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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 ***
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+
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+       .border {border-style: solid;border-width: medium; padding: 1em; clear: both; }
+
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+
+       indent {content: " "; display: inline-block; text-indent: 20em; }
+
+    </style>
+
+  </head>
+
+  <body>   
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77736 ***</div>
+
+
+
+<div class='tnotes covernote'>
+
+
+
+<p class='c000'><strong>Transcriber’s Note:</strong></p>
+
+
+
+<p class='c000'>New original cover art included with this eBook is granted to the public domain.</p>
+
+
+
+</div>
+
+
+
+<div class='titlepage double'>
+
+
+
+<div>
+
+  <h1 class='c001'>COLOR PROBLEMS</h1>
+
+</div>
+
+
+
+<div class='border'>
+
+
+
+<div class='nf-center-c0'>
+
+<div class='nf-center c002'>
+
+    <div><span class='xlarge'>A PRACTICAL MANUAL FOR THE LAY STUDENT OF COLOR</span></div>
+
+  </div>
+
+</div>
+
+
+
+</div>
+
+<div class='border'>
+
+
+
+<div class='nf-center-c0'>
+
+  <div class='nf-center'>
+
+    <div>By</div>
+
+    <div class='c003'><span class='large'>EMILY NOYES VANDERPOEL</span></div>
+
+  </div>
+
+</div>
+
+
+
+</div>
+
+<div class='border'>
+
+
+
+<div class='nf-center-c0'>
+
+  <div class='nf-center'>
+
+    <div><span class='small'><i>WITH ONE HUNDRED AND SEVENTEEN COLORED PLATES</i></span></div>
+
+  </div>
+
+</div>
+
+
+
+</div>
+
+
+
+<div class='border'>
+
+
+
+<div  class='figcenter id001'>
+
+<img src='images/i_003.jpg' alt='' class='ig001'>
+
+</div>
+
+
+
+</div>
+
+<div class='border'>
+
+
+
+<div class='nf-center-c0'>
+
+  <div class='nf-center'>
+
+    <div>LONGMANS, GREEN, AND CO.</div>
+
+    <div><span class='small'><span class='sc'>91 and 93 Fifth Avenue, New York</span></span></div>
+
+    <div><span class='small'><i>LONDON AND BOMBAY</i></span></div>
+
+    <div><span class='small'>1902</span></div>
+
+  </div>
+
+</div>
+
+
+
+</div>
+
+
+
+</div>
+
+
+
+<div class='nf-center-c0'>
+
+<div class='nf-center c002'>
+
+    <div><span class='small'>Copyright, 1901, by</span></div>
+
+    <div><span class='small'><span class='sc'>Emily Noyes Vanderpoel</span>.</span></div>
+
+    <div class='c002'><span class='small'><i>All rights reserved.</i></span></div>
+
+    <div class='c002'><span class='small'>Rockwell and Churchill Press</span></div>
+
+    <div><span class='small'>BOSTON, U.S.A.</span></div>
+
+  </div>
+
+</div>
+
+
+
+<div class='nf-center-c0'>
+
+<div class='nf-center c002'>
+
+    <div><i>To</i></div>
+
+    <div class='c003'><i>My Father</i></div>
+
+    <div class='c003'>WILLIAM CURTIS NOYES</div>
+
+  </div>
+
+</div>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_vii'>vii</span>
+
+  <h2 class='c004'>PREFACE</h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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
+
+<span class='pageno' id='Page_viii'>viii</span>cannot be fully appreciated by any written description,
+
+the text has been made as brief as possible,
+
+the plates full and elaborate.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<div class='lg-container-r'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>E. N. V.</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_ix'>ix</span>
+
+  <h2 class='c004'>INTRODUCTION</h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_x'>x</span>in arranging a color design is in determining
+
+the <i>qualities</i> and <i>quantities</i> 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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<div class='lg-container-r'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>R. SWAIN GIFFORD.</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_xi'>xi</span>
+
+  <h2 class='c004'>CONTENTS</h2>
+
+</div>
+
+
+
+<table class='table0'>
+
+  <tr>
+
+    <th class='c007'><span class='sc'>Chapter</span></th>
+
+    <th class='c008'>&#160;</th>
+
+    <th class='c009'><span class='sc'>Page</span></th>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>&#160;</td>
+
+    <td class='c008'><span class='sc'>Preface</span></td>
+
+    <td class='c009'><a href='#Page_vii'>vii</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>&#160;</td>
+
+    <td class='c008'><span class='sc'>Introduction</span></td>
+
+    <td class='c009'><a href='#Page_ix'>ix</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>&#160;</td>
+
+    <td class='c008'><span class='sc'>List of Plates</span></td>
+
+    <td class='c009'><a href='#Page_xiii'>xiii</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>I.</td>
+
+    <td class='c008'><span class='sc'>Color-Blindness</span></td>
+
+    <td class='c009'><a href='#Page_3'>3</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>II.</td>
+
+    <td class='c008'><span class='sc'>Color Theories</span></td>
+
+    <td class='c009'><a href='#Page_13'>13</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>III.</td>
+
+    <td class='c008'><span class='sc'>Color Qualities</span></td>
+
+    <td class='c009'><a href='#Page_26'>26</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>IV.</td>
+
+    <td class='c008'><span class='sc'>Contrasts and Complements</span></td>
+
+    <td class='c009'><a href='#Page_48'>48</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>V.</td>
+
+    <td class='c008'><span class='sc'>Color-Harmonies</span></td>
+
+    <td class='c009'><a href='#Page_73'>73</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>VI.</td>
+
+    <td class='c008'><span class='sc'>Historic Color</span></td>
+
+    <td class='c009'><a href='#Page_107'>107</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>VII.</td>
+
+    <td class='c008'><span class='sc'>Nature Color</span></td>
+
+    <td class='c009'><a href='#Page_111'>111</a></td>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt c007'>VIII.</td>
+
+ <td class='bbt c008'><span class='sc'>Special Suggestions</span></td>
+
+ <td class='bbt c009'><a href='#Page_115'>115</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c010' colspan='2'><span class='sc'>Appendix A—Definitions</span></td>
+
+    <td class='c009'><a href='#Page_125'>125</a></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c010' colspan='2'><span class='sc'>Appendix B—Books for Reference</span></td>
+
+    <td class='c009'><a href='#Page_133'>133</a></td>
+
+  </tr>
+
+</table>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_xiii'>xiii</span>
+
+  <h2 class='c004'>LIST OF PLATES</h2>
+
+</div>
+
+<table class='table0'>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_I'>I</a>.</td>
+
+    <td class='c011'>Wools as sorted by a Color-Blind Man.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_II'>II</a>.</td>
+
+    <td class='c011'>Solar Spectra.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_III'>III</a>.</td>
+
+    <td class='c011'>Table of Spectral Colors.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_IV'>IV</a>.</td>
+
+    <td class='c011'>The Spectral Colors (<i>a</i>) In their order of Luminosity;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'>&#160;</td>
+
+    <td class='c011'>&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;&#8196;(<i>b</i>) Pure, and Grayed.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_V'>V</a>.</td>
+
+    <td class='c011'>Advancing and Retiring Colors.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_VI'>VI</a>.</td>
+
+    <td class='c011'>Advancing and Retiring Colors.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_VII'>VII</a>.</td>
+
+    <td class='c011'>Tints.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_VIII'>VIII</a>.</td>
+
+    <td class='c011'>Shades.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_IX'>IX</a>.</td>
+
+    <td class='c011'>Violet with its Extremes.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_X'>X</a>.</td>
+
+    <td class='c011'>Blue with its Extremes.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XI'>XI</a>.</td>
+
+    <td class='c011'>Green with its Extremes.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XII'>XII</a>.</td>
+
+    <td class='c011'>Yellow with its Extremes.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XIII'>XIII</a>.</td>
+
+    <td class='c011'>Orange with its Extremes.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XIV'>XIV</a>.</td>
+
+    <td class='c011'>Red with its Extremes.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XV'>XV</a>.</td>
+
+    <td class='c011'>Shades by Contrast.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XVI'>XVI</a>.</td>
+
+    <td class='c011'>Spectral Colors on Black, White, and Gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XVII'>XVII</a>.</td>
+
+    <td class='c011'>White on Spectral Colors.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XVIII'>XVIII</a>.</td>
+
+    <td class='c011'>Black on Spectral Colors.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XIX'>XIX</a>.</td>
+
+    <td class='c011'>Gray on Spectral Colors.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XX'>XX</a>.</td>
+
+    <td class='c011'>Spectral Red with its Complement.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXI'>XXI</a>.</td>
+
+    <td class='c011'>Spectral Red Disk for Experiment in Complements.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXII'>XXII</a>.</td>
+
+    <td class='c011'>Spectral Red and its Complement, Blue-Green, in their relative Proportions.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXIII'>XXIII</a>.</td>
+
+    <td class='c011'>Spectral Orange and its Complement, Green-Blue, in their relative Proportions.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXIV'>XXIV</a>.</td>
+
+    <td class='c011'>Spectral Yellow and its Complement, Spectral Blue, or Spectral Blue and its Complement, Spectral Yellow, in their relative Proportions.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXV'>XXV</a>.</td>
+
+    <td class='c011'>Spectral Green and its Complement, Purple, in their relative Proportions.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXVI'>XXVI</a>.</td>
+
+    <td class='c011'>Spectral Violet and its Complement, Yellow-Green, in their relative Proportions.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXVII'>XXVII</a>.</td>
+
+    <td class='c011'>Milton-Bradley Color Machine.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXVIII'>XXVIII</a>.</td>
+
+    <td class='c011'>Table of Complements arranged in Pairs.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXIX'>XXIX</a>.</td>
+
+    <td class='c011'>Table of Complements arranged in a Circle.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXX'>XXX</a>.</td>
+
+    <td class='c011'>Contrast Diagram.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><span class='pageno' id='Page_xiv'>xiv</span><a href='#Page_XXXI'>XXXI</a>.</td>
+
+    <td class='c011'>Color analysis from a Prize Dinner-table.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXII'>XXXII</a>.</td>
+
+    <td class='c011'>Color analysis from Teacup and Saucer.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXIII'>XXXIII</a>.</td>
+
+    <td class='c011'>Harmony of one Color; Harmony of Contrast; Complex Harmony.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXIV'>XXXIV</a>.</td>
+
+    <td class='c011'>Color analysis of a Book Advertisement.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXV'>XXXV</a>.</td>
+
+    <td class='c011'>Harmony helped by Outline.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXVI'>XXXVI</a>.</td>
+
+    <td class='c011'>Good Dyads, or Pairs.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXVII'>XXXVII</a>.</td>
+
+    <td class='c011'>Good Triads.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXVIII'>XXXVIII</a>.</td>
+
+    <td class='c011'>Harmony by Gradation.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XXXIX'>XXXIX</a>.</td>
+
+    <td class='c011'>Harmony by Change of Quality.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XL'>XL</a>.</td>
+
+    <td class='c011'>Harmony by Change of Quantity.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLI'>XLI</a>.</td>
+
+    <td class='c011'>Harmony by Change of Both Quality and Quantity.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLII'>XLII</a>.</td>
+
+    <td class='c011'>Harmony by the Addition of another Color.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLIII'>XLIII</a>.</td>
+
+    <td class='c011'>Harmony by the Addition of Black.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLIV'>XLIV</a>.</td>
+
+    <td class='c011'>Harmony from a Dominant Hue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLV'>XLV</a>.</td>
+
+    <td class='c011'>Harmony by Interchange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLVI'>XLVI</a>.</td>
+
+    <td class='c011'>Harmony by Counterchange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLVII'>XLVII</a>.</td>
+
+    <td class='c011'>The True Character of some of the so-called “Whites.”</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLVIII'>XLVIII</a>.</td>
+
+    <td class='c011'>Some Changes by Gradation.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XLIX'>XLIX</a>.</td>
+
+    <td class='c011'>Color analysis from Assyrian Tiles.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_L'>L</a>.</td>
+
+    <td class='c011'>Color analysis from Assyrian Tiles.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LI'>LI</a>.</td>
+
+    <td class='c011'>Color analysis from Assyrian Tiles.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LII'>LII</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cover.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LIII'>LIII</a>.</td>
+
+    <td class='c011'>Color analysis from an Egyptian Mummy Case.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LIV'>LIV</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Case.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LV'>LV</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LVI'>LVI</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LVII'>LVII</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LVIII'>LVIII</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LIX'>LIX</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LX'>LX</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXI'>LXI</a>.</td>
+
+    <td class='c011'>Color analysis from a Mummy Cloth.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXII'>LXII</a>.</td>
+
+    <td class='c011'>Color analysis from an early Greek Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXIII'>LXIII</a>.</td>
+
+    <td class='c011'>Color analysis from a Greek Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXIV'>LXIV</a>.</td>
+
+    <td class='c011'>Color analysis from a Greek Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXV'>LXV</a>.</td>
+
+    <td class='c011'>Color analysis from a Greek Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXVI'>LXVI</a>.</td>
+
+    <td class='c011'>Color analysis from Arab Mosaics.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXVII'>LXVII</a>.</td>
+
+    <td class='c011'>Color analysis from Arab Illumination.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXVIII'>LXVIII</a>.</td>
+
+    <td class='c011'>Color analysis from Moorish Tiles.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXIX'>LXIX</a>.</td>
+
+    <td class='c011'>Color analysis from a Panel of the Alhambra.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXX'>LXX</a>.</td>
+
+    <td class='c011'>Color analysis from a Panel of the Taj Mahal, India.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXI'>LXXI</a>.</td>
+
