect upon these preferences. Church divides pairs of
+colors into three classes: Pairs of the small intervals, pairs of
+decided differences, and the extremes or complements. The latter we have
+considered in Chapter IV. Pairs of the small intervals are such as
+
+                   Orange-red and yellowish-orange,
+                   Reddish-orange and orange-yellow,
+                   Orange and yellow,
+
+which, being so close to each other in the color scale in decoration,
+are apt to injure each other unless separated by outlines of black,
+white, gray, or gold. Rood gives the following table of small intervals:
+
+                       “DARKER.         LIGHTER.
+                   Red              Orange-red.
+                   Orange-red       Orange.
+                   Orange           Orange-yellow.
+                   Orange-yellow    Yellow.
+                   Yellowish-green  Greenish-yellow.
+                   Green            Yellowish-green.
+                   Cyan-blue        Green.
+                   Blue             Cyan-blue.
+                   Ultramarine-blue Blue.
+                   Violet           Purple.
+                   Purple           Red.”
+
+Church gives us the following list of pairs as, from his and others’
+observations, they have been found to have been more or less agreeable:
+
+“An asterisk attached to the name of a color indicates that the mixture
+of gray or black with it improves the effect of its association. It may
+be further remarked that in many cases where two colors of full depth
+yield a bad or unsatisfactory assortment the reduction of the tone of
+one of them by a considerable addition of white often makes the
+combination agreeable.
+
+         “Normal red     with violet          bad.
+         „    „           „   blue            excellent.
+         „    „           „   blue-green      good, but strong.
+         „    „           „   green           good, but hard.
+         „    „           „   green-yellow    fair.
+         „    „           „   yellow*         unpleasing.
+         Scarlet          „   violet          bad.
+         „                „   turquoise       good.
+         „                „   blue            good.
+         „                „   yellow          unpleasing.
+         „                „   green           fair.
+         Orange-red       „   violet          good.
+         „    „           „   purple          fair.
+         „    „           „   blue            excellent.
+         „    „           „   turquoise       good.
+         „    „           „   blue-green      unpleasing.
+         „    „           „   yellow-green    fair.
+         Orange           „   purple          bad.
+         „                „   violet          good.
+         „                „   blue            good, but strong.
+         „                „   turquoise       good.
+         „                „   blue-green      good.
+         „                „   green           fair.
+         Orange-yellow    „   purple          good.
+         „     „          „   violet          excellent.
+         „      „         „   blue            good.
+         „      „         „   turquoise       fair.
+         „      „         „   blue-green      moderate.
+         „      „         „   green           bad.
+         Yellow           „   violet          excellent.
+         „                „   purple          good.
+         „                „   normal red      poor.
+         „                „   turquoise       moderate.
+         „                „   blue-green*     bad.
+         „                „   green*          bad.
+         Greenish-yellow  „   purple          good.
+         „        „       „   violet          excellent.
+         „        „       „   scarlet         strong, and hard.
+         „        „       „   orange-red      fair.
+         „        „       „   turquoise       bad.
+         „        „       „   normal blue     good.
+         Yellowish-green  „   normal red      good, but hard.
+         „        „       „   purple          difficult.
+         „        „       „   blue-green      bad.
+         „        „       „   blue            good.
+         Normal green     „   purple          strong, but hard.
+         „     „          „   scarlet         difficult.
+         „     „          „   orange-red      hard.
+         „     „          „   turquoise       bad.
+         Blue-green       „   purple          fair.
+         „   „            „   violet          good.
+         „   „            „   blue            bad.
+         „   „            „   green           bad.
+         „   „            „   yellowish-green bad.
+         „   „            „   turquoise       bad.
+
+“The above list comprises fifty-five only of the very numerous
+combinations, in pairs, of some of the decided hues.... It is assumed
+that in our experiments on their chromatic effects, pleasing or
+otherwise, we have been using colored materials, which neither by any
+peculiarity of texture, nor quality, nor design, are capable of
+improving the results. Cloth and paper are suitable; silk, velvet,
+glass, and enamel, for various reasons, give results which are
+complicated by the introduction of new elements. Pairs in these latter
+materials, in consequence of the presence of lustre, translucency, or
+‘throbbing’ hues, in varying degrees, will often become quite
+acceptable, while in prosaic cloth, or paper, they are just the
+reverse.”
+
+The third class, harmonies of complex or various colors, follows, and
+includes groups of three or more colors. The difficulties of combination
+increase as the number of colors increases. It is well to remember, if
+one is bewildered with these difficulties, that, however fine the
+harmony of many colors may be, it can hardly surpass the beauty of one
+made of but two or three, provided that these are well proportioned to
+each other in quantity and quality, suited to and combined in some good
+design, or made up of various materials with differing surfaces. As to
+triads, or three-color combinations, Rood gives us the following groups
+as having been most extensively used, and if we draw on our memory we
+may probably recall both paintings and decorations consisting of any one
+of these combinations. (See Plates XXXVI and XXXVII.)
+
+    Spectral red, yellow, and blue.
+    Purple-red, yellow, cyan-blue (greenish-blue like a turquoise).
+    Orange, green, violet.
+    Orange, green, purple-violet.
+
+With regard to these he calls our attention to the fact that in them the
+colors are nearly, or quite, 120° apart on the chromatic circle, also
+that artists in their choice of these colors have been evidently guided
+by their wish to have two out of three warm colors. According to
+Bruecke:
+
+_Carmine_, _yellow_, and _green_, a favorite combination during the
+middle ages, to us seems “somewhat hard and unrefined.”
+
+_Orange-yellow_, _violet_, and _bluish-green_ are not so agreeable
+because two of the colors are cold. In the triad _vermilion_, _green_,
+and _violet-blue_, used greatly by the Italian schools, there seem at
+first to be two cold colors, but as the _green_ was _olive_ it might be
+called _vermilion_, _dark greenish-yellow_, and _violet-blue_.
+
+Attempts have been made to give formulas of certain colors as they are
+supposed properly to balance one another, or to make “chromatic
+equivalents.” Field elaborated this theory in his _Chromatography_, and
+it was adopted by Owen Jones in his _Grammar of Ornament_. Later writers
+on color, however, show that Field’s experiments were not such as to
+justify his conclusions. The leading idea he tried to prove was, that to
+make a perfect harmony, each color in a given picture or design should
+bear such a mathematical relation to the whole that the combination of
+all should make, when seen at a distance, “a neutralized bloom, or a
+whitish-gray.” He speaks, for instance, of red, yellow, and blue. This
+has a plausible sound, but cannot be correct, for with a color wheel we
+find that red, yellow, and blue will not in _any_ proportions make a
+“whitish-gray,” also because almost all of the best works of good
+colorists have throughout them some dominant hue, more generally on the
+warm side, such as yellow, orange, or red. At the same time careful
+study of texture will be very useful, as different weaves reflect and
+absorb the colors so as to produce a sort of “neutralized bloom,” such
+as Field speaks of.
+
+That chromatic equivalents can be made is shown by Maxwell’s disks; as,
+for instance, Church gives us the proportions of three colors which on
+being turned on the wheel rapidly produce a neutral gray, as follows:
+
+                “Red 36½ + green 33¾ + blue 29¾ = 100.”
+
+We have also already seen in the chapter on Contrasts that certain parts
+of one color require certain parts of another color to neutralize it and
+so make gray.
+
+As there is no end to the possible combinations of colors we can only
+give certain rules for making them, leaving it to the student to follow
+up his previous practice with two colors and by experience to enlarge
+his knowledge and ability to use all colors with skill.
+
+A full harmony, in fact a symphony, of colors can hardly be better
+explained than by describing one used in the trial scene in the
+“Merchant of Venice,” as given by Mr. Mansfield. The tribune or desk
+behind which Portia delivered her speech was white, draped with a
+full-hued scarlet cloth. The black of her gown, the strongest contrast
+to white, and the brilliant red, were admirably used to focus the eye
+upon this part of the scene just as the ear was focused on the speech
+“The quality of mercy is not strained.” The other principal actors,
+Shylock, Antonio, and Bassanio, wore red, yellow, blue; bright colors,
+but less bright and less contrasting than the white, black, and scarlet.
+The attendants and spectators were in more neutral and subdued colors,
+while away behind them all stretched a grayish blue sky seen between the
+pillars of a wide porch which formed a background well calculated to
+throw into relief the colors of the costumes.
+
+From what we have learned we find the following ways of harmonizing
+colors:
+
+_First._ BY GRADATION, that is, the gradual blending of one color into
+another, or one variety of one color into another variety of the same
+color, as in the morning-glory blossom, in which the different hues
+grade softly into one another from edge to heart; or as in a clear
+sunset sky, where the blue above changes into green, the green into
+yellow, and the yellow into red near the horizon, and where still we
+cannot find the exact boundary of any one of the colors. (See Plate
+XXXVIII.)
+
+“These ever-present gentle changes of color in all natural objects give
+to the mind a sense of the richness and vastness of the resources of
+Nature; there is always something more to see, some new evanescent
+series of delicate tints to trace; and, even where there is no conscious
+study of color, it still produces its effect on the mind of the
+beholder, giving him the sense of the fulness of Nature, and a dim
+perception of the infinite series of gentle changes by which she
+constantly varies the aspects of the commonest objects. This orderly
+succession of tints, gently blending into one another, is one of the
+greatest sources of beauty that we are acquainted with, and the best
+artists constantly strive to introduce more and more of this element
+into their works, relying for their triumphs far more on gradation than
+on contrast. The greatest effects in oratory are also produced by
+corresponding means; it is the modulation of the tone and thought, far
+more than sharp contrasts, that is effective in deeply moving audiences.
+We are very sensitive to the matter of modulation even in ordinary
+speech, and instantly form a general judgment with regard to the degree
+of cultivation and refinement of a stranger from the mode in which a few
+words are pronounced. All this has its parallel in the use of color, not
+only in painting, but also in decoration. Ruskin, speaking of gradation
+of color, says: ‘You will find in practice that brilliancy of hue and
+vigor of light, and even the aspect of transparency in shade, are
+essentially dependent on this character alone; hardness, coldness, and
+opacity resulting far more from _equality_ of color than from nature of
+color.’ In another place the same author, in giving advice to a
+beginner, says: ‘And it does not matter how small the touch of color may
+be, though not larger than the smallest pin’s head, if one part of it is
+not darker than the rest, it is a bad touch; for it is not merely
+because the natural fact is so that your color should be gradated; the
+preciousness and pleasantness of color depends more on this than on any
+other of its qualities, for gradation is to colors just what curvature
+is to lines, both being felt to be beautiful by the pure instinct of
+every human mind, and both, considered as types, expressing the law of
+gradual change and progress in the human soul itself. What the
+difference is in mere beauty between a gradated and ungradated color may
+be seen easily by laying an even tint of rose-color on paper, and
+putting a rose-leaf beside it. The victorious beauty of the rose as
+compared with other flowers depends wholly on the delicacy and quantity
+of its color-gradations, all other flowers being either less rich in
+gradation, not having so many folds of leaf, or less tender, being
+patched and veined instead of flashed.’”[9]
+
+In connection with gradation, Church says: “There is one _quality_ of
+good color which lies at the very root of all successful employment of
+vivid hues. It consists in minute variations of hue and tone within the
+same surface. A color must not be absolutely uniform, flat, and
+monotonous unless it be very pale, very dull, or very dark, when the
+absence of this ‘throbbing’ or ‘palpitating’ quality, though
+undesirable, is less observed. We have before us, as we write, a fine
+old Chinese vase of turquoise crackle. Apart from the mosaic texture,
+resulting from the innumerable fissures in the glaze, what a number of
+variations in appearance does this turquoise color offer! Where the
+color is thinnest it is paler, and verges more upon green; where it is
+thickest, it is at once deeper, and more blue, and there are innumerable
+hues and tones. In painting, similar effects may be produced by unequal
+glazings and scumblings of one hue upon another, or by apposition of
+minute dots and patches of closely related colors.”[10]
+
+The following is a practical way of using this beauty of gradation: “For
+instance, in the morning glory and the sweet pea we may observe a
+perfectly beautiful combination of crimson, purple, and violet. Notice
+the charming gradation of color in the morning glory; one tone runs into
+the other with a subtlety which is quite wonderful, and all the colors
+merge into the luminous green-white centre from absolute positivism to
+perfect delicacy with an ease which is surprising. Now let us try to
+mass a large group of crimson, purple, violet, and greenish-white asters
+together with the same result. Alas! what a task it is and how confused
+we become with the distracting color tones; but we must feel our way
+carefully and systematically. First, our most powerful color—crimson or
+violet—must be grouped gracefully and placed in a prominent position;
+next, we must run our color tone either toward blue or crimson, as the
+case may be. If we have any gaslight near we must make use of it to
+accent our prominent group, and last, mingled slightly with the palest
+tones of dull pink and purplish-blue, we may group our greenish-white
+asters in some position where they will contrast well with the strong
+color group, and where they will be sure to have the intermediate blue
+and crimson tones act like a bridge to connect the color scheme. Nothing
+distracts the eye so much as violent transitions of color.”[11]
+
+A similar element of beauty in Oriental rugs, not always understood, and
+one in which they differ from those made by machinery, arises from the
+fact that being made by hand there are slight variations throughout,
+even in the dyeing of the wools. In an unusually fine specimen the rich
+green ground varied slightly in tone three or four times. To an
+uncultivated eye this might seem a defect; to an artistic one, the play
+of color, the variety in unity, is far finer than the even monotony of a
+perfectly matched surface.
+
+_Second._ BY CHANGE OF QUALITY; as from pure spectral colors to their
+tints or shades. The greater we make this change either way, the more
+sure we may be of harmony, as a color scheme of very pale tints or very
+dark shades is almost sure to be good even if quite varied. In fact,
+contrast of tone, which is change of quality, will harmonize any two
+colors, as pale blue and dark green, or pale green and dark blue. Of
+pairs of contrasts which in pure spectral colors we have seen to be
+crude and harsh, Rood says, “Complementary colors are very valuable when
+the artist is obliged to use dark, dull, or pale colors, and still is
+desirous of obtaining a strong or brilliant effect.” Another kind of
+change of quality helps us to make very beautiful combinations. It lies
+in the use of colors that are neither spectral, nor pure tints, nor
+shades, but of such as are neutralized by mixtures of other colors; as,
+for instance, if instead of using pure yellow, pure red, and pure blue,
+we use a yellow toned down by an admixture of a little red and blue, a
+red toned in the same way with blue and yellow, and a blue that has in
+it something of red and yellow; the colors will still be yellow, red,
+and blue, but in approaching each other will become more related and so
+far more harmonious. Still another change of quality allows us to put in
+the place of one or more of the colors the same amount of a tint or a
+shade of the same color which will improve the harmony by varying its
+luminosity and by bringing all nearer together. (See Plate XXXIX.)
+
+_Third._ BY CHANGE OF QUANTITY; as of a large amount of one of the
+colors to a small amount of the other, so as to introduce another
+element of contrast. For want of the better balance as given by the
+fourth rule it is inferior to it. (See Plate XL.)
+
+_Fourth._ BY CHANGE OF QUALITY AND QUANTITY; or by making a small amount
+of a dark shade of one color balance a much larger amount of a light
+tint of another color, or, _vice versa_, a small amount of a light tint
+to balance a much larger amount of a dark shade, or a small amount of a
+pure color to balance a large amount of a more neutral color. In this
+case the rule is that accordingly as you lower or raise the quality of
+your color so in proportion may you increase its quantity. (See Plate
+XLI.)
+
+_Fifth._ BY THE ADDITION OF ANOTHER COLOR, however unobtrusive, which
+breaks the even balance between two colors, just as in form, where we
+may find two trees of the same size and shape make an unpleasant
+composition. There the effect can be much improved by the addition of a
+third tree of a different size and shape. For instance, with yellow and
+yellowish-green, the addition of violet would improve and harmonize
+them. This third color can be added in different ways, by outlines,
+small masses, etc. (See Plate XLII.)
+
+_Sixth._ BY THE ADDITION OF BLACK, WHITE, GRAY, GOLD, OR SILVER.—When
+two colors are not quite harmonious a small quantity of black will much
+improve the combination. The strong contrast in depth between the black
+and the colors seems to bring them together and so make them more
+related. In Chinese coloring the happy effect of black should be noted,
+also in old Japanese prints where the black hair of the figures acts in
+the same way. This black, white, gray, gold, or silver may be added in
+outlines, as the brass in Japanese cloisonné, or in such lines as these
+| | | | | | | | drawn over the whole design, as seen in a wall paper,
+softening the colors and blending them with each other. It may be as in
+cement around and between the little bits of stone in mosaic, which
+produces much the same effect in throwing a sort of bloom over the
+colors. It may be in separating some part of the design from the other,
+as seen in a wall decoration where there was a rectangle of
+greenish-blue on a ground of dark violet-blue separated by white and
+gold, of which the result was excellent; or it may be by little dots
+over all the colors. (See Plate XLIII.)
+
+_Seventh._ BY A DOMINANT HUE, which may run through all the design in
+outlines, although colored outlines are not so good as those of black,
+white, gray, gold, or silver, or those which may be added in small spots
+over all the colors; or those which may be added in small quantities to
+all the colors, changing their quality, and so bringing them to a
+harmony of a dominant hue. To make this clear, look at Plate VI. In it
+we have pure spectral yellow, pure spectral blue, and pure spectral red.
+Put over it the blue screen found in the end of the book; the blue will
+be seen to be bluer, the yellow will become a greenish-yellow, the red
+will have a violet tinge to it. It will have become a harmony of the
+dominant hue of blue, but as blue is a cold color the harmony will not
+have become much more agreeable for the change. Try what making the same
+colors a harmony of the dominant hue of yellow will do by putting over
+it the yellow screen. The colors will be seen to be quite different. The
+yellow will be changed very little, only growing slightly darker, the
+red from the pure spectral hue will be moved toward the orange, and the
+blue will be moved toward the green. This gives us a fine harmony, and a
+favorite one with artists. Harmonies of the dominant hues of red,
+orange, or yellow—warm colors—are much more generally liked than those
+of blue, green, or violet, the cold colors. Age has done much for old
+pictures by darkening and mellowing the paints and varnish so as to give
+them harmony of the dominant hue. Jean François Millet’s have such
+harmony already, owing to his fine eye for color; it will be noticed
+that though he may have put many fairly bright colors, blue, red, green,
+and yellow on one canvas, they all blend wonderfully together. “Harmony”
+(we quote from Burnet on _Colour_, who speaks of Mengs) “he considers to
+consist in the true equilibrium of the different colors regulated by the
+general tone of light by which they are illuminated; thus, if the light
+is yellow, all the colors will appear tinged with the same hue, as the
+air interposed between them and the eye of the spectator is already
+tinged with that color.” The harmony resulting from a dominant hue in
+nature may also be seen in a spray of young leaves in spring when many
+hues of green and yellow will be found connected and harmonized by the
+red of the stem, which color runs through it all, carrying the red into
+the greens and yellows. (See Plate XLIV.)
+
+_Eighth._ BY INTERCHANGE.—If two unbroken masses of the same quantity of
+strong color are put side by side the result may be unbearable. By
+interchanging them, however, in this way, in what are called in design
+diaper patterns, they may blend so as to be quite agreeable. Or they may
+be blended in weaving by interchange, as if one thread be of green, the
+next of purple, then again green. (See Plate XLV.)
+
+_Ninth._ BY COUNTERCHANGE.—Examples of fine decorative art may be found
+of two colors where the design and the ground change places at certain
+intervals. It is an ingenious and beautiful way of obtaining variety of
+coloring. To make it successful the amount of ground color should
+balance that of the design. Plate XLVI gives us a good example.
+
+_Tenth._ BY FORM AND TEXTURE, as by the curves in a vase or any object
+which deepens the color as it goes away from the light and lightens it
+as it turns toward the light; as in a curtain of which the folds modify
+the color; as in rough and shaggy stuffs like plush, etc., which produce
+constant variation and vibration of color, and just so much added charm.
+The sparkle in jewels and colored glass, the sheen on satins, silks, and
+metals, and the down on fruit also come under this rule, as so many
+modifications of color tending to break up its flat surface and produce
+harmony.
+
+_Eleventh._ BY OUTLINING a mass of flat color in a design with black or
+a dark color, then adding a second outline inside the first, but of
+either a light tint of the same color as the dark mass or of another
+color which harmonizes with it; then there will be found an agreeable
+result. In fact, this will give a velvety appearance to the color.
+
+In making a complex color arrangement it is well to begin by planning
+first its leading parts; the additions will be much easier. Harmony of
+color must come not alone from the object we are planning for, but also
+from the place in which it is to be used, or the person who is to wear
+it. The color of an object may be beautiful in itself, but much of that
+beauty may be lost or neutralized by its surroundings. On the other
+hand, an object giving but one good, simple color note may be so
+appropriate to its position, may so exactly suit its surroundings, as to
+complete a perfect harmony.
+
+Colors should also be adapted to the form of the object or designs on
+which they are to be used. Thus, when wishing to emphasize a part that
+retires from the eye, retiring colors should be used, and _vice versa_.
+
+In addition to the above rules a few suggestions for making
+color-harmonies may be useful:
+
+First, texture can be used to help the harmony.
+
+Second, harmonies with warm colors predominating are preferred.
+
+Third, if certain colors are to be used in any decoration it is wise to
+put them together first in paint, paper, or plain materials, for the
+reason that any unpleasant effect they may have on one another will show
+more quickly in such materials; for the better the material, the more
+readily the colors blend on account of the richer surfaces. In colored,
+not painted, glass, this can be appreciated. It will be noticed that the
+quality of the glass and the brilliancy of the light through it help to
+harmonize the colors.
+
+Fourth, a simple pattern, if pattern at all, should be tried first, as
+the beauty of a good design may blind one to the quality of the
+coloring.
+
+Fifth, remember that combinations in which warm colors prevail are more
+agreeable than those made mainly of cold colors, while it is also true
+that the finest harmony of complex or various colors is that in which
+there is a proper balance of both warm and cold colors, so used that
+they enhance each other.
+
+Sixth, it is safe to affirm that any colors may be used together with
+success, provided that they are harmonized by the use of some of the
+rules here given.