+    <td class='c011'>Color analysis from Damascus Tiles.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXII'>LXXII</a>.</td>
+
+    <td class='c011'>Color analysis from Celtic Ornament.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXIII'>LXXIII</a>.</td>
+
+    <td class='c011'>Color analysis from Italian Majolica Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXIV'>LXXIV</a>.</td>
+
+    <td class='c011'>Color analysis from Panel of Dutch Inlaid Cabinet of the 15th Century.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXV'>LXXV</a>.</td>
+
+    <td class='c011'>Color analysis from Spanish Embroidery.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXVI'>LXXVI</a>.</td>
+
+    <td class='c011'>Color analysis from Spanish Embroidery.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXVII'>LXXVII</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Persian Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXVIII'>LXXVIII</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><span class='pageno' id='Page_xv'>xv</span><a href='#Page_LXXIX'>LXXIX</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXX'>LXXX</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXI'>LXXXI</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXII'>LXXXII</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXIII'>LXXXIII</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXIV'>LXXXIV</a>.</td>
+
+    <td class='c011'>Color scheme of an Antique Rug.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXV'>LXXXV</a>.</td>
+
+    <td class='c011'>Color analysis from an Antique Rug. (Plate lxxxiv.)</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXVI'>LXXXVI</a>.</td>
+
+    <td class='c011'>Color analysis from Japanese Silk Tapestry.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXVII'>LXXXVII</a>.</td>
+
+    <td class='c011'>Color analysis from Japanese Silk Tapestry.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXVIII'>LXXXVIII</a>.</td>
+
+    <td class='c011'>Color analysis from Japanese Silk Brocade.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_LXXXIX'>LXXXIX</a>.</td>
+
+    <td class='c011'>Color analysis from border of Japanese Cloisonné Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XC'>XC</a>.</td>
+
+    <td class='c011'>Color analysis from Japanese Cloisonné Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCI'>XCI</a>.</td>
+
+    <td class='c011'>Color analysis from Japanese Skirt Panel.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCII'>XCII</a>.</td>
+
+    <td class='c011'>Color analysis from Japanese Brocade.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCIII'>XCIII</a>.</td>
+
+    <td class='c011'>Color analysis from Chinese Porcelain.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCIV'>XCIV</a>.</td>
+
+    <td class='c011'>Color analysis from a Black Hawthorn Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCV'>XCV</a>.</td>
+
+    <td class='c011'>Color analysis from a Rose-colored Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCVI'>XCVI</a>.</td>
+
+    <td class='c011'>Color analysis from Yellow Chinese Porcelain Vase.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCVII'>XCVII</a>.</td>
+
+    <td class='c011'>Color analysis from a Chinese “Eggshell” Plate.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCVIII'>XCVIII</a>.</td>
+
+    <td class='c011'>Color analysis from a Butterfly.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_XCIX'>XCIX</a>.</td>
+
+    <td class='c011'>Color analysis from a Stone.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_C'>C</a>.</td>
+
+    <td class='c011'>Color note from a Discolored Propeller Flange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CI'>CI</a>.</td>
+
+    <td class='c011'>Color note from Leaves on a Tree.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CII'>CII</a>.</td>
+
+    <td class='c011'>Color note from a Sunset Sky.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CIII'>CIII</a>.</td>
+
+    <td class='c011'>Color note from Bare Woods on the Edge of a Meadow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CIV'>CIV</a>.</td>
+
+    <td class='c011'>Color note from Evergreens against a Gray-Blue Rain cloud.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CV'>CV</a>.</td>
+
+    <td class='c011'>Color note from a Shadow on White Ground.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CVI'>CVI</a>.</td>
+
+    <td class='c011'>Color note from a Bluebird.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CVII'>CVII</a>.</td>
+
+    <td class='c011'>Color note from a Slice of an Orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CVIII'>CVIII</a>.</td>
+
+    <td class='c011'>Color note from an Orange Canna Blossom.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CIX'>CIX</a>.</td>
+
+    <td class='c011'>Color note from a Bunch of Azaleas.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CX'>CX</a>.</td>
+
+    <td class='c011'>Color note from Oak leaves against a Distant Hillside.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXI'>CXI</a>.</td>
+
+    <td class='c011'>Color note from Oats seen from the Edge of the Field.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXII'>CXII</a>.</td>
+
+    <td class='c011'>Color note from a Pussy Willow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXIII'>CXIII</a>.</td>
+
+    <td class='c011'>Color note from a Trout Pond.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXIV'>CXIV</a>.</td>
+
+    <td class='c011'>Color note from a Tree Fungus.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXV'>CXV</a>.</td>
+
+    <td class='c011'>Color scheme from Winter Landscape.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXVI'>CXVI</a>.</td>
+
+    <td class='c011'>Spectral Red, neutralized by Black and White.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c007'><a href='#Page_CXVII'>CXVII</a>.</td>
+
+    <td class='c011'>Spectral Yellow, neutralized by Black and White.</td>
+
+  </tr>
+
+</table>
+
+
+
+<div class='chapter ph1'>
+
+
+
+<div class='nf-center-c0'>
+
+<div class='nf-center c012'>
+
+    <div>COLOR PROBLEMS</div>
+
+  </div>
+
+</div>
+
+
+
+</div>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_3'>3</span>
+
+  <h2 class='c004'>CHAPTER I<br> <span class='c013'>COLOR-BLINDNESS</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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 <i>the music of light</i>; 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 <i>its</i> harmonies
+
+have not been as thoroughly studied and
+
+classified as those of sound.</p>
+
+
+
+<p class='c006'>Furthermore, color has come to be so closely
+
+<span class='pageno' id='Page_4'>4</span>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 <i>color</i> 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.”</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_5'>5</span>has lately come a newer and simpler form of the
+
+same invention.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_6'>6</span>persons amount to but two, <i>viz.</i>, yellow and blue,
+
+with a long range of neutral grays between.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_7'>7</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_8'>8</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_9'>9</span>admirer of landscape and art. One cannot say
+
+from what the enjoyment arises, but it is certainly
+
+there.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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,
+
+<span class='pageno' id='Page_10'>10</span>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.</p>
+
+
+
+<p class='c006'>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.”<a id='r1'></a><a href='#f1' class='c014'><sup>[1]</sup></a></p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_11'>11</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>There comes with advancing years a subtle
+
+change in the condition of the eye which it is well
+
+<span class='pageno' id='Page_12'>12</span>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.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_13'>13</span>
+
+  <h2 class='c004'>CHAPTER II<br> <span class='c013'>COLOR THEORIES</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>The cut on page <a href='#Page_14'>14</a> 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.
+
+<span class='pageno' id='Page_14'>14</span>This is a wonderful membrane, very thin, but composed,
+
+as we see in the next illustration, magnified
+
+many times (page <a href='#Page_15'>15</a>), 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.</p>
+
+
+
+<div  class='figcenter id002'>
+
+<img src='images/i_030.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p>THE CONSTRUCTION OF THE HUMAN EYE AS VIEWED FROM THE SIDE.<br>  <br>  (Nearly life size.)</p>
+
+</div>
+
+</div>
+
+
+
+<p class='c006'>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 <i>wave theory</i>—that
+
+<span class='pageno' id='Page_15'>15</span>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 <i>light</i>.</p>
+
+
+
+<div  class='figcenter id002'>
+
+<img src='images/i_031.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p>CROSS-SECTION OF THE RETINA, SHOWING THE RODS AND CONES.<br>  <br>  (Very much magnified.)</p>
+
+</div>
+
+</div>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_16'>16</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.
+
+<span class='pageno' id='Page_17'>17</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_18'>18</span>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 <cite>Modern
+
+Chromatics</cite>, “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.</p>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_19'>19</span>
+
+<img src='images/i_035.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p>DIAGRAM ILLUSTRATING THE YOUNG-HELMHOLTZ THEORY OF COLOR<br>  SENSATION.</p>
+
+</div>
+
+</div>
+
+
+
+<p class='c006'>“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, <cite>Physiological
+
+Optics</cite>. In this figure, along the horizontal
+
+<span class='pageno' id='Page_20'>20</span>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_21'>21</span>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.</p>
+
+
+
+<p class='c006'>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,—</p>
+
+
+
+<div class='lg-container-b'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>Black and white,</div>
+
+      <div class='line'>Red and green,</div>
+
+      <div class='line'>Blue and yellow.</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_22'>22</span>present in suitable proportions a balance is effected,
+
+and both sensations, red and green, vanish.”<a id='r2'></a><a href='#f2' class='c014'><sup>[2]</sup></a></p>
+
+
+
+<p class='c006'>One of the latest accounts of these theories (of
+
+Young-Helmholtz and Hering), written in English,
+
+is to be found in Dr. Foster’s <cite>Text-book of Physiology</cite>.
+
+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.</p>
+
+
+
+<div  class='figcenter id002'>
+
+<img src='images/i_038.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p>DIAGRAM ILLUSTRATING HERING’S THEORY OF COLOR SENSATION.</p>
+
+</div>
+
+</div>
+
+
+
+<p class='c006'>Edridge Green also discusses both theories fully
+
+in connection with color-blindness.</p>
+
+
+
+<p class='c006'>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 “<i>tri-chromic</i>,
+
+<span class='pageno' id='Page_23'>23</span>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.</p>
+
+
+
+<p class='c006'>Le Conte, in his work <cite>Sight</cite>, 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&#160;... 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
+
+<span class='pageno' id='Page_24'>24</span>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.”</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>Mrs. Franklin of Baltimore has lately given us
+
+a theory of “light sensation,” as she prefers to call
+
+it, which has been favorably received.<a id='r3'></a><a href='#f3' class='c014'><sup>[3]</sup></a> 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
+
+<span class='pageno' id='Page_25'>25</span>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.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_26'>26</span>
+
+  <h2 class='c004'>CHAPTER III<br> <span class='c013'>COLOR QUALITIES<br> HUE, PURITY, LUMINOSITY—COLD AND WARM COLORS—TINTS, SHADES, BROKEN TINTS</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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.</p>
+
+
+
+<p class='c006'>The first quality or constant of colors is <i>hue</i>,
+
+<span class='pageno' id='Page_27'>27</span>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.</p>
+
+
+
+<p class='c006'>The second quality or constant of colors is <i>purity</i>,
+
+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.</p>
+
+
+
+<p class='c006'>The third quality or constant of colors is their
+
+<i>luminosity</i> or <i>brightness</i>, also sometimes called
+
+<i>clearness</i>. 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
+
+<span class='pageno' id='Page_28'>28</span>and white matches in luminosity the one back
+
+of it.</p>
+
+
+
+<p class='c006'>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 <i>vice versa</i> 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.</p>
+
+
+
+<p class='c006'>We will now take up in turn each of the six
+
+hues by itself and study it in its variations towards
+
+its neighboring hues.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_29'>29</span>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.</p>
+
+
+
+<p class='c006'>Goethe in his <cite>Theory of Colour</cite>, 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
+
+<span class='pageno' id='Page_30'>30</span>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.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“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, “<span lang="fr">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.</span>” (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.)</p>
+
+
+
+<p class='c006'>“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.<a id='r4'></a><a href='#f4' class='c014'><sup>[4]</sup></a></p>
+
+
+
+<p class='c006'>“The colors on the <i>plus</i> side are yellow, red-yellow
+
+<span class='pageno' id='Page_31'>31</span>and yellow-red. The feelings they excite are
+
+quick, lively, and aspiring.</p>
+
+
+
+<p class='c006'>“The colors on the <i>minus</i> side are blue, red-blue
+
+and blue-red. They produce a restless, susceptible,
+
+anxious impression.”</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_32'>32</span>color. Violet of all kinds suffers from artificial
+
+light, losing much of its blue, and becoming
+
+more red and dull.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>Goethe says of it, “It may be said that blue
+
+brings a principle of darkness with it.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“As the upper sky and distant mountains appear
+
+blue, so a blue surface seems to retire from us.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_33'>33</span>“Blue gives us an impression of cold, and thus
+
+again reminds us of shade. We have before
+
+spoken of its affinity with black.</p>
+
+
+
+<p class='c006'>“Rooms which are hung with pure blue appear
+
+in some degree larger, but at the same time empty
+
+and cold.</p>
+
+
+
+<p class='c006'>“The appearance of objects seen through a blue
+
+glass is gloomy and melancholy.</p>
+
+
+
+<p class='c006'>“When blue partakes in some measure of the
+
+<i>plus</i> side the effect is not disagreeable; sea-green
+
+is rather a pleasing color.”</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.