+
+Any one unused to working with colored materials would do wisely to
+begin cautiously, experimenting at first with simple combinations of one
+color according to the first rule on page 75 for such combinations. In
+some flowers we do see the two extremes of a color combined, as in a
+jonquil the centre is of orange-yellow, the outer petals of
+greenish-yellow, but they are rather the exception. Attention here
+should also be had to the suggestion as to the use of differing
+materials of one color. When some skill has been gained in the simplest
+kind of color harmony, a single note of the complementary color may be
+added. For example, see the dinner table harmony, page 69, of yellows
+with a strong note of dark blue. When the eye has become somewhat
+trained by practice of this kind, harmonies in triads or three colors
+may be tried. Constant practice in pairs and triads cannot be too fully
+recommended. Finally, trials may be made in complex combinations. One
+other way to begin working in color is by the use of neutral or grayed
+colors. Turner, the English artist, one of the greatest, if not the
+greatest, of modern landscape painters, began in this way, in the use of
+what are called “broken tints,” using finally in his pictures the
+fullest palette of glowing colors.
+
+Let us suppose three ways of being called upon to make a color harmony.
+The first, that a designer has an order for a bouquet, a dress, a
+curtain, or for the decoration of a room, but is limited by the terms of
+the order to the use of certain colors. Then let him begin by studying
+the qualities of those colors, and ask himself if they are cool or warm,
+tints or shades, bright or dull, whether they are tones of one color,
+contrasts or complex.
+
+Again, suppose the order to be less limited in color, but that the
+bouquet is to be put in a room of certain coloring, or the dress to be
+worn by a person of such and such complexion and hair, or that the
+curtain is to be hung in a north room where warm color is needed, or
+perhaps in a light room where the southern sun needs to be toned down as
+it enters, to prevent a glare. The general coloring of the room must
+also be taken into account, but is it not seen that the answer must be
+different in each case? One colored flower would give quite a different
+effect from another, the dress that would suit a fair face with yellow
+hair would be quite unlike one becoming to a dark skin with black hair,
+while a curtain of soft yellow would tinge the northern light with some
+of the sunshine color that never enters the dull room, and in the sunny
+room a curtain of cool, non-luminous color would soften the glare and
+add to its comfort and harmony. The light and shade in the room should
+also be taken into account. The warm and cold tones can be arranged in
+such balance that color will glow from the shadows.
+
+In a third supposable case the designer is given unlimited choice of
+colors. Then every resource can be called in, and the work resulting
+should be beautiful in proportion to the freedom of the order.
+
+Furthermore, colors should be appropriate; for a quiet room, a quiet,
+commonplace person, for anything where quiet effect is desired, the
+designer should adhere to quiet, neutral combinations, or to
+combinations of one color. When a woman has a brilliant complexion,
+black eyes and dark hair, gay colors may be worn and seem all in harmony
+with the wearer, but these same gay colors would only emphasize the more
+commonplace character and coloring of others.
+
+Plates XLVII and XLVIII have been added here to show the true character
+of _whites_ so-called; as blue-white, which is really a very pale tint
+of blue; and how by _gradation_, one color changes into another in
+nature.
+
+
+
+
+                               CHAPTER VI
+                             HISTORIC COLOR
+
+
+To continue our color study we must next ask what has been done with it
+in the past and how it has been used and combined. Our knowledge would
+be incomplete without the experience of the past. The simplest and
+easiest way will be to consult the _Grammar of Ornament_, by Owen Jones,
+and _L’Ornement Polychrome_, by Racinet, the two best books of the kind,
+remembering, however, that there are several editions of each, varying
+in the quality of the coloring of the plates, and that even the best of
+these do not succeed in thoroughly reproducing the rare harmonies of
+color attained in the pictures, rugs, pottery, silks, metal, and jewel
+work that served as models. For these we must turn to the museums, and
+there is where the real lover of, and worker in, color must go for
+examples of the most skilful use of color by man up to this time. To
+many of them age has helped to give the great charm they possess, by
+fading and refining the colors so that they blend more perfectly with
+each other.
+
+Unfortunately, no mention is made in the _Grammar of Ornament_ of
+Japanese color, and Racinet gives but small space to it. Since the
+publication of these books we have become familiar with it even in the
+shop windows. We must bear in mind, however, that intercourse with
+western nations and the increasing demand for Japanese goods is already
+lowering their artistic standard, especially as they are making many
+goods entirely for western markets, so that for their best work we must
+look for old specimens made when Japan was a shut-in nation. As a whole,
+nothing finer can be found. For pure coloring, for the most complex and
+happiest combinations, they have no equals. Thorough study of these is
+one of the best schools for designers. The Japanese themselves are
+taught by being made to copy the best old works.
+
+The Japanese love of color and their sense of fitness went so far that
+they even changed the ornaments of their rooms with the changing
+seasons. Nay, more, their women wore garments of which the embroidery
+harmonized with the different months: cherry, apple, pear blossoms when
+the fruit trees bloomed, colored leaves in the autumn, and so on,
+keeping in tune with the year, and getting great enjoyment out of things
+too little thought of by us.
+
+At this point in his course the student will be wise to bear four things
+in mind: First, that as this is the study of color, not form, he should
+confine his attention to the colors as far as possible, as a fine design
+may tend to warp the judgment of them. Secondly, that different lights
+may vary what is really the same color. Thirdly, that if he isolates one
+color from another by means of such a card with a small opening in it as
+is to be found with the color screens at the end of this book, he will
+be greatly helped to understand it. Fourthly, that he should pay special
+attention to the proportions of the colors.
+
+The following plates have been taken from specimens of color of
+different nations, and are given in simple proportions of quality and
+quantity, the latter in one-hundredths, as nearly as it is possible to
+measure, when the design may be much complicated and broken up. In
+studying these with reference to making the plates, it has seemed
+probable that those who made them took their color in many instances
+directly from nature; as, for instance, Plate LIV reminds one of the
+qualities and quantities of color of a gayly feathered parrot. It is
+hoped that these plates may help to create a taste for hard study of
+whatever originals may be at hand in books, shops, private houses, or
+museums.
+
+Plate LXXXIV is a drawing of the antique rug from which Plate LXXXV is
+reduced. By comparison the student will see how these and the other
+plates have been made.
+
+
+
+
+                              CHAPTER VII
+                              NATURE COLOR
+
+
+“And you, painter, who are desirous of great practice, understand that
+if you do not rest it on the good foundation of Nature, you will labor
+with little honor and less profit; and if you do it on a good ground,
+your works will be many and good, to your great honor and advantage.
+
+“A painter ought to study universal Nature, and reason much within
+himself on all he sees, making use of the most excellent parts that
+compose the species of every object before him. His mind will by this
+method be like a mirror, reflecting truly every object placed before it,
+and become, as it were, a second nature.”
+
+From the _Treatise on Painting_, by Leonardo da Vinci, we copy the above
+passages. May they serve as an introduction to the next branch of our
+color study, and prove a stimulus of the highest kind not only to
+painters, but to other artists. This final step in our study leads us to
+Nature, a step easy to make, but once made, it places us in a school as
+vast as it is great, and in one which we should never leave. Until our
+attention is called to it, we are unconscious what apparently
+unpromising material may yield new and beautiful motives for
+color-harmonies.
+
+“We do not sufficiently study from nature; we ought to draw and study
+vegetable forms, shells, fishes, birds, beasts. A continual use of your
+notebook should enable you to lay up an inexhaustible store of artistic
+materials and suggestions.... Then, again, the study of the arrangement
+of color of natural objects is almost entirely ignored; yet how pregnant
+would it be with the most valuable and original suggestions. There is
+hardly anything in nature that is not perfect in color. A dead sparrow
+would enable you to arrange the marquetrie of a cabinet with faultless
+harmony. Then, again, the varied tints of any color in light, shade, and
+half tint are always harmonious. The gradations of color in a flower, if
+properly studied, would teach a lady to dress with a taste that would be
+the envy of her sex. That dress is not, more than it is, the study and
+recognized province of an artist, is a matter of wonder.”[12]
+
+Following closely upon this advice of Mr. Moody, an artist tells us that
+in Algiers he has seen the Arab girls working the beautiful embroideries
+so much admired with boxes of butterflies beside them, that from their
+harmonious blending of colors they may gain fresh enthusiasm and
+inspiration for their work. Those who are not privileged to go to
+foreign lands in search of color motives can find them in our own
+country, and those who can leave the city’s walls for but a day’s
+holiday may find in the suburbs much that is new and helpful. Why not
+make excursions for the purpose? A color hunt would surely be as cheap
+and harmless as it would be enjoyable and helpful. In New York City
+itself, the Museum of Natural History holds case upon case of birds,
+butterflies, shells, and minerals that can give an infinite number of
+novel motives, the florists’ shops contain many more, and, if one keeps
+his eyes about him, even in the street he may meet with good and
+unexpected combinations, as, for instance, Plate C, which is from the
+flange of a propeller, of which the discoloration of the metal gave a
+fine color motive.
+
+The Japanese have always been distinguished for their intense sympathy
+with nature, and we find that a large part of the enjoyment of their
+lives the year round comes from their constant study and observation of
+nature, the result, of course, showing itself in their art.
+
+Condor says, in _The Flowers of Japan_, “Flower-viewing excursions,
+together with such pastimes as shell-gathering, mushroom-picking, and
+moon-viewing, form the favorite occupations of the holiday seeker
+throughout the year,” and “Snow-viewing is included as one of the flower
+festivals of the year.”
+
+One caution must be given to those looking to nature for color motives,
+which is this: to make allowance for the modifications of form,
+contrast, composition, gradation, and atmosphere which may deceive us as
+to the true color of our object. It can be more truly judged by being
+looked at through a card with an opening in it, which thus isolates it
+from the adjoining colors. “We should be cautious in basing our
+conclusions even on observations made directly from nature itself; for
+here our judgment is liable to be warped by the presence of beautiful
+form, good composition, exquisite gradation, and high luminosity.”[13] A
+few plates made directly from nature are given, not for the sake of the
+imitation, but to suggest some of the many directions in which to look
+for fresh inspiration in color-designing.
+
+Students in art and science are constantly bidden to go to nature for
+the abundant secrets she is ready to reveal to those who seek and prize
+them, and why should not workers in simpler, if not lower, occupations,
+be sent to the same source, which is so bountiful as to contain
+something for every one, and so, profiting by her fulness, learn at the
+same time to find contentment and joy in their work?
+
+
+
+
+                              CHAPTER VIII
+                          SPECIAL SUGGESTIONS
+
+
+After having carried the study of color as far as the limits of our plan
+allow, a few simple, practical suggestions may not come amiss.
+
+Students of painting and design will find Rood’s many experiments with
+colors in his _Modern Chromatics_ minute and valuable, especially those
+on the effects of mixing paints and their consequent loss of luminosity.
+If their time for the scientific study of color be limited, _Colour_, by
+Church, is well adapted for their purpose, being small, clear, and
+admirably illustrated. It gives briefly the gist of what has been
+written heretofore on the subject.
+
+Burnet, in _Colour in Painting_, is helpful on the artistic side. He
+says, “Harmony arising from the reflection of one color upon the
+adjoining, so as to produce a blending and union of the several hues,
+has been practised with the greatest success by many of the Dutch
+school, producing a chain of connections between the two extremes of hot
+and cold.”
+
+As to materials for painting, Church’s _Chemistry of Paints and
+Painting_ gives much useful information as to their substance,
+permanence, adulteration, and effect upon one another. Recollecting, as
+we do from experiments with Maxwell’s disks, that neutral colors are
+simply any one of the six colors diluted or changed by black or white,
+or black and white, or other colors, it is interesting to know that an
+ingeniously illustrated book, published in Paris by E. Guichard, _La
+Grammaire de la Couleur_, gives abundant examples of neutral colors, and
+printed beside them samples of the colors of which they are made. The
+author suggests that in embroidery any of these combinations can be made
+by twisting together threads of each of the colors required to make the
+neutral color, as by Plates CXVI and CXVII.
+
+In the matter of the choice of draperies and any kind of still life to
+be used to paint from, one of our leading artists advised his pupils
+generally to select _old_ things as being usually finer than new ones,
+because age mellows and refines colors; and also that objects of _one
+country_ harmonize better with each other than those of different
+countries, and those of _one period_ of _one country_ still better.
+
+Florists, gardeners, and fruit-dealers will find a large part of
+Chevreul’s book devoted to color as applied to horticulture, with notes
+of his experiments in the arrangement of plants and flowers.
+
+While other nations love flowers and use and cultivate them, the
+Japanese, along with their great skill in growing them, have elaborated
+an art of arranging them, of which art a full and clear account,
+admirably illustrated, is given in _The Flowers of Japan, and the Art of
+Floral Arrangement_, a recent work published in Tokio. Many features of
+this art are very attractive, and much can be learned from them even if
+we do not wish to carry it to the same extent of form and ceremony. They
+make much of common flowers, and while our admiration is mainly given to
+the blossoms, they value every part of the plant, using stem, leaf, and
+bud in their arrangements so as to display each to advantage, with the
+flower as the crowning beauty of the whole. The author writes, “The
+arrangement of flowers has always been regarded in Japan as an
+occupation befitting learned men and literati. Ladies of the aristocracy
+have practised it, as they have other arts, but it is by no means
+considered as an effeminate accomplishment. Priests, philosophers, and
+men of rank who have retired from public life have been its most
+enthusiastic followers. Various virtues are attributed to professors of
+the art, who are considered to belong to a sort of aristocracy of
+talent, enjoying privileges of rank and precedence in society to which
+they are not by birth entitled. A religious spirit, selfdenial,
+gentleness, and forgetfulness of cares are some of the virtues said to
+follow from a habitual practice of the art of arrangement of
+flowers.”[14]
+
+The fact that flowers usually make a focus wherever they may be
+placed,—on a table, in a room, or in a landscape,—on account of their
+comparative purity and luminosity of color, increases their beauty and
+shows the skill of the person who arranges them, but there is also a
+corresponding disadvantage that if discord there be, the arrangement is
+all the more prominent, the eye being called to it immediately.
+
+While we speak of the “comparative purity and luminosity” of colors we
+may at the same time quote from one of a series of interesting articles
+by F. Schuyler Matthews:[15]
+
+“Even our anxiety to obtain definite names for definite colors is
+completely overshadowed by the stronger wish to understand the secret of
+their harmonious relationship.
+
+“Now let us try to discover if we can some small portion of this secret.
+Why is it that nature nearly always puts yellow stamens in her white
+flowers? Why is it that nearly all of her white flowers are _not_ a
+colorless pure white? Why is it difficult for us to find a positively
+blue or positively yellow flower? What is the reason that there is such
+a multitude, such an infinity of color tones in the flowers, on the
+earth, over the sea, in the sky, everywhere? What a perplexing,
+changeable, evasive thing the whole world of color is! What is the
+reason of it all? Simply this: Nature abhors the commonplace—she
+despises crude red, yellow, and blue. Variety she _will_ have; harmony
+she insists upon; positivism she only employs to emphasize her love of
+the infinite. Thus we have one rather questionably perfect yellow
+marigold and a dozen others which have more orange in them than yellow;
+one scarlet-lake colored gladiolus and an infinity of red roses, which
+cannot be called anything which is an approach to the pure red color
+which scarlet-lake nearest resembles. We have the forget-me-not, which
+is nearly a true blue, but we have a host of so-called blue flowers,
+every one of which has barely fifty per cent. of the true sky blue in
+its composition.”
+
+It seems as though in the face of these facts it would be hardly
+possible to designate any special flowers which possess the prismatic
+colors in an absolutely pure form.
+
+The rules for making harmonies can be made to apply to the arrangements
+of gardens, shop windows, bouquets and other decorations, as well as to
+the catalogues of florists, etc. A recently issued catalogue strikes a
+true color chord in its cover. It shows a bunch of sweet peas and leaves
+of agreeable colors well balanced by the background of pale neutralized
+green, thus making a true and tempting harmony to lovers of flowers and
+color.
+
+Salesmen and women would be helped in their line of work by studying
+particularly the qualities of colors, and the effect on them of
+different kinds of artificial light. Knowledge of the contrasts of color
+will help greatly in showing goods to advantage, as one color may be
+made to heighten the color of another, and counters and shop windows may
+be well arranged according to the rules given for different classes of
+harmonies.
+
+Women in their dress, embroidery, and house decorations have immense
+opportunities; no art is finer or higher for a woman however placed than
+that of being a harmonious whole herself, and of making or adding to a
+harmonious home, in which the unconscious influence of good color holds
+a large share. To do this it must not be thought that much money is
+necessary; it adds, of course, to the ability of choice among fine
+goods, but cheap materials of good colors wisely combined may produce a
+far happier, we may even say healthier, result, than an unlimited purse
+without knowledge and taste. This is difficult to overestimate. No woman
+has a right to say she has no influence, conscious or unconscious, on
+the world around her. Does not much of the influence for good or ill
+come from a woman’s dress? It may be cheap, it may be plain, but it
+should be, and can be, in good taste and in harmony with the character
+and position of the person who wears it, and knowledge of one’s own
+coloring and of that suited to it is one of the most important details.
+
+Women in their dress, milliners and dressmakers, would do well to
+realize that a dress or bonnet may be good in color in itself, when it
+is a whole, but when worn it becomes only part of a whole and will be
+harmonious and becoming, or inharmonious and unbecoming, as it does, or
+does not, suit the coloring of the wearer. To wear anything simply
+because it is beautiful is unwise; it should first of all be suitable.
+Study of the law of contrast of color will here help immensely.
+
+For instance, according to that law, red and yellow next to each other
+make the yellow seem more yellow, the red more red, so if a woman with a
+sallow, colorless complexion wears pink roses or pink ribbons, the
+yellow in her skin is intensified and the small amount of pink in her
+cheeks is lost. As blue is the complement of yellow, a bright blue will
+have a still worse effect, but let her try a shade of not too intense
+yellow; the skin will seem to lose _its_ yellow, and whatever pink there
+may be will be brought out by the contrast. So other peculiarities may
+be softened or increased by contrast or harmony of color. White hair is
+made to seem whiter by the contrast of black or a very dark color; black
+hair and rosy cheeks are made more brilliant by a white surrounding;
+delicate blonde coloring will be made insipid and colorless by too
+strong colors, and a plain face may be made attractive by surrounding it
+with harmonizing coloring.
+
+
+
+
+                               APPENDICES
+
+
+
+
+                               APPENDIX A
+                              DEFINITIONS
+
+  ABSOLUTE COLORS: _see_ Local Colors.
+
+  ADVANCING COLORS: those of the longer wave lengths; those that seem to
+      come forward; but each color only advances or recedes according to
+      its relation to some other color. _See_ Luminosity.
+
+  ANALOGOUS HARMONY: _see_ Harmony.
+
+  BEAM OF LIGHT: a linear portion[16] of light made of a number of rays.
+
+  BRIGHTNESS: _see_ Luminosity.
+
+  BROKEN COLOR: a color changed by the addition of black and white or
+      gray.
+
+  COLD COLORS: those of the shorter wave lengths, such as green, blue,
+      and violet.
+
+  COLOR: an internal sensation, produced by various causes, chiefly by
+      waves of incomplete light acting on the eye; as used by artists,
+      the rich, harmonious effect, or full appearance produced by
+      certain combinations of colors.
+
+  COLOR CHART: a systematic arrangement of colors in a geometrical
+      design such that every variation and combination of hue, tint, and
+      shade is in its proper place and in correct relation to all other
+      hues, tints, and shades.
+
+        _Advancing_      _Colors_, see under Advancing;
+        _Bright_             „      „    „   Brightness;
+        _Broken_             „      „    „   Broken;
+        _Cold_               „      „    „   Cold;
+        _Complementary_      „      „    „   Complement;
+        _Complements of_     „      „    „            „
+        _Constants of_       „      „    „   Constants;
+        _Contrast of_        „      „    „   Contrast;
+        _Harmony of_         „      „    „   Harmony;
+        _Hue of_             „      „    „   Hue;
+        _Intense_            „      „    „   Saturated;
+        _Local_              „      „    „   Local;
+        _Luminosity of_      „      „    „   Brightness;
+        _Luminous_           „      „    „   Luminous;
+        _Neutral_            „      „    „   Neutral;
+        _Normal_             „      „    „   Normal;
+        _Opaque_             „      „    „   Opaque;
+        _Pigment_            „      „    „   Pigment;
+        _Primary_            „      „    „   Primary;
+        _Prismatic_          „      „    „   Prismatic;
+        _Pure_               „      „    „   Pure;
+        _Quality of_         „      „    „   Constants;
+        _Saturated_          „      „    „   Saturated;
+        _Secondary_          „      „    „   Secondary;
+        _Spectral_           „      „    „   Normal;
+        _Tertiary_           „      „    „   see under Tertiary;
+        _Transparent_        „      „    „   Transparent;
+        _Value of_           „      „    „   Values;
+        _Warm_               „      „    „   Warm.
+
+  COMPLEMENTS or
+
+  COMPLEMENTARY COLORS: any color and the color of its after-image; any
+      two colors which when mixed make white.
+
+  COMPOUND or MIXED COLOR: a color changed or neutralized by the
+      addition of another color or colors.
+
+  CONSTANTS or QUALITIES OF COLORS: Hue, Purity, and Luminosity.
+
+  CONTRAST: _see_ Simultaneous Contrast, page 53.
+
+  CONTRASTED HARMONY: _see_ Harmony.
+
+  DIFFRACTION GRATING: a polished metal or brass surface ruled with fine
+      lines and used instead of a prism to divide a ray of light and
+      produce a spectrum.
+
+  DOMINANT HARMONY: _see_ Harmony.
+
+  DOMINANT HUE: _see_ Hue.
+
+  HARMONY: the pleasing effect due to the action upon each other of
+      colors improved and made more beautiful by being put together;
+      such an agreement between the different hues, tints, or shades of
+      a design as will produce unity of effect.
+
+        _Analogous Harmony_: an agreeable combination of colors that are
+          related to a fundamental color.
+
+        _Complex Harmony_: an agreeable combination of three or more
+          colors, or with the addition of black or white, or gray, or
+          gold, or silver, or any or all of them.