+
+<span class='pageno' id='Page_34'>34</span>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_35'>35</span>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.</p>
+
+
+
+<p class='c006'>Of yellow Goethe writes, “This is the color
+
+nearest the light.</p>
+
+
+
+<p class='c006'>“In its highest purity it always carries with it
+
+the nature of brightness, and has a serene, gay,
+
+softly exciting character.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“We find from experience again that yellow excites
+
+a warm and agreeable impression. Hence in
+
+painting it belongs to the illumined and emphatic
+
+side.</p>
+
+
+
+<p class='c006'>“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.”</p>
+
+
+
+<p class='c006'>Yellow is both a warm and an advancing color,
+
+especially useful to apply as ornament on other
+
+<span class='pageno' id='Page_36'>36</span>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.</p>
+
+
+
+<p class='c006'>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,<a id='r5'></a><a href='#f5' class='c014'><sup>[5]</sup></a> the deep or orange cadmiums are all
+
+more lasting than the pale or lemon-colored kinds.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_37'>37</span>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.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“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
+
+<span class='pageno' id='Page_38'>38</span>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
+
+<cite>Chemistry of Paints and Painting</cite>: “No artist
+
+who cares for his work, and hopes for its permanency,
+
+should ever employ them.”</p>
+
+
+
+<p class='c006'>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:</p>
+
+
+
+<table class='table1'>
+
+  <tr>
+
+    <th class='c015'>COLD.</th>
+
+    <th class='c016'>WARM.</th>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Violet</td>
+
+    <td class='c018'>Yellow</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Blue</td>
+
+    <td class='c018'>Orange</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Green</td>
+
+    <td class='c018'>Red</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c019'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_39'>39</span>of these qualities greatly affects architecture and
+
+decoration. (See Plates V and VI.)</p>
+
+
+
+<p class='c006'>To recapitulate, we have first, three qualities or
+
+constants of <i>colors</i>: 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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>1. <span class='sc'>Tints.</span>—“The reduced scale—that is, the
+
+normal hue mixed with progressive increments (additions)
+
+of white, thus forming <i>tints</i>.” The spectral
+
+hue of the color weakened by white. Plate VII.</p>
+
+
+
+<p class='c006'>2. <span class='sc'>Shades.</span>—“The darkened scale—that is,
+
+the normal hue mixed with progressive increments
+
+(additions) of black, thus forming <i>shades</i>.” The
+
+spectral hue of the color darkened with black.
+
+Plate VIII.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_40'>40</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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 <i>color harmony</i>, 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
+
+<span class='pageno' id='Page_41'>41</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_42'>42</span>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.</p>
+
+
+
+<p class='c006'>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,
+
+<span class='pageno' id='Page_43'>43</span>the thin layers of the material interfere or break
+
+up the waves of light and so produce the color.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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:</p>
+
+
+
+<table class='table1'>
+
+  <tr><td class='c020' colspan='4'><span class='pageno' id='Page_44'>44</span></td></tr>
+
+  <tr>
+
+    <th class='c008' colspan='2'><span class='sc'>If Light</span></th>
+
+    <th class='c008'><span class='sc'>Increase</span>,—</th>
+
+    <th class='c011'><span class='sc'>Diminish</span>.</th>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c015'>becomes</td>
+
+    <td class='c008'>Scarlet</td>
+
+    <td class='c011'>Purplish.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Scarlet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c011'>Red.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c011'>Brown.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>Paler</td>
+
+    <td class='c011'>Olive-Green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow-green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>Yellower</td>
+
+    <td class='c011'>Greener.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue-green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>More blue</td>
+
+    <td class='c011'>Greener.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Art’f. ultramarine</td>
+
+    <td class='c015'>becomes</td>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c011'>More violet.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>More blue</td>
+
+    <td class='c011'>Purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>Redder</td>
+
+    <td class='c011'>More violet.</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_45'>45</span>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.)</p>
+
+
+
+<p class='c006'>Chevreul made many experiments with these.
+
+Church gives them to us, with modifications, in the
+
+following concise form:</p>
+
+
+
+<table class='table1'>
+
+  <tr>
+
+    <td class='c015'>Red</td>
+
+    <td class='c015'>rays falling</td>
+
+    <td class='c015'>on</td>
+
+    <td class='c017'>white</td>
+
+    <td class='c015'>make it</td>
+
+    <td class='c015'>appear</td>
+
+    <td class='c018'>red.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>deeper red.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>redder.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>yellowish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>violet.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>black</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>rusty black.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>Orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>white</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>reddish-orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>deeper orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>orange-yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>dark yellow-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>dark reddish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>dark purplish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>black</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>brownish-black.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>Yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>white</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>orange-brown.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>orange-yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>deeper yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>yellowish-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>slaty-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>purplish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>black</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>olive-black.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>Green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>white</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'><span class='pageno' id='Page_46'>46</span>Green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>yellowish-brown.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>grayish-leaf-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>yellowish-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>deeper green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluish-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>black</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>dark greenish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>Blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>white</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>plum-brown.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>yellowish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluish-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>deeper blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluer.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>black</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluish-black.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>Violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>white</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>violet.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>reddish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>purplish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluish-gray.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>bluish-violet.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>deeper violet.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c017'>black</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>violet-black.</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_47'>47</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_48'>48</span>
+
+  <h2 class='c004'>CHAPTER IV<br> <span class='c013'>CONTRASTS AND COMPLEMENTS</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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:</p>
+
+
+
+<div class='lg-container-b'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>Simultaneous contrasts of tone, neutral.</div>
+
+      <div class='line'>Simultaneous contrasts of color on neutral grounds.</div>
+
+      <div class='line'>Successive contrasts.</div>
+
+      <div class='line'>Mixed contrasts.</div>
+
+      <div class='line'>Contrasts of complements.</div>
+
+      <div class='line'>Contrasts of other hues or lesser contrasts.</div>
+
+      <div class='line'>Contrasts of brightness.</div>
+
+      <div class='line'>Contrasts of purity.</div>
+
+      <div class='line'>Contrasts of cold and warm colors.</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c006'>The first point to understand clearly is the law
+
+of simultaneous contrast of tone as studied and
+
+<span class='pageno' id='Page_49'>49</span>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
+
+<span class='pageno' id='Page_50'>50</span>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 <i>double</i> 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
+
+<span class='pageno' id='Page_51'>51</span>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.</p>
+
+
+
+<p class='c006'>“This phenomenon of simultaneous contrast of
+
+tone of course largely affects&#160;... all drawings
+
+in black and white and in monochrome.”</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_52'>52</span>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_53'>53</span>fulness of its black; over greens, it will partake
+
+of their complement, red, and tend to look rusty.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_54'>54</span>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
+
+<span class='pageno' id='Page_55'>55</span>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_56'>56</span>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.</p>
+
+
+
+<p class='c006'>“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
+
+<span class='pageno' id='Page_57'>57</span>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.”<a id='r6'></a><a href='#f6' class='c014'><sup>[6]</sup></a></p>
+
+
+
+<p class='c006'>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 <i>lesser contrasts</i>. 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
+
+<span class='pageno' id='Page_58'>58</span>and classifying them. It is well here to
+
+note how many complements are green or greenish
+
+in hue.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_59'>59</span>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:</p>
+
+
+
+<p class='c006'>(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.)</p>
+
+
+
+<table class='table1'>
+
+  <tr><td class='c020' colspan='3'><span class='pageno' id='Page_60'>60</span></td></tr>
+
+  <tr>
+
+    <th class='c015'><span class='sc'>Pairs of Colors.</span></th>
+
+    <th class='c016' colspan='2'><span class='sc'>Change due to Simultaneous Contrast.</span></th>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red with orange</td>
+
+    <td class='c008'>inclines to</td>
+
+    <td class='c011'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange with red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red with yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow with red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red with blue-green</td>
+
+    <td class='c008'>becomes more</td>
+
+    <td class='c011'>brilliant.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue-green with red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c016'>„</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red with blue</td>
+
+    <td class='c008'>inclines to</td>
+
+    <td class='c011'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue with red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red with violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet with red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red with purple</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple with red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange with yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>red.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow with orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange with green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>red.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green with orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange-yellow with turquoise</td>
+
+    <td class='c008'>becomes more</td>
+
+    <td class='c011'>brilliant.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Turquoise with orange-yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c016'>„</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange with violet</td>
+
+    <td class='c008'>inclines to</td>
+
+    <td class='c011'>yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet with orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange with purple</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple with orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow with green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green with yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow with turquoise</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Turquoise with yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow with blue</td>
+
+    <td class='c008'>becomes more</td>
+
+    <td class='c011'>brilliant.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue with yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c016'>„</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green with blue</td>
+
+    <td class='c008'>inclines to</td>
+
+    <td class='c011'>yellow-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue with green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>violet.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green with violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>yellow-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet with green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'><span class='pageno' id='Page_61'>61</span>Green with purple</td>
+
+    <td class='c008'>becomes more</td>
+
+    <td class='c011'>brilliant.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple with green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c016'>„</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue with violet</td>
+
+    <td class='c008'>inclines to</td>
+
+    <td class='c011'>green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet with blue</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet with purple</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple with violet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c011'>red.</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c006'>“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 <i>hue</i>,
+
+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.”</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_62'>62</span>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.</p>
+
+
+
+<p class='c006'>Still another form of contrast is called <i>mixed
+
+contrast</i>. “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
+
+<span class='pageno' id='Page_63'>63</span>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.”<a id='r7'></a><a href='#f7' class='c014'><sup>[7]</sup></a></p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>The purple or violet shadows of the “impressionists”
+
+are in many cases exaggerations. On
+
+snow, dust, or sand, violet shadows are to be found
+
+<span class='pageno' id='Page_64'>64</span>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.</p>
+
+
+
+<p class='c006'>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:</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_65'>65</span>“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.</p>
+
+
+
+<p class='c006'>“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 <i>vice versa</i>. Thus, if we look at a
+
+bright red wafer on the whitish surface, the complemental
+
+image will be still lighter than the
+
+<span class='pageno' id='Page_66'>66</span>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.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“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
+
+<span class='pageno' id='Page_67'>67</span>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
+
+<span class='pageno' id='Page_68'>68</span>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....</p>
+
+
+
+<p class='c006'>“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.”</p>
+
+
+
+<p class='c006'>Chevreul gives us in his book, <cite>Colour</cite> (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
+
+<span class='pageno' id='Page_69'>69</span>by Charles La Couture, <cite><span lang="fr">Répertoire Chromatique</span></cite>,
+
+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.</p>
+
+
+
+<p class='c006'>The following are rules to be used in regard to
+
+contrasting colors:</p>
+
+
+
+<p class='c006'><i>Rule I.</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.</p>
+
+
+
+<p class='c006'><i>Rule II.</i>—Harmony of contrast exists only in
+
+proportion to the changes in quality or quantity
+
+in equal portions of pure spectral tones.</p>
+
+
+
+<p class='c006'><i>Rule III.</i>—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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_70'>70</span><i>Rule IV.</i>—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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+  <dl class='dl_1'>
+
+    <dt>1.</dt>
+
+    <dd>Yellow chrysanthemums.
+
+    </dd>
+
+    <dt>2.</dt>
+
+    <dd>Yellow lamp-shades.
+
+    </dd>
+
+    <dt>3.</dt>
+
+    <dd>Yellow satin centrepiece.
+
+    </dd>
+
+    <dt>4.</dt>
+
+    <dd>Yellow candies.
+
+    </dd>
+
+    <dt>5.</dt>
+
+    <dd>Yellow candies.
+
+    </dd>
+
+    <dt>6.</dt>
+
+    <dd>Yellow candies.
+
+<div><span class='pageno' id='Page_71'>71</span></div>
+
+    </dd>
+
+    <dt>7.</dt>
+
+    <dd>Yellow-brown almonds.
+
+    </dd>
+
+    <dt>8.</dt>
+
+    <dd>Gold ornament on glass, china, and candies.
+
+    </dd>
+
+    <dt>9.</dt>
+
+    <dd>Dark purple-blue grapes.