+
+        _Contrasted or Complementary Harmony_: an agreeable combination
+          of any pair of complementary colors, or of their tints or
+          shades, or tints and shades.
+
+        _Dominant Harmony_: an agreeable combination of colors in which
+          one color predominates by modifying all the other colors, by
+          serving as a ground, or by being added in small portions all
+          over the design.
+
+        _One-color Harmony, also called a Harmony of Self-tones_: an
+          agreeable combination of one color used in tints or shades, or
+          tints and shades, or hue and tints, or hue and shades, or hue,
+          tints, and shades.
+
+      HUE: color, by wave length, much the same as color; the chief
+      quality by which one color differs from another color, as red
+      differs from blue or green.
+
+        _Dominant Hue_: the hue which predominates through the larger
+          part of a design or composition.
+
+      INTENSE: _see_ Saturated.
+
+      LIGHT: the chief agent that produces vision.
+
+      LOCAL COLOR: the actual color of an object unaffected by shadows
+      or reflected lights.
+
+      LUMINOSITY: the strength of the light sent to the eye by any
+      color; a luminous color sends more than a non-luminous one.
+
+      LUMINOUS COLORS: those which reflect light in large quantities;
+      the colors of the long wave lengths are more luminous than those
+      of the short ones.
+
+      NEUTRAL COLORS: a term often incorrectly applied to black, white,
+      gray, gold, and silver.
+
+      NORMAL, SPECTRAL, PRIMITIVE, or PRISMATIC COLORS: those seen in
+      the rainbow and the solar spectrum are generally accepted as such
+      and are used as the standard for the study of colors. Pigment
+      colors can only imitate these colors imperfectly.
+
+      OIL COLORS: pigments ground in oil.
+
+      OPAQUE COLORS: pigment colors which are so thick that paper or
+      canvas cannot be seen through them.
+
+      PIGMENTS: materials from which paints, inks, dyes, and stains are
+      made.
+
+      PIGMENT COLORS: paints, inks, dyes, and stains used in the fine
+      and industrial arts.
+
+      PRIMARY COLORS: red, blue, and yellow; so called because it was
+      supposed that all other colors could be made from them.
+
+      PRIMITIVE COLORS: _see_ Normal Colors.
+
+      PRISM: a triangular or three-sided bar of clear glass.
+
+      PRISMATIC COLORS: those that appear when a ray of white light
+      shines through a prism. _See_ Normal Colors.
+
+      PURE COLORS: those unmixed with white light or any other color;
+      those of the spectrum.
+
+      PURITY OF COLORS: the absence of an admixture of any other color
+      or colors, or white or black.
+
+      QUALITIES OF COLORS: _see_ Constants of Colors.
+
+      RAY OF LIGHT: a small linear portion or streak of light which may
+      be white or any color.
+
+      RECEDING COLORS: those which seem to retire or recede from the
+      eye; those of the short wave lengths.
+
+      RETINA: a thin inner lining of the eye. _See_ page 20.
+
+      SATURATED or INTENSE COLORS: colors that are pure and luminous to
+      their greatest extent; without any mixture of white light.
+
+      SECONDARY COLORS: orange, green, and violet; so called because it
+      has been thought they were made from combinations of the primary
+      colors.
+
+      SELF-TONES: _see_ Tone.
+
+      SHADE: a tone of a color darkened by the addition of black
+      pigments to paints, inks, dyes, and stains, or by the action of
+      diminished light on immaterial colors.
+
+      SHADOW: about the same as _shade_, as generally used, but for the
+      sake of clearness it is best to designate by _shadow_ those parts
+      of an object which do not receive any direct rays of light, while
+      those surfaces which receive but little direct light, and are thus
+      intermediate in value between the light and the shadow, are called
+      _shade surfaces._ Then the term _cast-shadow_ denotes the shadow
+      projected by one body on another body or surface.
+
+      SOLAR SPECTRUM: _see_ Spectrum.
+
+      SPECTRAL COLORS: _see_ Normal Colors.
+
+      SPECTRUM: the result of the decomposition of a ray of sunlight
+      into all the colors which form it; the streak of colors formed by
+      a ray of light that has passed through a prism or over a
+      Diffraction Grating.
+
+      STANDARD COLORS: those of the spectrum.
+
+      TERTIARY COLORS: citrine, olive, and russet, so called because it
+      has been thought that they were made from combinations of the
+      secondary colors.
+
+      TINT: a tone of a color produced by the addition of white to oil,
+      water to water, and white light to immaterial colors.
+
+      TONE: the given state of a color as it may be pure, luminous,
+      broken, compound, a tint, or a shade.
+
+        _Self-tones_: tones of the same color.
+
+      TRANSPARENT COLORS: those in which the color tints the paper or
+      canvas, which shows through the color, thus helping to produce the
+      effect.
+
+      VALUES: the relative amount of light contained in the different
+      colors of a picture, design, or composition; the lightest or most
+      luminous being called the highest in value.
+
+      WARM COLORS: those of the longer wave lengths, as yellow, orange,
+      and red.
+
+      WATER COLORS: pigments prepared to be used with water.
+
+      WAVE LENGTHS OF COLORS: objects having no color in themselves
+      possess the power of reflecting waves of light; waves of light of
+      varying lengths give us the effect of color. Either the amount of
+      motion of the ether, or _height_ of the wave, produces the
+      intensity or brightness of the light, and the _length_ of the wave
+      produces the color; _red_ has a wave length of about
+      7000/250,000,000 of an inch, _orange_ 5979/250,000,000, _yellow_
+      5802/250,000,000, _green_ 5272/250,000,000, _blue_
+      4732/250,000,000, and _violet_ 4059/250,000,000.
+
+
+
+
+                               APPENDIX B
+
+
+As whatever may be of value in this little work on a theme so large and
+complex as color must of necessity be drawn largely from what has been
+written before, the following list of books and authors is given, partly
+as having been referred to during its preparation, and partly as a
+suggestion for further reading to any student of color who can afford
+the time and labor necessary to the acquisition of a larger and wider
+comprehension of a subject which can be treated only scantily enough
+within the scope of a single small volume.
+
+Although no pretence is here made to completeness as bibliography, yet
+it is believed that the fifty works enumerated below fairly cover the
+history of color and of its ever-growing relation to Art and
+Manufacture. For the sake of convenience the list is chronologically
+arranged.
+
+  A TREATISE ON PAINTING. By Leonardo da Vinci. (London, 1835: Nichols &
+      Sons.) (Translation.)
+
+  COLOUR. By M. E. Chevreul. (London, 1839: Geo. Bell & Sons.)
+      (Translation.)
+
+  THEORY OF COLOUR. By J. W. von Goethe. (London, 1840: J. Murray.)
+      (Translation, with notes, by Sir Chas. Eastlake.)
+
+  RUDIMENTS OF THE PAINTER’S ART; OR A GRAMMAR OF COLOURING. By George
+      Field. (London, 1850: Weale.)
+
+  DARSTELLUNG DER FARBENLEHRE UND OPTISCHE STUDIEN. By W. H. Dove.
+      (Berlin, 1853.)
+
+  RESEARCHES ON COLOUR-BLINDNESS. By G. Wilson. (Edinb., 1855:
+      Sutherland & Knox.)
+
+  GRAMMAR OF ORNAMENT. By Owen Jones. (London, 1856.)
+
+  ON COLOUR (ETC.). By Sir J. S. Wilkinson. (London, 1858: J. Murray.)
+
+  DIE FARBENHARMONIE IN IHRER ANWENDUNG AUF DIE DAMENTOILETTE. By R.
+      Adams. (Leipzig, 1862: J. J. Weber.)
+
+  PRACTICAL HINTS ON COLOUR IN PAINTING. By John Burnet. (London, 1865:
+      J. & J. Leighton.)
+
+  DES COULEURS AU POINT DE VUE PHYSIQUE, PHYSIOLOGIQUE ARTISTIQUE ET
+      INDUSTRIEL. By Ernst Bruecke. (Paris, 1866: J. B. Baillière &
+      fils.)
+
+  THE PRINCIPLES OF THE SCIENCE OF COLOUR. By William Benson. (London,
+      1868: Chapman & Hall.)
+
+  COLOR. By M. É. Cavé. (New York, 1869.) (Translation.)
+
+  MANUAL OF THE SCIENCE OF COLOUR. By W. Benson. (London, 1871: Chapman
+      & Hall.)
+
+  THE THEORY OF COLOURING. By J. Bacon. (London, 1872: G. Rowney &
+      Company.)
+
+  L’ORNEMENT POLYCHROME. By A. Racinet. 2 vols. F^o. (Paris, 1873–86:
+      Firmin Didot.)
+
+  A GRAMMAR OF COLOURING APPLIED TO DECORATIVE PAINTING AND THE ARTS. By
+      George Field. (London, 1875: Lockwood & Company.)
+
+  THEORY OF COLOR. By Dr. Wilhelm von Bezold. (Boston, 1876: L. Prang &
+      Company.) (Translation.)
+
+  DIE GESCHICHTLICHE ENTWICKELUNG DES FARBENSINNES. By Hugo Magnus.
+      (Leipzig, 1877: Veit.)
+
+  THE PRINCIPLES OF LIGHT AND COLOR. By E. D. Babbitt. (New York, 1878:
+      Babbitt & Company.)
+
+  COMPLÉMENT DES ÉTUDES SUR LA VISION DES COULEURS PAR E. CHEVREUL. By
+      M. E. Chevreul. (_In_ Institut de France. _Académie des
+      Sciences_—Memoires. T. 41, partie 2.) (Paris, 1879.) (English
+      translations exist.)
+
+  MODERN CHROMATICS, WITH APPLICATION TO ART AND INDUSTRY. By O. N.
+      Rood. (New York, 1879: D. Appleton.)
+
+  THE COLOUR SENSE: ITS ORIGIN AND DEVELOPMENT. By Grant Allen. (London,
+      1879: Trübner & Company.)
+
+  COLOR-BLINDNESS. By B. Joy Jeffries. (London, 1879.)
+
+  A HANDBOOK FOR PAINTERS AND ART STUDENTS ON THE CHARACTER AND USE OF
+      COLOURS. By W. J. Muckley. (London, 1880: T. & C. Baillière.)
+
+  SIGHT; AN EXPOSITION OF MONOCULAR AND BINOCULAR VISION. By Joseph Le
+      Conte. (New York, 1881: D. Appleton & Company.)
+
+  UNTERSUCHUNGEN ÜBER DEN FARBENCONTRAST VERMITTELST ROTIRENDER
+      SCHEIBEN. By G. B. T. Schmerler. (Leipzig, 1882: W. Engelmann.)
+
+  LA GRAMMAIRE DE LA COULEUR. By E. Guichard. 3 vols. (Paris, 1882: H.
+      Cagnon.)
+
+  DIE FARBENWELT. By Max Schasler. (Berlin, 1883: C. Habel.)
+
+  THE LAWS OF CONTRAST OF COLOUR AND THEIR APPLICATION TO THE ARTS AND
+      MANUFACTURES. By M. E. Chevreul. (London, 1883: Routledge.)
+      (Translation.)
+
+  COLOUR. By A. H. Church. (London, 1887: Cassell & Company.)
+
+  IL LIBRO DEI COLORI. SEGRETI DEL SECOLO XV. Da O. Guerrini & C. Ricci.
+      (Bologna, 1887: Romagnoli Dall’ Acqua.)
+
+  COLOUR, AN ELEMENTARY TREATISE. By C. T. Whitmell. (Cardiff, 1888: W.
+      Lewis.)
+
+  F. C. SCHROEDER’S “SYSTEMATIC INDEX.” By F. C. Schroeder. (Boston,
+      1888: F. C. Schroeder.)
+
+  IRIS: STUDIES IN COLOUR AND TALKS ABOUT FLOWERS. By A. F. Dielitzsch.
+      (Edinburgh, 1889: T. & T. Clark.) (Translation.)
+
+  RÉPERTOIRE CHROMATIQUE. By Charles La Couture. (Paris, 1890: Gauthier,
+      Villars & Fils.)
+
+  THE CHEMISTRY OF PAINTS AND PAINTING. By A. H. Church. (London, 1890:
+      Seeley & Company.)
+
+  COLOUR IN WOVEN DESIGN. By R. Beaumont. (London, 1890: Whittaker &
+      Company.)
+
+  COLOUR-BLINDNESS AND COLOUR-PERCEPTION. By F. W. Edridge Green.
+      (London, 1891: Kegan Paul, Trench, Trübner & Company.)
+
+  A TEXT-BOOK OF PHYSIOLOGY. By M. Foster. (London, 1891: Macmillan &
+      Company.)
+
+  FLOWERS OF JAPAN AND THE ART OF FLORAL ARRANGEMENT. By Condor.
+      (Yokohama, 1891: Kelly & Walsh.)
+
+  COLOUR MEASUREMENT AND MIXTURE. By W. de W. Abney. (London, 1891.)
+
+  HARMONIOUS COLOURING. 3 vols. F^o. By C. H. Wilkinson. (Manchester,
+      1891: Harmonious Colouring Company.)
+
+  COLOUR VISION. By E. Hunt. (Glasgow, 1892: Smith.)
+
+  ON A COLOR SYSTEM. By O. N. Rood. (New Haven, 1892.)
+
+  STUDENTS’ TEXT-BOOK OF COLOR; OR, MODERN CHROMATICS. By O. N. Rood.
+      (New York, 1892: D. Appleton & Company.)
+
+  COLOUR VISION. By W. de W. Abney. (London, 1895; Low.)
+
+  COLOR-VISION AND COLOR-BLINDNESS. By J. E. Jennings. (Phila., 1896:
+      Davis Company.)
+
+  COLOUR IN NATURE. A STUDY IN BIOLOGY. By M. I. Newbegin. (London,
+      1898: J. Murray.)
+
+[Illustration:
+
+  PLATE I
+
+  WOOLS AS SORTED BY A COLOR-BLIND MAN
+]
+
+[Illustration:
+
+  PLATE II
+
+  SOLAR SPECTRA
+]
+
+[Illustration:
+
+  PLATE III
+]
+
+                        TABLE OF SPECTRAL COLORS
+ ┌──────┬───────────────┬──────┬────────────────────┬──────────┬───────┐
+ │Names │Paints used    │  Wave│Purity              │Luminosity│Warm or│
+ │      │               │length│                    │          │Cold   │
+ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
+ │Violet│French Blue and│ 4.059│As great as can be  │    6     │Cold   │
+ │      │Crimson Lake   │      │given by pigments   │          │       │
+ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
+ │Blue  │French Blue    │ 4.732│         „          │    5     │Cold   │
+ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
+ │Green │Emerald Green  │ 5.271│         „          │    3     │Cold   │
+ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
+ │Yellow│Aurora Yellow  │ 5.808│         „          │    1     │Warm   │
+ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
+ │Orange│Vermilion and  │ 5.972│         „          │    2     │Warm   │
+ │      │Cadmium        │      │                    │          │       │
+ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
+ │Red   │Vermilion and  │ 7.000│         „          │    4     │Warm   │
+ │      │Crimson Lake   │      │                    │          │       │
+ └──────┴───────────────┴──────┴────────────────────┴──────────┴───────┘
+
+[Illustration:
+
+  PLATE IV
+
+  THE SPECTRAL COLORS
+]
+
+  (a) In their order of Luminosity
+
+  (b) Pure and Grayed
+
+[Illustration:
+
+  PLATE V
+
+  ADVANCING AND RETIRING COLORS
+]
+
+[Illustration:
+
+  PLATE VI
+
+  ADVANCING AND RETIRING COLORS
+
+  See page 99. The color screens at end of volume are for use with this
+    plate.
+]
+
+[Illustration:
+
+  PLATE VII
+
+  TINTS
+]
+
+[Illustration:
+
+  PLATE VIII
+
+  SHADES
+]
+
+[Illustration:
+
+  PLATE IX
+
+  VIOLET
+
+  with its extremes
+]
+
+[Illustration:
+
+  PLATE X
+
+  BLUE
+
+  with its extremes
+]
+
+[Illustration:
+
+  PLATE XI
+
+  GREEN
+
+  with its extremes
+]
+
+[Illustration:
+
+  PLATE XII
+
+  YELLOW
+
+  with its extremes
+]
+
+[Illustration:
+
+  PLATE XIII
+
+  ORANGE
+
+  with its extremes
+]
+
+[Illustration:
+
+  PLATE XIV
+
+  RED
+
+  with its extremes
+]
+
+[Illustration:
+
+  PLATE XV
+
+  SHADES BY CONTRAST
+]
+
+[Illustration:
+
+  PLATE XVI
+
+  SPECTRAL COLORS
+  ON BLACK, WHITE AND GRAY
+]
+
+[Illustration:
+
+  PLATE XVII
+
+  WHITE
+  ON SPECTRAL COLORS
+]
+
+[Illustration:
+
+  PLATE XVIII
+
+  BLACK
+  ON SPECTRAL COLORS
+]
+
+[Illustration:
+
+  PLATE XIX
+
+  GRAY
+  ON SPECTRAL COLORS
+]
+
+[Illustration:
+
+  PLATE XX
+
+  SPECTRAL RED WITH ITS COMPLEMENT
+
+  N. B. The blue-green complementary is here imitated as closely as
+    possible, but when spontaneously called up by the eye it is really
+    brighter than the white paper.
+]
+
+[Illustration:
+
+  PLATE XXI
+
+  SPECTRAL RED DISK FOR EXPERIMENT IN COMPLEMENTS
+
+  Gaze steadily at the red disk for three minutes, cover it quickly with
+    the preceding blank page without removing the eyes and you will see
+    its complementary image.
+]
+
+[Illustration:
+
+  PLATE XXII
+
+  SPECTRAL RED AND ITS COMPLEMENT, BLUE-GREEN, IN THEIR RELATIVE
+    PROPORTIONS
+
+  The gray in the centre of this Plate is the gray produced by the above
+    two complements when mixed on a color wheel, and corresponds exactly
+    to the gray produced by the given amounts of black and white.
+
+  (N. B. The above proportions were obtained in an average light. They
+    will vary with all variations in the quality and quantity of the
+    illumination. This applies as well to the following four Plates.)
+]
+
+[Illustration:
+
+  PLATE XXIII
+
+  SPECTRAL ORANGE AND ITS COMPLEMENT, GREEN-BLUE, IN THEIR RELATIVE
+    PROPORTIONS
+
+  The gray in the centre of this Plate is the gray produced by the above
+    two complements when mixed on a color wheel, and corresponds exactly
+    to the gray produced by the given amounts of black and white.
+
+  (N. B. The above proportions were obtained in an average light. They
+    will vary with all variations in the quality and quantity of the
+    illumination.)
+]
+
+[Illustration:
+
+  PLATE XXIV
+
+  SPECTRAL YELLOW AND ITS COMPLEMENT, SPECTRAL BLUE,
+
+  OR
+
+  SPECTRAL BLUE AND ITS COMPLEMENT, SPECTRAL YELLOW, IN THEIR RELATIVE
+    PROPORTIONS
+
+  The gray in the centre of this Plate is the gray produced by the above
+    two complements when mixed on a color wheel, and corresponds exactly
+    to the gray produced by the given amounts of black and white.
+
+  (N. B. The above proportions were obtained in an average light. They
+    will vary with all variations in the quality and quantity of the
+    illumination.)
+]
+
+[Illustration:
+
+  PLATE XXV
+
+  SPECTRAL GREEN AND ITS COMPLEMENT, PURPLE, IN THEIR RELATIVE
+    PROPORTIONS.
+
+  The gray in the centre of this plate is the gray produced by the above
+    two complements when mixed on a color wheel, and corresponds exactly
+    to the gray produced by the given amounts of black and white.
+
+  (N. B. The above proportions were obtained in an average light. They
+    will vary with all variations in the quality and quantity of the
+    illumination.)
+]
+
+[Illustration:
+
+  PLATE XXVI
+
+  SPECTRAL VIOLET AND ITS COMPLEMENT, YELLOW-GREEN, IN THEIR RELATIVE
+    PROPORTIONS
+
+  The gray in the centre of this plate is the gray produced by the above
+    two complements when mixed on a color wheel, and corresponds exactly
+    to the gray produced by the given amounts of black and white.
+
+  (N. B. The above proportions were obtained in an average light. They
+    will vary with all variations in the quality and quantity of the
+    illumination.)
+]
+
+[Illustration:
+
+  PLATE XXVII
+
+  MILTON-BRADLEY COLOR MACHINE
+]
+
+[Illustration:
+
+  PLATE XXVIII
+
+  TABLE OF COMPLEMENTS ARRANGED IN
+  PAIRS
+]
+
+[Illustration:
+
+  PLATE XXIX
+
+  TABLE OF COMPLEMENTS ARRANGED IN A
+  CIRCLE
+]
+
+[Illustration:
+
+  PLATE XXX
+
+  CONTRAST DIAGRAM
+
+  See page 58. Transparency accompanying the volume is
+  for use with this plate.
+]
+
+[Illustration:
+
+  PLATE XXXI
+
+  COLOR ANALYSIS FROM A PRIZE DINNER
+  TABLE
+
+  A harmony of yellow and blue.
+
+  See page 70.
+]
+
+[Illustration:
+
+  PLATE XXXII
+]
+
+                  COLOR ANALYSIS FROM TEACUP AND SAUCER
+ Yellow Tint                                                          65
+ Yellow Shade                                                          5
+ Blue Tint                                                            20
+ Spectral Blue                                                        10
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XXXIII
+]
+
+[Illustration:
+
+  PLATE XXXIV
+]
+
+                 COLOR ANALYSIS OF A BOOK ADVERTISEMENT
+ White                                                                60
+ Black                                                                22
+ Yellow                                                               18
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XXXV
+
+  HARMONY HELPED BY OUTLINE
+]
+
+[Illustration:
+
+  PLATE XXXVI
+
+  GOOD DYADS OR PAIRS
+]
+
+[Illustration:
+
+  PLATE XXXVII
+
+  GOOD TRIADS
+]
+
+[Illustration:
+
+  PLATE XXXVIII
+
+  HARMONY BY GRADATION
+]
+
+[Illustration:
+
+  PLATE XXXIX
+
+  HARMONY BY CHANGE OF QUALITY
+
+  (In the yellow.)