+
+    </dd>
+
+    </dl>
+
+
+
+<p class='c006'>In this case some of the yellow was in pure
+
+spectral tones, the blue very strong, dark, and
+
+neutralized.</p>
+
+
+
+<p class='c006'><i>Rule VI.</i>—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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_72'>72</span>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.</p>
+
+
+
+<p class='c006'><i>Rule VII.</i>—Even pure spectral colors may be
+
+used with good effect by blending them in small
+
+portions, as in what are technically called diaper
+
+patterns.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_73'>73</span>
+
+  <h2 class='c004'>CHAPTER V<br> <span class='c013'>COLOR-HARMONIES<br> HARMONIES OF COMPLEX OR VARIOUS COLORS</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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.</p>
+
+
+
+<p class='c006'>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 <cite>The Law of Simultaneous Contrast</cite>:</p>
+
+
+
+<div class='nf-center-c0'>
+
+  <div class='nf-center'>
+
+    <div><span class='pageno' id='Page_74'>74</span>“I.—<span class='fss'>HARMONIES OF ANALOGY.</span></div>
+
+    <div class='c003'>“II.—<span class='fss'>HARMONIES OF CONTRAST.</span></div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c006'>“1. <i>The Harmony of Analogy of Scale.</i>—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.</p>
+
+
+
+<p class='c006'>“2. <i>The Harmony of Analogy of Tones.</i>—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.</p>
+
+
+
+<p class='c006'>“3. <i>The Harmony of a Dominant Hue.</i>—An
+
+example of this harmony is afforded by viewing a
+
+contrasted color assortment, a bouquet of flowers,
+
+<span class='pageno' id='Page_75'>75</span>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.</p>
+
+
+
+<p class='c006'>“1. <i>The Harmony of Contrast of Scale</i> is produced
+
+by the simultaneous view of two or more
+
+distant tones of the same scale.</p>
+
+
+
+<p class='c006'>“2. <i>The Harmony of Contrast of Tones</i> is produced
+
+by the simultaneous view of two or more
+
+tones of different depths belonging to neighboring
+
+or related scales.</p>
+
+
+
+<p class='c006'>“3. <i>The Harmony of Contrast of Hue</i> 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.</p>
+
+
+
+<p class='c006'>“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
+
+<span class='pageno' id='Page_76'>76</span>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 <i>gradual
+
+change</i> and of <i>abrupt change</i>. 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:</p>
+
+
+
+<p class='c006'>“1. The passage, by insensible differences, of the
+
+tints, shades, or broken tones of a single hue from
+
+light to dark.</p>
+
+
+
+<p class='c006'>“2. The passage, by small but regular, definite,
+
+<span class='pageno' id='Page_77'>77</span>and perceptible steps, of the tints, shades, or
+
+broken tones of a single hue from light to dark.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“4. The passage, by insensible differences, of one
+
+hue, or of the tones of one hue into another related
+
+hue, or its tones.</p>
+
+
+
+<p class='c006'>“5. The passage, by definite steps, of one hue,
+
+or of the tones of one hue, into another related hue
+
+or its tones.</p>
+
+
+
+<p class='c006'>“6. The passage, as above (5), of related hues
+
+into each other, each step separated by a neutral
+
+element.</p>
+
+
+
+<p class='c006'>“7. The passage, by insensible differences, of one
+
+hue into another chromatically remote hue.</p>
+
+
+
+<p class='c006'>“8. The passage, by definite steps, of one hue
+
+into another chromatically remote hue.</p>
+
+
+
+<p class='c006'>“9. The passage, as above (8), of one hue into
+
+another, when each step is separated by a neutral
+
+element.</p>
+
+
+
+<p class='c006'>“10. The collocation of distant tones.</p>
+
+
+
+<p class='c006'>“11. The collocation of chromatically distant
+
+hues with or without the interposition of neutral
+
+elements.</p>
+
+
+
+<p class='c006'>“It will be noticed how the idea of seriation
+
+or gradation becomes more and more involved
+
+<span class='pageno' id='Page_78'>78</span>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.”</p>
+
+
+
+<p class='c006'>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):</p>
+
+
+
+<div class='lg-container-b'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>Harmonies of one color.</div>
+
+      <div class='line'>Harmonies of contrast (of color).</div>
+
+      <div class='line'>Harmonies of complex or various colors.</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_79'>79</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_80'>80</span>“1. <span class='sc'>Red.</span>—<i>Red</i> with <i>white</i> 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.</p>
+
+
+
+<p class='c006'>“<i>Red</i> with <i>gray</i>, when the latter is moderately
+
+pale, becomes brighter and less saturated, sometimes
+
+acquiring an orange tinge.</p>
+
+
+
+<p class='c006'>“2. <span class='sc'>Orange.</span>—<i>Orange</i> with <i>white</i> 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.</p>
+
+
+
+<p class='c006'>“<i>Orange</i> with <i>gray</i>, when the latter is pale, is
+
+deepened and reddened. With dark tones of gray
+
+orange becomes lighter.</p>
+
+
+
+<p class='c006'>“<i>Orange</i> with <i>black</i> becomes brighter and slightly
+
+yellower.</p>
+
+
+
+<p class='c006'>“3. <span class='sc'>Yellow.</span>—<i>Yellow</i> with <i>white</i> 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.</p>
+
+
+
+<p class='c006'>“<i>Yellow</i> with <i>gray</i> is rendered brighter and perhaps
+
+slightly orange. The combination is satisfactory
+
+when the gray is rather dark.</p>
+
+
+
+<p class='c006'>“<i>Yellow</i> with <i>black</i> is rendered paler, brighter,
+
+and more advancing. The combination affords
+
+<span class='pageno' id='Page_81'>81</span>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.</p>
+
+
+
+<p class='c006'>“4. <span class='sc'>Green.</span>—<i>Green</i> with <i>white</i> becomes deeper
+
+and purer; the combination is capable of yielding
+
+very beautiful effects.</p>
+
+
+
+<p class='c006'>“<i>Green</i> with <i>gray</i> becomes deeper only when the
+
+gray is pale; if the gray be at all dark it acquires
+
+a purplish tinge.</p>
+
+
+
+<p class='c006'>“<i>Green</i> with <i>black</i> is rendered brighter and paler,
+
+while the black suffers, being tinged with a reddish
+
+or purplish hue.</p>
+
+
+
+<p class='c006'>“5. <span class='sc'>Blue.</span>—<i>Blue</i> with <i>white</i> 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.</p>
+
+
+
+<p class='c006'>“<i>Blue</i> with <i>gray</i>. Gray, if pale, deepens and
+
+purifies blue; the combination, though necessarily
+
+cold, is often most serviceable in pictorial as well
+
+as in ornamental art.</p>
+
+
+
+<p class='c006'>“<i>Blue</i> with <i>black</i>. This combination is less
+
+agreeable than that of blue with gray, or of violet
+
+<span class='pageno' id='Page_82'>82</span>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.</p>
+
+
+
+<p class='c006'>“6. <span class='sc'>Violet.</span>—<i>Violet</i> with <i>white</i> affords a strong
+
+contrast of tone; the combination is an agreeable
+
+one, resembling that of blue with white.</p>
+
+
+
+<p class='c006'>“<i>Violet</i> with <i>gray</i>. The distinctive hue of violet
+
+makes itself felt strongly in this combination,
+
+which is a quiet and agreeable one.</p>
+
+
+
+<p class='c006'>“<i>Violet</i> with <i>black</i> gives but a slight contrast of
+
+tone when the violet is pure. The black acquires
+
+a rusty brown hue, which reduces its depth.</p>
+
+
+
+<p class='c006'>“7. <span class='sc'>Purple.</span>—<i>Purple</i> with <i>white</i> affords a good
+
+contrast of tone. Pale purples and rosy tints
+
+form agreeable combinations with white.</p>
+
+
+
+<p class='c006'>“<i>Purple</i> with <i>gray</i> resembles in effect the combination
+
+of violet with gray; the gray, if of
+
+moderate area, becomes decidedly greenish.</p>
+
+
+
+<p class='c006'>“<i>Purple</i> with <i>black</i> is rarely a satisfactory combination;
+
+the black acquires a greenish hue.”<a id='r8'></a><a href='#f8' class='c014'><sup>[8]</sup></a></p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_83'>83</span>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
+
+<span class='pageno' id='Page_84'>84</span>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</p>
+
+
+
+<div class='lg-container-b'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>Orange-red and yellowish-orange,</div>
+
+      <div class='line'>Reddish-orange and orange-yellow,</div>
+
+      <div class='line'>Orange and yellow,</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c019'>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:</p>
+
+
+
+<table class='table1'>
+
+  <tr>
+
+    <th class='c015'>“<span class='sc'>Darker.</span></th>
+
+    <th class='c016'><span class='sc'>Lighter.</span></th>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Red</td>
+
+    <td class='c018'>Orange-red.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Orange-red</td>
+
+    <td class='c018'>Orange.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Orange</td>
+
+    <td class='c018'>Orange-yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Orange-yellow</td>
+
+    <td class='c018'>Yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Yellowish-green</td>
+
+    <td class='c018'>Greenish-yellow.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Green</td>
+
+    <td class='c018'>Yellowish-green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Cyan-blue</td>
+
+    <td class='c018'>Green.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Blue</td>
+
+    <td class='c018'>Cyan-blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Ultramarine-blue</td>
+
+    <td class='c018'>Blue.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Violet</td>
+
+    <td class='c018'>Purple.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'>Purple</td>
+
+    <td class='c018'>Red.”</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c006'>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:</p>
+
+
+
+<p class='c006'>“An asterisk attached to the name of a color
+
+<span class='pageno' id='Page_85'>85</span>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.</p>
+
+
+
+<table class='table1'>
+
+  <tr>
+
+    <td class='c008'>“Normal red</td>
+
+    <td class='c015'>with</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>excellent.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue-green</td>
+
+    <td class='c011'>good, but strong.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green</td>
+
+    <td class='c011'>good, but hard.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green-yellow</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>yellow*</td>
+
+    <td class='c011'>unpleasing.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Scarlet</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>yellow</td>
+
+    <td class='c011'>unpleasing.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange-red</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>excellent.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue-green</td>
+
+    <td class='c011'>unpleasing.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„    „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>yellow-green</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>good, but strong.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue-green</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange-yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„     „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>excellent.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'><span class='pageno' id='Page_86'>86</span>„      „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„      „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„      „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue-green</td>
+
+    <td class='c011'>moderate.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„      „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>excellent.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>normal red</td>
+
+    <td class='c011'>poor.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>moderate.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue-green*</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green*</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Greenish-yellow</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>excellent.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>scarlet</td>
+
+    <td class='c011'>strong, and hard.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>orange-red</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>normal blue</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellowish-green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>normal red</td>
+
+    <td class='c011'>good, but hard.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>difficult.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue-green</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„        „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Normal green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>strong, but hard.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„     „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>scarlet</td>
+
+    <td class='c011'>difficult.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„     „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>orange-red</td>
+
+    <td class='c011'>hard.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„     „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue-green</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>purple</td>
+
+    <td class='c011'>fair.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„   „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>violet</td>
+
+    <td class='c011'>good.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„   „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>blue</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„   „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>green</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„   „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>yellowish-green</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>„   „</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c008'>turquoise</td>
+
+    <td class='c011'>bad.</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c006'>“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
+
+<span class='pageno' id='Page_87'>87</span>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.”</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_88'>88</span>and decorations consisting of any one of
+
+these combinations. (See Plates XXXVI and
+
+XXXVII.)</p>
+
+
+
+<div class='lg-container-b'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>Spectral red, yellow, and blue.</div>
+
+      <div class='line'>Purple-red, yellow, cyan-blue (greenish-blue like a turquoise).</div>
+
+      <div class='line'>Orange, green, violet.</div>
+
+      <div class='line'>Orange, green, purple-violet.</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c006'>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:</p>
+
+
+
+<p class='c006'><i>Carmine</i>, <i>yellow</i>, and <i>green</i>, a favorite combination
+
+during the middle ages, to us seems “somewhat
+
+hard and unrefined.”</p>
+
+
+
+<p class='c006'><i>Orange-yellow</i>, <i>violet</i>, and <i>bluish-green</i> are not
+
+so agreeable because two of the colors are cold.