+]
+
+[Illustration:
+
+  PLATE XL
+
+  HARMONY BY CHANGE OF QUANTITY
+]
+
+[Illustration:
+
+  PLATE XLI
+
+  HARMONY BY CHANGE OF BOTH QUANTITY AND QUALITY
+
+  Three yellows, two blues.
+]
+
+[Illustration:
+
+  PLATE XLII
+
+  HARMONY BY THE ADDITION OF
+  ANOTHER COLOR
+]
+
+[Illustration:
+
+  PLATE XLIII
+
+  HARMONY BY THE ADDITION OF BLACK
+]
+
+[Illustration:
+
+  PLATE XLIV
+
+  HARMONY FROM A DOMINANT HUE
+]
+
+[Illustration:
+
+  PLATE XLV
+
+  HARMONY BY INTERCHANGE
+]
+
+[Illustration:
+
+  PLATE XLVI
+
+  HARMONY BY COUNTERCHANGE
+]
+
+[Illustration:
+
+  PLATE XLVII
+
+  THE TRUE CHARACTER OF SOME OF THE SO-CALLED “WHITES”
+
+  (which are really pale tints)
+]
+
+[Illustration:
+
+  PLATE XLVIII
+
+  SOME CHANGES BY GRADATION FROM ONE COLOR TO ANOTHER
+]
+
+[Illustration:
+
+  PLATE XLIX
+]
+
+                   COLOR ANALYSIS FROM ASSYRIAN TILES
+ Blue-Green Ground                                                    60
+ Greenish Yellow                                                       3
+ Orange                                                                6
+ Purple-Brown                                                          6
+ White                                                                20
+                                                                     ———
+                                                                     100
+   The variation of color in the blue-green tiles is especially fine.
+
+[Illustration:
+
+  PLATE L
+]
+
+                   COLOR ANALYSIS FROM ASSYRIAN TILES
+ Blue                                                                 35
+ Yellow                                                               30
+ White                                                                15
+ Dull Red                                                             10
+ Black                                                                10
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LI
+]
+
+                   COLOR ANALYSIS FROM ASSYRIAN TILES
+ Blue                                                                 69
+ Deep Yellow                                                          20
+ Light Yellow                                                         10
+ White                                                                 1
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LII
+]
+
+                    COLOR ANALYSIS FROM A MUMMY COVER
+ Pale Yellow                                                          34
+ Green                                                                27
+ Blue                                                                 25
+ Red                                                                   6
+ Gold                                                                  4
+ Black                                                                 2
+ White                                                                 2
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LIII
+]
+
+               COLOR ANALYSIS FROM AN EGYPTIAN MUMMY CASE
+ Black Ground                                                         63
+ Yellow (all through design)                                          17
+ Green                                                                 9
+ Red                                                                   4
+ Light Red                                                             3
+ Blue                                                                  3
+ White                                                                 1
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LIV
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CASE
+ Green                                                                36
+ Blue-Green                                                           24
+ Yellow                                                               14
+ Red                                                                  11
+ White                                                                10
+ Dull Red                                                              3
+ Black                                                                 2
+                                                                     ———
+                                                                     100
+                      Much like a parrot’s plumage.
+
+[Illustration:
+
+  PLATE LV
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Purple Red                                                           91
+ Black                                                                 5
+ Pale Gray                                                             4
+                                                                     ———
+                                                                     100
+                           Dull yellow ground.
+
+[Illustration:
+
+  PLATE LVI
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Dull Green                                                           29
+ Bright Green                                                         10
+ Red                                                                  10
+ Blue                                                                  5
+ Orange                                                                4
+ Yellow                                                                2
+ Ground Color                                                         40
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LVII
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Deep, Dull Blue                                                      50
+ Gray                                                                 43
+ Green                                                                 3
+ Dull Red                                                              2
+ Pale Red                                                              1
+ Yellow                                                                1
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LVIII
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Light Blue                                                           32
+ Dark Blue                                                            17
+ Light Red                                                            33
+ Dark Red                                                             12
+ Black Stems                                                           5
+                                                                     ———
+                                                                     100
+   Gray ground; the ornament a stripe of embroidered leaves and stems.
+
+[Illustration:
+
+  PLATE LIX
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Red                                                                  25
+ Green                                                                25
+ Yellow                                                               25
+ Blue                                                                 25
+                                                                     ———
+                                                                     100
+                              Gray ground.
+
+[Illustration:
+
+  PLATE LX
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Red                                                                  50
+ Green                                                                24
+ Blue                                                                 20
+ Orange                                                                6
+                                                                     ———
+                                                                     100
+                           Light gray ground.
+
+[Illustration:
+
+  PLATE LXI
+]
+
+                    COLOR ANALYSIS FROM A MUMMY CLOTH
+ Maroon                                                               92
+ Dull Yellow                                                           5
+ Cream White                                                           3
+                                                                     ———
+                                                                     100
+    Green linen ground with red border. Cream and yellow runs through
+                        design in small portions.
+
+[Illustration:
+
+  PLATE LXII
+]
+
+                 COLOR ANALYSIS FROM AN EARLY GREEK VASE
+ Gray                                                                 72
+ Black                                                                21
+ Dull Red                                                              7
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXIII
+]
+
+                    COLOR ANALYSIS FROM A GREEK VASE
+ Light Red                                                            35
+ Dark Red                                                             19
+ Black                                                                45
+ White                                                                 1
+                                                                     ———
+                                                                     100
+  The Ground partly red, partly black, white in fine outlines or small
+                            dotted outlines.
+
+[Illustration:
+
+  PLATE LXIV
+]
+
+                    COLOR ANALYSIS FROM A GREEK VASE
+ Dull Orange                                                          60
+ Dull Red                                                             10
+ Black                                                                30
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXV
+]
+
+                    COLOR ANALYSIS FROM A GREEK VASE
+ Gray Ground                                                          71
+ Black                                                                24
+ Red                                                                   5
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXVI
+]
+
+                    COLOR ANALYSIS FROM ARAB MOSAICS
+ Black                                                                33
+ White                                                                26
+ Light Red                                                            21
+ Dull Red                                                             20
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXVII
+]
+
+                COLOR ANALYSIS FROM ARABIAN ILLUMINATION
+ Blue                                                                 20
+ Green                                                                20
+ Red                                                                  20
+ Pale Red                                                             10
+ Gray                                                                  8
+ Gold                                                                 10
+ White                                                                12
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXVIII
+]
+
+                    COLOR ANALYSIS FROM MOORISH TILES
+ Olive-Green                                                          30
+ White                                                                20
+ Yellow                                                               20
+ Violet                                                               30
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXIX
+]
+
+               COLOR ANALYSIS FROM A PANEL OF THE ALHAMBRA
+ Blue                                                                 40
+ Red                                                                  30
+ Gold                                                                 24
+ White                                                                 6
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXX
+]
+
+           COLOR ANALYSIS FROM A PANEL OF THE TAJ MAHAL, INDIA
+ White Ground                                                         52
+ Pale Yellow                                                          10
+ Deep Yellow                                                           7
+ Red                                                                   5
+ Pale Green                                                           10
+ Medium Green                                                          5
+ Dark Green                                                            5
+ Black                                                                 3
+ Pale Pink                                                             3
+                                                                     ———
+                                                                     100
+                   Lilies and leaves on white ground.
+
+[Illustration:
+
+  PLATE LXXI
+]
+
+                   COLOR ANALYSIS FROM DAMASCUS TILES
+ Pale Yellow Ground                                                   40
+ Deep Cool Blue                                                       25
+ Light Blue                                                           20
+ Green                                                                13
+ Brown                                                                 2
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXII
+]
+
+                   COLOR ANALYSIS FROM CELTIC ORNAMENT
+ Green                                                                50
+ Red                                                                  18
+ Yellow                                                               17
+ Black                                                                 7
+ White                                                                 8
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXIII
+]
+
+                COLOR ANALYSIS FROM ITALIAN MAJOLICA VASE
+ White Ground                                                         38
+ Deep Blue                                                            34
+ Yellow                                                               16
+ Dark Yellow                                                           6
+ Green                                                                 6
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXIV
+]
+
+  COLOR ANALYSIS FROM PANEL OF DUTCH INLAID CABINET OF THE 15TH CENTURY
+ Brown Wood                                                           58
+ Light    „                                                           19
+ Yellow   „                                                            5
+ Green    „                                                           15
+ Dull Red „                                                            2
+ Black    „                                                            1
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXV
+]
+
+                 COLOR ANALYSIS FROM SPANISH EMBROIDERY
+ Black Ground                                                         50
+ Yellow Design                                                        40
+ Red in Design                                                        10
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXVI
+]
+
+                 COLOR ANALYSIS FROM SPANISH EMBROIDERY
+                         A harmony of contrast.
+ Blue Ground                                                          45
+ Dark Neutral Yellow                                                  30
+ Pale Yellow                                                          20
+ Gold                                                                  5
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXVII
+]
+
+               COLOR ANALYSIS FROM AN ANTIQUE PERSIAN RUG
+ Old Rose                                                             55
+ Old Yellow                                                           40
+ Black                                                                 5
+                                                                     ———
+                                                                     100
+        The black was used in fine outlines between the rose and
+                        yellow to harmonize them.
+
+  The following eight examples have had their harmony greatly increased
+                  by time which has toned their colors.
+
+[Illustration:
+
+  PLATE LXXVIII
+]
+
+                      ANALYSIS FROM AN ANTIQUE RUG
+ Old Yellow                                                           70
+ Old Rose                                                             15
+ Green-Blue                                                            9
+ Black                                                                 6
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXIX
+]
+
+                   COLOR ANALYSIS FROM AN ANTIQUE RUG
+ Pale Green Tint Ground                                               50
+ Yellow-Pink                                                          15
+ Yellow                                                               13
+ Blue                                                                 10
+ Black                                                                 7
+ White                                                                 5
+                                                                     ———
+                                                                     100
+                        Black used in fine lines.
+
+[Illustration:
+
+  PLATE LXXX
+]
+
+                   COLOR ANALYSIS FROM AN ANTIQUE RUG
+ Camel’s-Hair Gray                                                    50
+ Cool Blue Tint                                                       20
+ Green                                                                20
+ Yellow                                                               10
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXI
+]
+
+                   COLOR ANALYSIS FROM AN ANTIQUE RUG
+ Green-Blue Ground                                                    50
+ Red Tint                                                             25
+ Yellow                                                               25
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXII
+]
+
+                   COLOR ANALYSIS FROM AN ANTIQUE RUG
+ Blue Shade                                                           50
+ Yellow Shade                                                         25
+ Red                                                                  15
+ Light Blue Tint                                                      10
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXIII
+]
+
+                   COLOR ANALYSIS FROM AN ANTIQUE RUG
+ Neutral Red                                                          65
+ Cold Blue                                                            20
+ Silver                                                               15
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXIV
+
+  THE COLOR SCHEME OF AN ANTIQUE RUG
+  FROM WHICH PLATE LXXXV IS AN
+  ANALYSIS
+]
+
+[Illustration:
+
+  PLATE LXXXV
+]
+
+                       ANALYSIS OF AN ANTIQUE RUG
+                           (See Plate LXXXIV)
+ Dull Blue Shade                                                      62
+ Dull Yellow Shade                                                    38
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXVI
+]
+
+               COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY
+ Old Gold Ground                                                    77.5
+ Blue                                                                  8
+ Brown                                                                 5
+ Light Brown                                                           1
+ Gray                                                                  1
+ Dark Green                                                            1
+ Light Green                                                           1
+ Gray-Green                                                            1
+ Dull Red                                                              1
+ Light Red                                                            .5
+ Gold                                                                  2
+ White                                                                 1
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXVII
+]
+
+               COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY
+ Gray Ground                                                          64
+ Dark Blue                                                             8
+ Light Blue                                                            7
+ Gray-Blue                                                            10
+ Brown                                                                10
+ Green                                                                 1
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXVIII
+]
+
+                COLOR ANALYSIS FROM JAPANESE SILK BROCADE
+ Yellow-Gray Ground                                                   60
+ Blue-Gray Leaves                                                     15
+ White Daisies                                                        16
+ Pink Tips to Daisies                                                  5
+ Gold Veins to Leaves and Centres to Daisies                           4
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE LXXXIX
+]
+
+      COLOR ANALYSIS FROM BORDER OF JAPANESE CLOISONNÉ VASE, Pl. XC
+ Greenish White                                                       66
+ Blue                                                                 34
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XC
+]
+
+               COLOR ANALYSIS FROM JAPANESE CLOISONNÉ VASE
+ Green-Blue Ground                                                    43
+ Dark Blue                                                            14
+ Black                                                                 7
+ Red                                                                   9
+ Yellow                                                                5
+ Violet                                                                4
+ White                                                                 4
+ Light Red                                                             3
+ Lightest Red                                                          3
+ Greenish Blue                                                         3
+ Green                                                                 2
+ Gray                                                                  1
+ Brass                                                                 2
+                                                                     ———
+                                                                     100
+            The fine brass outlines add much to the harmony.
+
+[Illustration:
+
+  PLATE XCI
+]
+
+               COLOR ANALYSIS FROM A JAPANESE SKIRT PANEL
+
+                                 BORDER
+ White Ground                                                         23
+ Black                                                                11
+ Gold Edge                                                             2
+ Purple-Blue                                                           4
+ Dull Gold                                                             6
+ Dull Pink                                                             4
+
+                                 CENTRE
+ Green Ground                                                         26
+ Shades of Red                                                        11
+ Yellow                                                                2
+ Blue                                                                  2
+ Greens                                                                4
+ Lavender                                                              1
+ Gold Edge                                                             1
+ Black                                                                 1
+ Orange                                                                2
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XCII
+]
+
+                  COLOR ANALYSIS FROM JAPANESE BROCADE
+ Brown                                                                50
+ Red                                                                  10
+ Dark Blue                                                             8
+ Dark Green                                                            8
+ Light Blue                                                            7
+ Light Green                                                           7
+ Light Brown                                                           5
+ White                                                                 5
+                                                                     ———
+                                                                     100
+              Fine example of a harmony of a dominant hue.
+
+[Illustration:
+
+  PLATE XCIII
+]
+
+                  COLOR ANALYSIS FROM CHINESE PORCELAIN
+ Deep Lapis Lazuli Blue Ground                                        50
+ Turquoise Blue                                                       29
+ Ochre Yellow                                                         12
+ Violet                                                                9
+                                                                     ———
+                                                                     100
+ Plates XCIII to XCVII inclusive are from Chinese porcelain, the colors
+                       having remained brilliant.
+
+[Illustration:
+
+  PLATE XCIV
+]
+
+               COLOR ANALYSIS FROM A “BLACK HAWTHORN VASE”
+ Black Ground                                                         30
+ Green-White Flowers                                                  26
+ Green Leaves                                                         20
+ Yellow-Green Leaves                                                  10
+ Brown Stems                                                           3
+ Pale Red Flowers                                                      5
+ Yellow      „                                                         6
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XCV
+]
+
+                 COLOR ANALYSIS FROM A ROSE-COLORED VASE
+ Rose Ground                                                          50
+ White Panel                                                          23
+ Blue-Green                                                           10
+ Yellow-Green                                                          3
+ Yellow                                                                7
+ Deep Pink                                                             5
+ Blue                                                                  2
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XCVI
+]
+
+            COLOR ANALYSIS FROM YELLOW CHINESE PORCELAIN VASE
+ Yellow Ground                                                        44
+ Light Green Leaves                                                   23
+ Dark Green    „                                                       8
+ Cream White Flowers                                                  16
+ Brown Stems                                                           9
+                                                                     ———
+                                                                     100
+
+[Illustration:
+
+  PLATE XCVII
+]
+
+             COLOR ANALYSIS FROM A CHINESE “EGGSHELL” PLATE
+ Blue                                                                 18
+ Yellow                                                               18
+ White                                                                18
+ Green                                                                18
+ Pink                                                                 18
+ Dark Pink                                                             3
+ Dark Green                                                            3
+ Black                                                                 2
+ Gold                                                                  2
+                                                                     ———
+                                                                     100
+          Pale tints with delicate decoration in strong tones.
+
+[Illustration:
+
+  PLATE XCVIII
+]
+
+                     COLOR ANALYSIS FROM A BUTTERFLY
+ Dark Yellow Shade                                                    30
+ Medium Yellow                                                        25
+ Light Yellow                                                         20
+ Silver                                                               15
+ Black                                                                10
+                                                                     ———
+                                                                     100
+ The black was well placed to contrast with the light tones, the silver
+                     to contrast with the dark tone.
+
+[Illustration:
+
+  PLATE XCIX
+]
+
+                       COLOR ANALYSIS FROM A STONE
+ Pale Gray-Green                                                      40
+ Gray-Green                                                           35
+ Pale Red                                                             25
+                                                                     ———
+                                                                     100
+                           Ground, pale green.
+
+[Illustration:
+
+  PLATE C
+
+  COLOR NOTE FROM AN OLD AND PARTLY
+  DISCOLORED PROPELLER FLANGE
+]
+
+[Illustration:
+
+  PLATE CI
+
+  COLOR NOTE FROM LEAVES ON A TREE
+
+  The sun glancing across the smooth leaves makes a cool gray, and
+    shining through them makes a warm green.
+  The shaded leaves are a deep green.
+]
+
+[Illustration:
+
+  PLATE CII
+
+  COLOR NOTE FROM A SUNSET SKY
+]
+
+[Illustration:
+
+  PLATE CIII
+
+  COLOR NOTE FROM BARE WOODS ON THE
+  EDGE OF A MEADOW
+]
+
+[Illustration:
+
+  PLATE CIV
+
+  COLOR NOTE FROM EVERGREENS AGAINST
+  A GRAY-BLUE RAIN CLOUD
+]
+
+[Illustration:
+
+  PLATE CV
+
+  COLOR NOTE FROM A SHADOW ON
+  WHITE GROUND
+]
+
+[Illustration:
+
+  PLATE CVI
+
+  COLOR NOTE FROM A BLUEBIRD
+
+  A harmony of cobalt and light red.
+]
+
+[Illustration:
+
+  PLATE CVII
+
+  COLOR NOTE FROM A SLICE OF AN ORANGE
+]
+
+[Illustration:
+
+  PLATE CVIII
+
+  COLOR NOTE FROM ORANGE CANNA BLOSSOM
+
+  with part of leaf
+]
+
+[Illustration:
+
+  PLATE CIX
+
+  COLOR NOTE FROM A BUNCH OF AZALEAS
+]
+
+[Illustration:
+
+  PLATE CX
+
+  COLOR NOTE FROM OAK LEAVES AGAINST
+  A DISTANT HILLSIDE
+]
+
+[Illustration:
+
+  PLATE CXI
+
+  COLOR NOTE FROM OATS SEEN FROM THE
+  EDGE OF THE FIELD
+
+  So the top was a mass of soft blue-gray-green, while the
+  stalks were highly colored.
+]
+
+[Illustration:
+
+  PLATE CXII
+
+  COLOR NOTE FROM A PUSSY WILLOW
+]
+
+[Illustration:
+
+  PLATE CXIII
+
+  COLOR NOTE FROM A TROUT POND
+]
+
+[Illustration:
+
+  PLATE CXIV
+
+  COLOR NOTE FROM A TREE FUNGUS
+
+  Texture like velvet.
+]
+
+[Illustration:
+
+  PLATE CXV
+
+  COLOR SCHEME FROM WINTER LANDSCAPE BETWEEN BALTIMORE AND WASHINGTON
+]
+
+[Illustration:
+
+  PLATE CXVI
+
+  SPECTRAL RED
+  NEUTRALIZED BY BLACK AND WHITE
+]
+
+[Illustration:
+
+  PLATE CXVII
+
+  SPECTRAL YELLOW
+  NEUTRALIZED BY BLACK AND WHITE
+]
+
+[Illustration: Circular color wheel diagram: a circle divided into 10
+wedge-shaped sectors by radiating lines from the center, labeled around
+the rim (clockwise) Red-purple, Violet, Blue, Green-blue, Blue-green,
+Green, Yellow-green, Yellow, Orange, and Red.]
+
+-----
+
+Footnote 1:
+
+  Church, _Colour_.
+
+Footnote 2:
+
+  Rood, _Modern Chromatics_.
+
+Footnote 3:
+
+  “Mind,” n.s., Vol. II. 1893.
+
+Footnote 4:
+
+  The use of this suggestion as to colored glass is strongly urged by
+  the author, as it is a capital way of seeing how the world would look
+  were everything in it blue, or any other color.
+
+Footnote 5:
+
+  _The Chemistry of Paints and Painting._
+
+Footnote 6:
+
+  Church.
+
+Footnote 7:
+
+  Chevreul.
+
+Footnote 8:
+
+  COLOUR. By A. H. Church. Ch. X., p. 116.
+
+Footnote 9:
+
+  MODERN CHROMATICS. By Prof. O. N. Rood. Ch. XVI.
+
+Footnote 10:
+
+  COLOUR. By A. H. Church. Ch. XI., p. 144.
+
+Footnote 11:
+
+  F. Schuyler Matthews.
+
+Footnote 12:
+
+  Lectures and Lessons on Art. F. W. Moody. P. 131.
+
+Footnote 13:
+
+  Rood.
+
+Footnote 14:
+
+  FLORAL ART OF JAPAN. By Condor.
+
+Footnote 15:
+
+  In THE AMERICAN FLORIST.
+
+Footnote 16:
+
+  NOTE.—“A streak of light.”—_Rood._
+
+------------------------------------------------------------------------
+
+
+
+
+                          TRANSCRIBER’S NOTES
+
+
+ ● Typos fixed; non-standard spelling and dialect retained.
+ ● Used numbers for footnotes, placing them all at the end of the last
+     chapter.
+ ● Enclosed italics font in _underscores_.
+ ● The caret (^) serves as a superscript indicator, applicable to
+     individual characters (like 2^d) and even entire phrases (like
+     1^{st}).
+ ● HTML alt text was added for images that didn’t have captions.
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 77736 ***