+
+In the triad <i>vermilion</i>, <i>green</i>, and <i>violet-blue</i>, used
+
+greatly by the Italian schools, there seem at first
+
+to be two cold colors, but as the <i>green</i> was <i>olive</i>
+
+it might be called <i>vermilion</i>, <i>dark greenish-yellow</i>,
+
+and <i>violet-blue</i>.</p>
+
+
+
+<p class='c006'>Attempts have been made to give formulas of
+
+certain colors as they are supposed properly to
+
+<span class='pageno' id='Page_89'>89</span>balance one another, or to make “chromatic
+
+equivalents.” Field elaborated this theory in his
+
+<cite>Chromatography</cite>, and it was adopted by Owen
+
+Jones in his <cite>Grammar of Ornament</cite>. 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 <i>any</i> 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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_90'>90</span>being turned on the wheel rapidly produce a
+
+neutral gray, as follows:</p>
+
+
+
+<div class='lg-container-b'>
+
+  <div class='linegroup'>
+
+    <div class='group'>
+
+      <div class='line'>“Red 36½ + green 33¾ + blue 29¾ = 100.”</div>
+
+    </div>
+
+  </div>
+
+</div>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_91'>91</span>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.</p>
+
+
+
+<p class='c006'>From what we have learned we find the following
+
+ways of harmonizing colors:</p>
+
+
+
+<p class='c006'><i>First.</i> <span class='sc'>By Gradation</span>, 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.)</p>
+
+
+
+<p class='c006'>“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
+
+<span class='pageno' id='Page_92'>92</span>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 <i>equality</i> 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
+
+<span class='pageno' id='Page_93'>93</span>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.’”<a id='r9'></a><a href='#f9' class='c014'><sup>[9]</sup></a></p>
+
+
+
+<p class='c006'>In connection with gradation, Church says:
+
+“There is one <i>quality</i> 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
+
+<span class='pageno' id='Page_94'>94</span>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.”<a id='r10'></a><a href='#f10' class='c014'><sup>[10]</sup></a></p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_95'>95</span>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.”<a id='r11'></a><a href='#f11' class='c014'><sup>[11]</sup></a></p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'><i>Second.</i> <span class='sc'>By Change of Quality</span>; as from
+
+pure spectral colors to their tints or shades. The
+
+<span class='pageno' id='Page_96'>96</span>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
+
+<span class='pageno' id='Page_97'>97</span>varying its luminosity and by bringing all nearer
+
+together. (See Plate XXXIX.)</p>
+
+
+
+<p class='c006'><i>Third.</i> <span class='sc'>By Change of Quantity</span>; 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.)</p>
+
+
+
+<p class='c006'><i>Fourth.</i> <span class='sc'>By Change of Quality and Quantity</span>;
+
+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, <i>vice versa</i>, 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.)</p>
+
+
+
+<p class='c006'><i>Fifth.</i> <span class='sc'>By the Addition of another Color</span>,
+
+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
+
+<span class='pageno' id='Page_98'>98</span>third color can be added in different ways, by outlines,
+
+small masses, etc. (See Plate XLII.)</p>
+
+
+
+<p class='c006'><i>Sixth.</i> <span class='sc'>By the Addition of Black, White,
+
+Gray, Gold, or Silver.</span>—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.)</p>
+
+
+
+<p class='c006'><i>Seventh.</i> <span class='sc'>By a Dominant Hue</span>, which may run
+
+through all the design in outlines, although
+
+<span class='pageno' id='Page_99'>99</span>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
+
+<span class='pageno' id='Page_100'>100</span>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 <cite>Colour</cite>,
+
+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.)</p>
+
+
+
+<p class='c006'><i>Eighth.</i> <span class='sc'>By Interchange.</span>—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
+
+<span class='pageno' id='Page_101'>101</span>thread be of green, the next of purple, then again
+
+green. (See Plate XLV.)</p>
+
+
+
+<p class='c006'><i>Ninth.</i> <span class='sc'>By Counterchange.</span>—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.</p>
+
+
+
+<p class='c006'><i>Tenth.</i> <span class='sc'>By Form and Texture</span>, 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.</p>
+
+
+
+<p class='c006'><i>Eleventh.</i> <span class='sc'>By Outlining</span> 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
+
+<span class='pageno' id='Page_102'>102</span>there will be found an agreeable result. In fact,
+
+this will give a velvety appearance to the color.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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 <i>vice versa</i>.</p>
+
+
+
+<p class='c006'>In addition to the above rules a few suggestions
+
+for making color-harmonies may be useful:</p>
+
+
+
+<p class='c006'>First, texture can be used to help the harmony.</p>
+
+
+
+<p class='c006'>Second, harmonies with warm colors predominating
+
+are preferred.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_103'>103</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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 <a href='#Page_75'>75</a> for
+
+such combinations. In some flowers we do see the
+
+two extremes of a color combined, as in a jonquil
+
+<span class='pageno' id='Page_104'>104</span>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 <a href='#Page_69'>69</a>, 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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_105'>105</span>dull, whether they are tones of one color, contrasts
+
+or complex.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_106'>106</span>beautiful in proportion to the freedom of the order.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>Plates XLVII and XLVIII have been added here
+
+to show the true character of <i>whites</i> so-called; as
+
+blue-white, which is really a very pale tint of
+
+blue; and how by <i>gradation</i>, one color changes into
+
+another in nature.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_107'>107</span>
+
+  <h2 class='c004'>CHAPTER VI<br> <span class='c013'>HISTORIC COLOR</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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 <cite>Grammar of Ornament</cite>, by Owen
+
+Jones, and <cite>L’Ornement Polychrome</cite>, 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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_108'>108</span>Unfortunately, no mention is made in the
+
+<cite>Grammar of Ornament</cite> 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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_109'>109</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_110'>110</span>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.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_111'>111</span>
+
+  <h2 class='c004'>CHAPTER VII<br> <span class='c013'>NATURE COLOR</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>“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.</p>
+
+
+
+<p class='c006'>“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.”</p>
+
+
+
+<p class='c006'>From the <cite>Treatise on Painting</cite>, 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
+
+<span class='pageno' id='Page_112'>112</span>to it, we are unconscious what apparently unpromising
+
+material may yield new and beautiful motives
+
+for color-harmonies.</p>
+
+
+
+<p class='c006'>“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.”<a id='r12'></a><a href='#f12' class='c014'><sup>[12]</sup></a></p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_113'>113</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>Condor says, in <cite>The Flowers of Japan</cite>,
+
+“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
+
+<span class='pageno' id='Page_114'>114</span>“Snow-viewing is included as one of the flower
+
+festivals of the year.”</p>
+
+
+
+<p class='c006'>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.”<a id='r13'></a><a href='#f13' class='c014'><sup>[13]</sup></a> 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.</p>
+
+
+
+<p class='c006'>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?</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_115'>115</span>
+
+  <h2 class='c004'>CHAPTER VIII<br> <span class='c013'>SPECIAL SUGGESTIONS</span></h2>
+
+</div>
+
+
+
+<p class='drop-capa0_0_8 c005'>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.</p>
+
+
+
+<p class='c006'>Students of painting and design will find Rood’s
+
+many experiments with colors in his <cite>Modern
+
+Chromatics</cite> 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, <cite>Colour</cite>, 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.</p>
+
+
+
+<p class='c006'>Burnet, in <cite>Colour in Painting</cite>, 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.”</p>
+
+
+
+<p class='c006'>As to materials for painting, Church’s <cite>Chemistry
+
+<span class='pageno' id='Page_116'>116</span>of Paints and Painting</cite> 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, <cite>La Grammaire
+
+de la Couleur</cite>, 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.</p>
+
+
+
+<p class='c006'>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 <i>old</i> things as being usually finer than new
+
+ones, because age mellows and refines colors; and
+
+also that objects of <i>one country</i> harmonize better
+
+with each other than those of different countries,
+
+and those of <i>one period</i> of <i>one country</i> still better.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'><span class='pageno' id='Page_117'>117</span>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 <cite>The
+
+Flowers of Japan, and the Art of Floral Arrangement</cite>,
+
+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,
+
+<span class='pageno' id='Page_118'>118</span>gentleness, and forgetfulness of cares are
+
+some of the virtues said to follow from a habitual
+
+practice of the art of arrangement of flowers.”<a id='r14'></a><a href='#f14' class='c014'><sup>[14]</sup></a></p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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:<a id='r15'></a><a href='#f15' class='c014'><sup>[15]</sup></a></p>
+
+
+
+<p class='c006'>“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.</p>
+
+
+
+<p class='c006'>“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 <i>not</i> a colorless pure white? Why is it
+
+difficult for us to find a positively blue or positively
+
+yellow flower? What is the reason that
+
+<span class='pageno' id='Page_119'>119</span>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 <i>will</i> 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.”</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_120'>120</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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
+
+<span class='pageno' id='Page_121'>121</span>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c006'>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 <i>its</i> yellow, and whatever pink
+
+<span class='pageno' id='Page_122'>122</span>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.</p>
+
+
+
+<div class='chapter'>
+
+  <span class='pageno' id='Page_123'>123</span>
+
+  <h2 class='c004'>APPENDICES</h2>
+
+</div>
+
+
+
+<div>
+
+  <span class='pageno' id='Page_125'>125</span>
+
+  <h3 class='c001'>APPENDIX A<br> <span class='c013'>DEFINITIONS</span></h3>
+
+</div>
+
+
+
+<p class='c021'>ABSOLUTE COLORS: <i>see</i> Local Colors.</p>
+
+
+
+<p class='c022'>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. <i>See</i> Luminosity.</p>
+
+
+
+<p class='c022'>ANALOGOUS HARMONY: <i>see</i> Harmony.</p>
+
+
+
+<p class='c022'>BEAM OF LIGHT: a linear portion<a id='r16'></a><a href='#f16' class='c014'><sup>[16]</sup></a> of light made of
+
+a number of rays.</p>
+
+
+
+<p class='c022'>BRIGHTNESS: <i>see</i> Luminosity.</p>
+
+
+
+<p class='c022'>BROKEN COLOR: a color changed by the addition of
+
+black and white or gray.</p>
+
+
+
+<p class='c022'>COLD COLORS: those of the shorter wave lengths, such
+
+as green, blue, and violet.</p>
+
+
+
+<p class='c022'>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.</p>
+
+
+
+<p class='c022'>COLOR CHART: a systematic arrangement of colors in
+
+a geometrical design such that every variation and
+
+<span class='pageno' id='Page_126'>126</span>combination of hue, tint, and shade is in its proper
+
+place and in correct relation to all other hues, tints,
+
+and shades.</p>
+
+
+
+<table class='table1'>
+
+  <tr>
+
+    <td class='c017'><i>Advancing</i></td>
+
+    <td class='c015'><i>Colors</i>,</td>
+
+    <td class='c015'>see</td>
+
+    <td class='c015'>under</td>
+
+    <td class='c018'>Advancing;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Bright</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Brightness;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Broken</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Broken;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Cold</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Cold;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Complementary</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Complement;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Complements of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c016'>„</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Constants of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Constants;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Contrast of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Contrast;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Harmony of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Harmony;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Hue of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Hue;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Intense</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Saturated;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Local</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Local;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Luminosity of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Brightness;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Luminous</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Luminous;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Neutral</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Neutral;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Normal</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Normal;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Opaque</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Opaque;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Pigment</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Pigment;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Primary</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Primary;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Prismatic</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Prismatic;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Pure</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Pure;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Quality of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Constants;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Saturated</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Saturated;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Secondary</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Secondary;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Spectral</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Normal;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><span class='pageno' id='Page_127'>127</span><i>Tertiary</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>see under Tertiary;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Transparent</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Transparent;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Value of</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Values;</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c017'><i>Warm</i></td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c015'>„</td>
+
+    <td class='c018'>Warm.</td>
+
+  </tr>
+
+</table>
+
+
+
+<p class='c022'>COMPLEMENTS or</p>
+
+
+
+<p class='c022'>COMPLEMENTARY COLORS: any color and the color
+
+of its after-image; any two colors which when mixed
+
+make white.</p>
+
+
+
+<p class='c022'>COMPOUND or MIXED COLOR: a color changed or
+
+neutralized by the addition of another color or colors.</p>
+
+
+
+<p class='c022'>CONSTANTS or QUALITIES OF COLORS: Hue, Purity,
+
+and Luminosity.</p>
+
+
+
+<p class='c022'>CONTRAST: <i>see</i> Simultaneous Contrast, page <a href='#Page_53'>53</a>.</p>
+
+
+
+<p class='c022'>CONTRASTED HARMONY: <i>see</i> Harmony.</p>
+
+
+
+<p class='c022'>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.</p>
+
+
+
+<p class='c022'>DOMINANT HARMONY: <i>see</i> Harmony.</p>
+
+
+
+<p class='c022'>DOMINANT HUE: <i>see</i> Hue.</p>
+
+
+
+<p class='c022'>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.</p>
+
+
+
+<p class='c023'><i>Analogous Harmony</i>: an agreeable combination of
+
+colors that are related to a fundamental color.</p>
+
+
+
+<p class='c023'><i>Complex Harmony</i>: an agreeable combination of three
+
+<span class='pageno' id='Page_128'>128</span>or more colors, or with the addition of black or
+
+white, or gray, or gold, or silver, or any or all of
+
+them.</p>
+
+
+
+<p class='c023'><i>Contrasted or Complementary Harmony</i>: an agreeable
+
+combination of any pair of complementary colors, or
+
+of their tints or shades, or tints and shades.</p>
+
+
+
+<p class='c023'><i>Dominant Harmony</i>: 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.</p>
+
+
+
+<p class='c023'><i>One-color Harmony, also called a Harmony of Self-tones</i>:
+
+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.</p>
+
+
+
+<p class='c024'>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.</p>
+
+
+
+<p class='c023'><i>Dominant Hue</i>: the hue which predominates through
+
+the larger part of a design or composition.</p>
+
+
+
+<p class='c024'>INTENSE: <i>see</i> Saturated.</p>
+
+
+
+<p class='c024'>LIGHT: the chief agent that produces vision.</p>
+
+
+
+<p class='c024'>LOCAL COLOR: the actual color of an object unaffected
+
+by shadows or reflected lights.</p>
+
+
+
+<p class='c024'>LUMINOSITY: the strength of the light sent to the eye
+
+by any color; a luminous color sends more than a
+
+non-luminous one.</p>
+
+
+
+<p class='c024'>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.</p>
+
+
+
+<p class='c024'><span class='pageno' id='Page_129'>129</span>NEUTRAL COLORS: a term often incorrectly applied
+
+to black, white, gray, gold, and silver.</p>
+
+
+
+<p class='c024'>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.</p>
+
+
+
+<p class='c024'>OIL COLORS: pigments ground in oil.</p>
+
+
+
+<p class='c024'>OPAQUE COLORS: pigment colors which are so thick
+
+that paper or canvas cannot be seen through them.</p>
+
+
+
+<p class='c024'>PIGMENTS: materials from which paints, inks, dyes,
+
+and stains are made.</p>
+
+
+
+<p class='c024'>PIGMENT COLORS: paints, inks, dyes, and stains used
+
+in the fine and industrial arts.</p>
+
+
+
+<p class='c024'>PRIMARY COLORS: red, blue, and yellow; so called
+
+because it was supposed that all other colors could
+
+be made from them.</p>
+
+
+
+<p class='c024'>PRIMITIVE COLORS: <i>see</i> Normal Colors.</p>
+
+
+
+<p class='c024'>PRISM: a triangular or three-sided bar of clear glass.</p>
+
+
+
+<p class='c024'>PRISMATIC COLORS: those that appear when a ray
+
+of white light shines through a prism. <i>See</i> Normal
+
+Colors.</p>
+
+
+
+<p class='c024'>PURE COLORS: those unmixed with white light or any
+
+other color; those of the spectrum.</p>
+
+
+
+<p class='c024'>PURITY OF COLORS: the absence of an admixture of
+
+any other color or colors, or white or black.</p>
+
+
+
+<p class='c024'>QUALITIES OF COLORS: <i>see</i> Constants of Colors.</p>
+
+
+
+<p class='c024'>RAY OF LIGHT: a small linear portion or streak of
+
+light which may be white or any color.</p>
+
+
+
+<p class='c024'><span class='pageno' id='Page_130'>130</span>RECEDING COLORS: those which seem to retire or
+
+recede from the eye; those of the short wave lengths.</p>
+
+
+
+<p class='c024'>RETINA: a thin inner lining of the eye. <i>See</i> page <a href='#Page_20'>20</a>.</p>
+
+
+
+<p class='c024'>SATURATED or INTENSE COLORS: colors that are
+
+pure and luminous to their greatest extent; without
+
+any mixture of white light.</p>
+
+
+
+<p class='c024'>SECONDARY COLORS: orange, green, and violet; so
+
+called because it has been thought they were made
+
+from combinations of the primary colors.</p>
+
+
+
+<p class='c024'>SELF-TONES: <i>see</i> Tone.</p>
+
+
+
+<p class='c024'>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.</p>
+
+
+
+<p class='c024'>SHADOW: about the same as <i>shade</i>, as generally used,
+
+but for the sake of clearness it is best to designate by
+
+<i>shadow</i> 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
+
+<i>shade surfaces.</i> Then the term <i>cast-shadow</i> denotes the
+
+shadow projected by one body on another body or
+
+surface.</p>
+
+
+
+<p class='c024'>SOLAR SPECTRUM: <i>see</i> Spectrum.</p>
+
+
+
+<p class='c024'>SPECTRAL COLORS: <i>see</i> Normal Colors.</p>
+
+
+
+<p class='c024'>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.</p>
+
+
+
+<p class='c024'>STANDARD COLORS: those of the spectrum.</p>
+
+
+
+<p class='c024'><span class='pageno' id='Page_131'>131</span>TERTIARY COLORS: citrine, olive, and russet, so called
+
+because it has been thought that they were made from
+
+combinations of the secondary colors.</p>
+
+
+
+<p class='c024'>TINT: a tone of a color produced by the addition of white to
+
+oil, water to water, and white light to immaterial colors.</p>
+
+
+
+<p class='c024'>TONE: the given state of a color as it may be pure, luminous,
+
+broken, compound, a tint, or a shade.</p>
+
+
+
+<p class='c023'><i>Self-tones</i>: tones of the same color.</p>
+
+
+
+<p class='c024'>TRANSPARENT COLORS: those in which the color
+
+tints the paper or canvas, which shows through the
+
+color, thus helping to produce the effect.</p>
+
+
+
+<p class='c024'>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.</p>
+
+
+
+<p class='c024'>WARM COLORS: those of the longer wave lengths, as
+
+yellow, orange, and red.</p>
+
+
+
+<p class='c024'>WATER COLORS: pigments prepared to be used with
+
+water.</p>
+
+
+
+<p class='c024'>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 <i>height</i> of the wave, produces the intensity
+
+or brightness of the light, and the <i>length</i> of the
+
+wave produces the color; <i>red</i> has a wave length of
+
+about 7000/250,000,000 of an inch, <i>orange</i> 5979/250,000,000, <i>yellow</i>
+
+5802/250,000,000, <i>green</i> 5272/250,000,000, <i>blue</i> 4732/250,000,000, and <i>violet</i>
+
+4059/250,000,000.</p>
+
+
+
+<div>
+
+  <span class='pageno' id='Page_133'>133</span>
+
+  <h3 class='c001'>APPENDIX B</h3>
+
+</div>
+
+
+
+<p class='c025'>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.</p>
+
+
+
+<p class='c006'>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.</p>
+
+
+
+<p class='c022'><span class='pageno' id='Page_134'>134</span><span class='sc'>A Treatise on Painting.</span> By Leonardo da Vinci. (London,
+
+1835: Nichols &#38; Sons.) (Translation.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour.</span> By M. E. Chevreul. (London, 1839: Geo. Bell
+
+&#38; Sons.) (Translation.)</p>
+
+
+
+<p class='c022'><span class='sc'>Theory of Colour.</span> By J. W. von Goethe. (London,
+
+1840: J. Murray.) (Translation, with notes, by Sir
+
+Chas. Eastlake.)</p>
+
+
+
+<p class='c022'><span class='sc'>Rudiments of the Painter’s Art; or a Grammar of
+
+Colouring.</span> By George Field. (London, 1850: Weale.)</p>
+
+
+
+<p class='c022'><span class='sc'>Darstellung der Farbenlehre und optische Studien.</span>
+
+By W. H. Dove. (Berlin, 1853.)</p>
+
+
+
+<p class='c022'><span class='sc'>Researches on Colour-blindness.</span> By G. Wilson.
+
+(Edinb., 1855: Sutherland &#38; Knox.)</p>
+
+
+
+<p class='c022'><span class='sc'>Grammar of Ornament.</span> By Owen Jones. (London, 1856.)</p>
+
+
+
+<p class='c022'><span class='sc'>On Colour</span> (<span class='fss'>ETC.</span>). By Sir J. S. Wilkinson. (London,
+
+1858: J. Murray.)</p>
+
+
+
+<p class='c022'><span class='sc'>Die Farbenharmonie in ihrer Anwendung auf die
+
+Damentoilette.</span> By R. Adams. (Leipzig, 1862: J.
+
+J. Weber.)</p>
+
+
+
+<p class='c022'><span class='sc'>Practical Hints on Colour in Painting.</span> By John
+
+Burnet. (London, 1865: J. &#38; J. Leighton.)</p>
+
+
+
+<p class='c022'><span lang="fr"><span class='sc'>Des Couleurs au Point de Vue Physique, Physiologique
+
+Artistique et Industriel.</span> By Ernst Bruecke.
+
+(Paris, 1866: J. B. Baillière &#38; fils.)</span></p>
+
+
+
+<p class='c022'><span class='sc'>The Principles of the Science of Colour.</span> By William
+
+Benson. (London, 1868: Chapman &#38; Hall.)</p>
+
+
+
+<p class='c022'><span class='sc'>Color.</span> By M. É. Cavé. (New York, 1869.) (Translation.)</p>
+
+
+
+<p class='c022'><span class='sc'>Manual of the Science of Colour.</span> By W. Benson.
+
+(London, 1871: Chapman &#38; Hall.)</p>
+
+
+
+<p class='c022'><span class='pageno' id='Page_135'>135</span><span class='sc'>The Theory of Colouring.</span> By J. Bacon. (London,
+
+1872: G. Rowney &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>L’Ornement Polychrome.</span> By A. Racinet. 2 vols. F<sup>o</sup>.
+
+(Paris, 1873–86: Firmin Didot.)</p>
+
+
+
+<p class='c022'><span class='sc'>A Grammar of Colouring applied to Decorative
+
+Painting and the Arts.</span> By George Field. (London,
+
+1875: Lockwood &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Theory of Color.</span> By Dr. Wilhelm von Bezold. (Boston,
+
+1876: L. Prang &#38; Company.) (Translation.)</p>
+
+
+
+<p class='c022'><span class='sc'>Die geschichtliche Entwickelung des Farbensinnes.</span>
+
+By Hugo Magnus. (Leipzig, 1877: Veit.)</p>
+
+
+
+<p class='c022'><span class='sc'>The Principles of Light and Color.</span> By E. D. Babbitt.
+
+(New York, 1878: Babbitt &#38; Company.)</p>
+
+
+
+<p class='c022'><span lang="fr"><span class='sc'>Complément des Études sur la Vision des Couleurs
+
+par E. Chevreul.</span> By M. E. Chevreul. (<i>In</i> Institut
+
+de France. <cite>Académie des Sciences</cite>—Memoires. T. 41,
+
+partie 2.) (Paris, 1879.)</span> (English translations exist.)</p>
+
+
+
+<p class='c022'><span class='sc'>Modern Chromatics, with Application to Art and
+
+Industry.</span> By O. N. Rood. (New York, 1879: D.
+
+Appleton.)</p>
+
+
+
+<p class='c022'><span class='sc'>The Colour Sense: its Origin and Development.</span> By
+
+Grant Allen. (London, 1879: Trübner &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Color-Blindness.</span> By B. Joy Jeffries. (London, 1879.)</p>
+
+
+
+<p class='c022'><span class='sc'>A Handbook for Painters and Art Students on the
+
+Character and Use of Colours.</span> By W. J. Muckley.
+
+(London, 1880: T. &#38; C. Baillière.)</p>
+
+
+
+<p class='c022'><span class='sc'>Sight; an Exposition of Monocular and Binocular
+
+Vision.</span> By Joseph Le Conte. (New York, 1881: D.
+
+Appleton &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='pageno' id='Page_136'>136</span><span class='sc'><span lang="de">Untersuchungen  über den Farbencontrast vermittelst
+
+rotirender Scheiben.</span></span> By G. B. T. Schmerler.
+
+(Leipzig, 1882: W. Engelmann.)</p>
+
+
+
+<p class='c022'><span class='sc'><span lang="fr">La Grammaire de la Couleur.</span></span> By E. Guichard. 3 vols.
+
+(Paris, 1882: H. Cagnon.)</p>
+
+
+
+<p class='c022'><span class='sc'><span lang="de">Die Farbenwelt.</span></span> By Max Schasler. (Berlin, 1883: C.
+
+Habel.)</p>
+
+
+
+<p class='c022'><span class='sc'>The Laws of Contrast of Colour and Their Application
+
+to the Arts and Manufactures.</span> By M. E.
+
+Chevreul. (London, 1883: Routledge.) (Translation.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour.</span> By A. H. Church. (London, 1887: Cassell &#38; Company.)</p>
+
+
+
+<p class='c022'><span lang="it"><span class='sc'>Il Libro dei Colori. Segreti del Secolo XV.</span> Da O.
+
+Guerrini &#38; C. Ricci. (Bologna, 1887: Romagnoli Dall’
+
+Acqua.)</span></p>
+
+
+
+<p class='c022'><span class='sc'>Colour, An Elementary Treatise.</span> By C. T. Whitmell.
+
+(Cardiff, 1888: W. Lewis.)</p>
+
+
+
+<p class='c022'><span class='sc'>F. C. Schroeder’s “Systematic Index.”</span> By F. C.
+
+Schroeder. (Boston, 1888: F. C. Schroeder.)</p>
+
+
+
+<p class='c022'><span class='sc'>Iris: Studies in Colour and Talks about Flowers.</span>
+
+By A. F. Dielitzsch. (Edinburgh, 1889: T. &#38; T. Clark.)
+
+(Translation.)</p>
+
+
+
+<p class='c022'><span lang="fr"><span class='sc'>Répertoire Chromatique.</span> By Charles La Couture.
+
+(Paris, 1890: Gauthier, Villars &#38; Fils.)</span></p>
+
+
+
+<p class='c022'><span class='sc'>The Chemistry of Paints and Painting.</span> By A. H.
+
+Church. (London, 1890: Seeley &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour in Woven Design.</span> By R. Beaumont. (London,
+
+1890: Whittaker &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='pageno' id='Page_137'>137</span><span class='sc'>Colour-Blindness and Colour-Perception.</span> By F. W.
+
+Edridge Green. (London, 1891: Kegan Paul, Trench,
+
+Trübner &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>A Text-Book of Physiology.</span> By M. Foster. (London,
+
+1891: Macmillan &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Flowers of Japan and the Art of Floral Arrangement.</span>
+
+By Condor. (Yokohama, 1891: Kelly &#38;
+
+Walsh.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour Measurement and Mixture.</span> By W. de W.
+
+Abney. (London, 1891.)</p>
+
+
+
+<p class='c022'><span class='sc'>Harmonious Colouring.</span> 3 vols. F<sup>o</sup>. By C. H. Wilkinson.
+
+(Manchester, 1891: Harmonious Colouring Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour Vision.</span> By E. Hunt. (Glasgow, 1892: Smith.)</p>
+
+
+
+<p class='c022'><span class='sc'>On a Color System.</span> By O. N. Rood. (New Haven,
+
+1892.)</p>
+
+
+
+<p class='c022'><span class='sc'>Students’ Text-Book of Color; or, Modern Chromatics.</span>
+
+By O. N. Rood. (New York, 1892: D.
+
+Appleton &#38; Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour Vision.</span> By W. de W. Abney. (London, 1895;
+
+Low.)</p>
+
+
+
+<p class='c022'><span class='sc'>Color-Vision and Color-Blindness.</span> By J. E. Jennings.
+
+(Phila., 1896: Davis Company.)</p>
+
+
+
+<p class='c022'><span class='sc'>Colour in Nature. A Study in Biology.</span> By M. I.
+
+Newbegin. (London, 1898: J. Murray.)</p>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_I'>I</span>
+
+<img src='images/i_155.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate I</span><br>  <br>  WOOLS AS SORTED BY A COLOR-BLIND MAN</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_II'>II</span>
+
+<img src='images/i_157.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate II</span><br>  <br>  SOLAR SPECTRA</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_III'>III</span>
+
+<img src='images/i_159.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate III</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table2'>
+
+  <tr><th class='c020' colspan='6'>TABLE OF SPECTRAL COLORS</th></tr>
+
+  <tr>
+
+ <th class='btt bbt blt brt c026'>Names</th>
+
+ <th class='btt bbt brt c026'>Paints used</th>
+
+ <th class='btt bbt brt c027'>Wave length</th>
+
+ <th class='btt bbt brt c028'>Purity</th>
+
+ <th class='btt bbt brt c029'>Luminosity</th>
+
+ <th class='btt bbt brt c026'>Warm or Cold</th>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt blt brt c026'>Violet</td>
+
+ <td class='bbt brt c026'>French Blue and Crimson Lake</td>
+
+ <td class='bbt brt c027'>4.059</td>
+
+ <td class='bbt brt c028 bbt' rowspan='6'>As great as can be given by pigments</td>
+
+ <td class='bbt brt c029'>6</td>
+
+ <td class='bbt brt c026'>Cold</td>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt blt brt c026'>Blue</td>
+
+ <td class='bbt brt c026'>French Blue</td>
+
+ <td class='bbt brt c027'>4.732</td>
+
+ 
+
+ <td class='bbt brt c029'>5</td>
+
+ <td class='bbt brt c026'>Cold</td>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt blt brt c026'>Green</td>
+
+ <td class='bbt brt c026'>Emerald Green</td>
+
+ <td class='bbt brt c027'>5.271</td>
+
+ 
+
+ <td class='bbt brt c029'>3</td>
+
+ <td class='bbt brt c026'>Cold</td>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt blt brt c026'>Yellow</td>
+
+ <td class='bbt brt c026'>Aurora Yellow</td>
+
+ <td class='bbt brt c027'>5.808</td>
+
+ 
+
+ <td class='bbt brt c029'>1</td>
+
+ <td class='bbt brt c026'>Warm</td>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt blt brt c026'>Orange</td>
+
+ <td class='bbt brt c026'>Vermilion and Cadmium</td>
+
+ <td class='bbt brt c027'>5.972</td>
+
+ 
+
+ <td class='bbt brt c029'>2</td>
+
+ <td class='bbt brt c026'>Warm</td>
+
+  </tr>
+
+  <tr>
+
+ <td class='bbt blt brt c026'>Red</td>
+
+ <td class='bbt brt c026'>Vermilion and Crimson Lake</td>
+
+ <td class='bbt brt c027'>7.000</td>
+
+ 
+
+ <td class='bbt brt c029'>4</td>
+
+ <td class='bbt brt c026'>Warm</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_IV'>IV</span>
+
+<img src='images/i_161.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate IV</span><br>  <br>  THE SPECTRAL COLORS</p>
+
+</div>
+
+</div>
+
+<p class='c030'>(a) In their order of Luminosity</p>
+
+
+
+<p class='c030'>(b) Pure and Grayed</p>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_V'>V</span>
+
+<img src='images/i_163.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate V</span><br>  <br>  ADVANCING AND RETIRING COLORS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_VI'>VI</span>
+
+<img src='images/i_165.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate VI</span><br>  <br>  ADVANCING AND RETIRING COLORS<br>  <br>  See page <a href='#Page_99'>99</a>. The color screens at end of volume are for use with this plate.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_VII'>VII</span>
+
+<img src='images/i_167.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate VII</span><br>  <br>  TINTS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_VIII'>VIII</span>
+
+<img src='images/i_169.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate VIII</span><br>  <br>  SHADES</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_IX'>IX</span>
+
+<img src='images/i_171.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate IX</span><br>  <br>  VIOLET<br>  <br>  with its extremes</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_X'>X</span>
+
+<img src='images/i_173.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate X</span><br>  <br>  BLUE<br>  <br>  with its extremes</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XI'>XI</span>
+
+<img src='images/i_175.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XI</span><br>  <br>  GREEN<br>  <br>  with its extremes</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XII'>XII</span>
+
+<img src='images/i_177.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XII</span><br>  <br>  YELLOW<br>  <br>  with its extremes</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XIII'>XIII</span>
+
+<img src='images/i_179.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XIII</span><br>  <br>  ORANGE<br>  <br>  with its extremes</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XIV'>XIV</span>
+
+<img src='images/i_181.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XIV</span><br>  <br>  RED<br>  <br>  with its extremes</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XV'>XV</span>
+
+<img src='images/i_183.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XV</span><br>  <br>  SHADES BY CONTRAST</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XVI'>XVI</span>
+
+<img src='images/i_185.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XVI</span><br>  <br>  SPECTRAL COLORS<br>  ON BLACK, WHITE AND GRAY</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XVII'>XVII</span>
+
+<img src='images/i_187.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XVII</span><br>  <br>  WHITE<br>  ON SPECTRAL COLORS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XVIII'>XVIII</span>
+
+<img src='images/i_189.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XVIII</span><br>  <br>  BLACK<br>  ON SPECTRAL COLORS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XIX'>XIX</span>
+
+<img src='images/i_191.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XIX</span><br>  <br>  GRAY<br>  ON SPECTRAL COLORS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XX'>XX</span>
+
+<img src='images/i_193.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XX</span><br>  <br>  SPECTRAL RED WITH ITS COMPLEMENT<br>  <br>  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.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXI'>XXI</span>
+
+<img src='images/i_197.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXI</span><br>  <br>  SPECTRAL RED DISK FOR EXPERIMENT IN COMPLEMENTS<br>  <br>  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.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXII'>XXII</span>
+
+<img src='images/i_199.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXII</span><br>  <br>  SPECTRAL RED AND ITS COMPLEMENT, BLUE-GREEN, IN THEIR RELATIVE PROPORTIONS<br>  <br>  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.<br>  <br>  (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.)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXIII'>XXIII</span>
+
+<img src='images/i_201.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXIII</span><br>  <br>  SPECTRAL ORANGE AND ITS COMPLEMENT, GREEN-BLUE, IN THEIR RELATIVE PROPORTIONS<br>  <br>  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.<br>  <br>  (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.)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXIV'>XXIV</span>
+
+<img src='images/i_203.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXIV</span><br>  <br>  SPECTRAL YELLOW AND ITS COMPLEMENT, SPECTRAL BLUE,<br>  <br>  OR<br>  <br>  SPECTRAL BLUE AND ITS COMPLEMENT, SPECTRAL YELLOW, IN THEIR RELATIVE PROPORTIONS<br>  <br>  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.<br>  <br>  (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.)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXV'>XXV</span>
+
+<img src='images/i_205.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXV</span><br>  <br>  SPECTRAL GREEN AND ITS COMPLEMENT, PURPLE, IN THEIR RELATIVE PROPORTIONS.<br>  <br>  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.<br>  <br>  (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.)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXVI'>XXVI</span>
+
+<img src='images/i_207.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXVI</span><br>  <br>  SPECTRAL VIOLET AND ITS COMPLEMENT, YELLOW-GREEN, IN THEIR RELATIVE PROPORTIONS<br>  <br>  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.<br>  <br>  (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.)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXVII'>XXVII</span>
+
+<img src='images/i_209.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXVII</span><br>  <br>  MILTON-BRADLEY COLOR MACHINE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXVIII'>XXVIII</span>
+
+<img src='images/i_211.jpg' alt='COMPLEMENTS SPECTRAL COLORS Yellow-Green Violet Yellow Blue Purple Green Blue Yellow Green-Blue Orange Blue-Green Red' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXVIII</span><br>  <br>  TABLE OF COMPLEMENTS ARRANGED IN<br>  PAIRS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXIX'>XXIX</span>
+
+<img src='images/i_213.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXIX</span><br>  <br>  TABLE OF COMPLEMENTS ARRANGED IN A<br>  CIRCLE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXX'>XXX</span>
+
+<img src='images/i_215.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXX</span><br>  <br>  CONTRAST DIAGRAM<br>  <br>  See page <a href='#Page_58'>58</a>. Transparency accompanying the volume is<br>  for use with this plate.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXI'>XXXI</span>
+
+<img src='images/i_217.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXI</span><br>  <br>  COLOR ANALYSIS FROM A PRIZE DINNER<br>  TABLE<br>  <br>  A harmony of yellow and blue.<br>  <br>  See page <a href='#Page_70'>70</a>.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXII'>XXXII</span>
+
+<img src='images/i_219.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM TEACUP AND SAUCER</th></tr>
+
+  <tr>
+
+    <td class='c008'>Yellow Tint</td>
+
+    <td class='c009'>65</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow Shade</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue Tint</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Spectral Blue</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXIII'>XXXIII</span>
+
+<img src='images/i_221.jpg' alt='A HARMONY OF ONE COLOR A HARMONY OF CONTRAST COMPLEX HARMONY' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXIV'>XXXIV</span>
+
+<img src='images/i_223.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXIV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS OF A BOOK ADVERTISEMENT</th></tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>60</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>22</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXV'>XXXV</span>
+
+<img src='images/i_225.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXV</span><br>  <br>  HARMONY HELPED BY OUTLINE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXVI'>XXXVI</span>
+
+<img src='images/i_227.jpg' alt='Spectral Red and Spectral Blue Spectral Red and Green-Blue Orange-Red and Green-Blue Spectral Orange and Green-Blue Spectral Yellow and Spectral Violet Green Yellow and Spectral Violet.' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXVI</span><br>  <br>  GOOD DYADS OR PAIRS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXVII'>XXXVII</span>
+
+<img src='images/i_229.jpg' alt='Spectral Red Spectral Yellow Spectral Blue Purple Red Spectral Yellow Green-Blue Spectral Orange Spectral Green Spectral Violet Spectral Orange Spectral Green Purple-Violet' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXVII</span><br>  <br>  GOOD TRIADS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXVIII'>XXXVIII</span>
+
+<img src='images/i_231.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXVIII</span><br>  <br>  HARMONY BY GRADATION</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XXXIX'>XXXIX</span>
+
+<img src='images/i_233.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XXXIX</span><br>  <br>  HARMONY BY CHANGE OF QUALITY<br>  <br>  (In the yellow.)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XL'>XL</span>
+
+<img src='images/i_235.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XL</span><br>  <br>  HARMONY BY CHANGE OF QUANTITY</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLI'>XLI</span>
+
+<img src='images/i_237.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLI</span><br>  <br>  HARMONY BY CHANGE OF BOTH QUANTITY AND QUALITY<br>  <br>  Three yellows, two blues.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLII'>XLII</span>
+
+<img src='images/i_239.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLII</span><br>  <br>  HARMONY BY THE ADDITION OF<br>  ANOTHER COLOR</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLIII'>XLIII</span>
+
+<img src='images/i_241.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLIII</span><br>  <br>  HARMONY BY THE ADDITION OF BLACK</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLIV'>XLIV</span>
+
+<img src='images/i_243.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLIV</span><br>  <br>  HARMONY FROM A DOMINANT HUE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLV'>XLV</span>
+
+<img src='images/i_245.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLV</span><br>  <br>  HARMONY BY INTERCHANGE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLVI'>XLVI</span>
+
+<img src='images/i_247.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLVI</span><br>  <br>  HARMONY BY COUNTERCHANGE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLVII'>XLVII</span>
+
+<img src='images/i_249.jpg' alt='From Orange to Cream-White From Yellow to Yellow-White From Green to Green-White From Blue to Blue-White' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLVII</span><br>  <br>  THE TRUE CHARACTER OF SOME OF THE SO-CALLED “WHITES”<br>  <br>  (which are really pale tints)</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLVIII'>XLVIII</span>
+
+<img src='images/i_251.jpg' alt='From Brown to Yellow From Green to Yellow From Pink to Yellow From Red to Yellow' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLVIII</span><br>  <br>  SOME CHANGES BY GRADATION FROM ONE COLOR TO ANOTHER</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XLIX'>XLIX</span>
+
+<img src='images/i_253.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XLIX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM ASSYRIAN TILES</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue-Green Ground</td>
+
+    <td class='c009'>60</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Greenish Yellow</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple-Brown</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>The variation of color in the blue-green tiles is especially fine.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_L'>L</span>
+
+<img src='images/i_255.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate L</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM ASSYRIAN TILES</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>35</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LI'>LI</span>
+
+<img src='images/i_257.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM ASSYRIAN TILES</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>69</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Deep Yellow</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Yellow</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LII'>LII</span>
+
+<img src='images/i_259.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY COVER</th></tr>
+
+  <tr>
+
+    <td class='c008'>Pale Yellow</td>
+
+    <td class='c009'>34</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>27</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LIII'>LIII</span>
+
+<img src='images/i_261.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN EGYPTIAN MUMMY CASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Black Ground</td>
+
+    <td class='c009'>63</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow (all through design)</td>
+
+    <td class='c009'>17</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>9</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Red</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LIV'>LIV</span>
+
+<img src='images/i_263.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LIV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><td class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CASE</td></tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>36</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue-Green</td>
+
+    <td class='c009'>24</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>14</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>11</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Much like a parrot’s plumage.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LV'>LV</span>
+
+<img src='images/i_265.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Purple Red</td>
+
+    <td class='c009'>91</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Gray</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Dull yellow ground.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LVI'>LVI</span>
+
+<img src='images/i_267.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LVI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Dull Green</td>
+
+    <td class='c009'>29</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Bright Green</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Ground Color</td>
+
+    <td class='c009'>40</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LVII'>LVII</span>
+
+<img src='images/i_269.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LVII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Deep, Dull Blue</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray</td>
+
+    <td class='c009'>43</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Red</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LVIII'>LVIII</span>
+
+<img src='images/i_271.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LVIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Light Blue</td>
+
+    <td class='c009'>32</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Blue</td>
+
+    <td class='c009'>17</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Red</td>
+
+    <td class='c009'>33</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Red</td>
+
+    <td class='c009'>12</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black Stems</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Gray ground; the ornament a stripe of embroidered leaves and stems.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LIX'>LIX</span>
+
+<img src='images/i_273.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LIX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Gray ground.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LX'>LX</span>
+
+<img src='images/i_275.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>24</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Light gray ground.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXI'>LXI</span>
+
+<img src='images/i_277.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A MUMMY CLOTH</th></tr>
+
+  <tr>
+
+    <td class='c008'>Maroon</td>
+
+    <td class='c009'>92</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Yellow</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Cream White</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Green linen ground with red border. Cream and yellow runs through design in small portions.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXII'>LXII</span>
+
+<img src='images/i_279.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN EARLY GREEK VASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Gray</td>
+
+    <td class='c009'>72</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>21</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXIII'>LXIII</span>
+
+<img src='images/i_281.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A GREEK VASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Light Red</td>
+
+    <td class='c009'>35</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Red</td>
+
+    <td class='c009'>19</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>45</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>The Ground partly red, partly black, white in fine outlines or small dotted outlines.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXIV'>LXIV</span>
+
+<img src='images/i_283.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXIV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><td class='c020' colspan='2'>COLOR ANALYSIS FROM A GREEK VASE</td></tr>
+
+  <tr>
+
+    <td class='c008'>Dull Orange</td>
+
+    <td class='c009'>60</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXV'>LXV</span>
+
+<img src='images/i_285.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><td class='c020' colspan='2'>COLOR ANALYSIS FROM A GREEK VASE</td></tr>
+
+  <tr>
+
+    <td class='c008'>Gray Ground</td>
+
+    <td class='c009'>71</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>24</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXVI'>LXVI</span>
+
+<img src='images/i_287.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXVI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM ARAB MOSAICS</th></tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>33</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>26</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Red</td>
+
+    <td class='c009'>21</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXVII'>LXVII</span>
+
+<img src='images/i_289.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXVII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM ARABIAN ILLUMINATION</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Red</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>12</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXVIII'>LXVIII</span>
+
+<img src='images/i_291.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXVIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM MOORISH TILES</th></tr>
+
+  <tr>
+
+    <td class='c008'>Olive-Green</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXIX'>LXIX</span>
+
+<img src='images/i_293.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXIX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A PANEL OF THE ALHAMBRA</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>40</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold</td>
+
+    <td class='c009'>24</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXX'>LXX</span>
+
+<img src='images/i_295.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A PANEL OF THE TAJ MAHAL, INDIA</th></tr>
+
+  <tr>
+
+    <td class='c008'>White Ground</td>
+
+    <td class='c009'>52</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Yellow</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Deep Yellow</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Green</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Medium Green</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Green</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Pink</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Lilies and leaves on white ground.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXI'>LXXI</span>
+
+<img src='images/i_297.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM DAMASCUS TILES</th></tr>
+
+  <tr>
+
+    <td class='c008'>Pale Yellow Ground</td>
+
+    <td class='c009'>40</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Deep Cool Blue</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Blue</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>13</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Brown</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXII'>LXXII</span>
+
+<img src='images/i_299.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM CELTIC ORNAMENT</th></tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>17</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXIII'>LXXIII</span>
+
+<img src='images/i_301.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM ITALIAN MAJOLICA VASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>White Ground</td>
+
+    <td class='c009'>38</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Deep Blue</td>
+
+    <td class='c009'>34</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>16</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Yellow</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXIV'>LXXIV</span>
+
+<img src='images/i_303.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXIV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM PANEL OF DUTCH INLAID CABINET OF THE <span class='fss'>15TH</span> CENTURY</th></tr>
+
+  <tr>
+
+    <td class='c008'>Brown Wood</td>
+
+    <td class='c009'>58</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light    „</td>
+
+    <td class='c009'>19</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow   „</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green    „</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red „</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black    „</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXV'>LXXV</span>
+
+<img src='images/i_305.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM SPANISH EMBROIDERY</th></tr>
+
+  <tr>
+
+    <td class='c008'>Black Ground</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow Design</td>
+
+    <td class='c009'>40</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red in Design</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXVI'>LXXVI</span>
+
+<img src='images/i_307.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXVI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM SPANISH EMBROIDERY</th></tr>
+
+  <tr><td class='c020' colspan='2'>A harmony of contrast.</td></tr>
+
+  <tr>
+
+    <td class='c008'>Blue Ground</td>
+
+    <td class='c009'>45</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Neutral Yellow</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Yellow</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXVII'>LXXVII</span>
+
+<img src='images/i_309.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXVII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN ANTIQUE PERSIAN RUG</th></tr>
+
+  <tr>
+
+    <td class='c008'>Old Rose</td>
+
+    <td class='c009'>55</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Old Yellow</td>
+
+    <td class='c009'>40</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>The black was used in fine outlines between the rose and</td></tr>
+
+  <tr><td class='c020' colspan='2'>yellow to harmonize them.</td></tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>&#160;</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'><span class='small'>The following eight examples have had their harmony greatly increased by time which has toned their colors.</span></td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXVIII'>LXXVIII</span>
+
+<img src='images/i_311.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXVIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><td class='c020' colspan='2'>ANALYSIS FROM AN ANTIQUE RUG</td></tr>
+
+  <tr>
+
+    <td class='c008'>Old Yellow</td>
+
+    <td class='c009'>70</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Old Rose</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green-Blue</td>
+
+    <td class='c009'>9</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXIX'>LXXIX</span>
+
+<img src='images/i_313.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXIX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN ANTIQUE RUG</th></tr>
+
+  <tr>
+
+    <td class='c008'>Pale Green Tint Ground</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow-Pink</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>13</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Black used in fine lines.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXX'>LXXX</span>
+
+<img src='images/i_315.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN ANTIQUE RUG</th></tr>
+
+  <tr>
+
+    <td class='c008'>Camel’s-Hair Gray</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Cool Blue Tint</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXI'>LXXXI</span>
+
+<img src='images/i_317.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN ANTIQUE RUG</th></tr>
+
+  <tr>
+
+    <td class='c008'>Green-Blue Ground</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red Tint</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXII'>LXXXII</span>
+
+<img src='images/i_319.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN ANTIQUE RUG</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue Shade</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow Shade</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Blue Tint</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXIII'>LXXXIII</span>
+
+<img src='images/i_321.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM AN ANTIQUE RUG</th></tr>
+
+  <tr>
+
+    <td class='c008'>Neutral Red</td>
+
+    <td class='c009'>65</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Cold Blue</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Silver</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXIV'>LXXXIV</span>
+
+<img src='images/i_323.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXIV</span><br>  <br>  THE COLOR SCHEME OF AN ANTIQUE RUG<br>  FROM WHICH PLATE LXXXV IS AN<br>  ANALYSIS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXV'>LXXXV</span>
+
+<img src='images/i_325.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>ANALYSIS OF AN ANTIQUE RUG</th></tr>
+
+  <tr><td class='c020' colspan='2'>(See Plate LXXXIV)</td></tr>
+
+  <tr>
+
+    <td class='c008'>Dull Blue Shade</td>
+
+    <td class='c009'>62</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Yellow Shade</td>
+
+    <td class='c009'>38</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXVI'>LXXXVI</span>
+
+<img src='images/i_327.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXVI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY</th></tr>
+
+  <tr>
+
+    <td class='c008'>Old Gold Ground</td>
+
+    <td class='c009'>77.5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Brown</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Brown</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Green</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Green</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray-Green</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Red</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Red</td>
+
+    <td class='c009'>.5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXVII'>LXXXVII</span>
+
+<img src='images/i_329.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXVII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY</th></tr>
+
+  <tr>
+
+    <td class='c008'>Gray Ground</td>
+
+    <td class='c009'>64</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Blue</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Blue</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray-Blue</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Brown</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXVIII'>LXXXVIII</span>
+
+<img src='images/i_331.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXVIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM JAPANESE SILK BROCADE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Yellow-Gray Ground</td>
+
+    <td class='c009'>60</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue-Gray Leaves</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White Daisies</td>
+
+    <td class='c009'>16</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pink Tips to Daisies</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold Veins to Leaves and Centres to Daisies</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_LXXXIX'>LXXXIX</span>
+
+<img src='images/i_333.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate LXXXIX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM BORDER OF JAPANESE CLOISONNÉ VASE, Pl. XC</th></tr>
+
+  <tr>
+
+    <td class='c008'>Greenish White</td>
+
+    <td class='c009'>66</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>34</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XC'>XC</span>
+
+<img src='images/i_335.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XC</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM JAPANESE CLOISONNÉ VASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Green-Blue Ground</td>
+
+    <td class='c009'>43</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Blue</td>
+
+    <td class='c009'>14</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>9</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Red</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Lightest Red</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Greenish Blue</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Brass</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>The fine brass outlines add much to the harmony.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCI'>XCI</span>
+
+<img src='images/i_337.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A JAPANESE SKIRT PANEL</th></tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>&#160;</td>
+
+  </tr>
+
+  <tr><th class='c020' colspan='2'><span class='sc'>Border</span></th></tr>
+
+  <tr>
+
+    <td class='c008'>White Ground</td>
+
+    <td class='c009'>23</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>11</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold Edge</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Purple-Blue</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Gold</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dull Pink</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>&#160;</td>
+
+  </tr>
+
+  <tr><th class='c020' colspan='2'><span class='sc'>Centre</span></th></tr>
+
+  <tr>
+
+    <td class='c008'>Green Ground</td>
+
+    <td class='c009'>26</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Shades of Red</td>
+
+    <td class='c009'>11</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Greens</td>
+
+    <td class='c009'>4</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Lavender</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold Edge</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>1</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Orange</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCII'>XCII</span>
+
+<img src='images/i_339.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM JAPANESE BROCADE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Brown</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Red</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Blue</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Green</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Blue</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Green</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Brown</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Fine example of a harmony of a dominant hue.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCIII'>XCIII</span>
+
+<img src='images/i_341.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><td class='c020' colspan='2'>COLOR ANALYSIS FROM CHINESE PORCELAIN</td></tr>
+
+  <tr>
+
+    <td class='c008'>Deep Lapis Lazuli Blue Ground</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Turquoise Blue</td>
+
+    <td class='c009'>29</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Ochre Yellow</td>
+
+    <td class='c009'>12</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Violet</td>
+
+    <td class='c009'>9</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Plates XCIII to XCVII inclusive are from Chinese porcelain, the colors having remained brilliant.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCIV'>XCIV</span>
+
+<img src='images/i_343.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCIV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A “BLACK HAWTHORN VASE”</th></tr>
+
+  <tr>
+
+    <td class='c008'>Black Ground</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green-White Flowers</td>
+
+    <td class='c009'>26</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green Leaves</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow-Green Leaves</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Brown Stems</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Red Flowers</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow      „</td>
+
+    <td class='c009'>6</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCV'>XCV</span>
+
+<img src='images/i_345.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCV</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A ROSE-COLORED VASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Rose Ground</td>
+
+    <td class='c009'>50</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White Panel</td>
+
+    <td class='c009'>23</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue-Green</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow-Green</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>7</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Deep Pink</td>
+
+    <td class='c009'>5</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCVI'>XCVI</span>
+
+<img src='images/i_347.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCVI</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM YELLOW CHINESE PORCELAIN VASE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Yellow Ground</td>
+
+    <td class='c009'>44</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Green Leaves</td>
+
+    <td class='c009'>23</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Green    „</td>
+
+    <td class='c009'>8</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Cream White Flowers</td>
+
+    <td class='c009'>16</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Brown Stems</td>
+
+    <td class='c009'>9</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCVII'>XCVII</span>
+
+<img src='images/i_349.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCVII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A CHINESE “EGGSHELL” PLATE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Blue</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Yellow</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>White</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Green</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pink</td>
+
+    <td class='c009'>18</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Pink</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Dark Green</td>
+
+    <td class='c009'>3</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gold</td>
+
+    <td class='c009'>2</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Pale tints with delicate decoration in strong tones.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCVIII'>XCVIII</span>
+
+<img src='images/i_351.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCVIII</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A BUTTERFLY</th></tr>
+
+  <tr>
+
+    <td class='c008'>Dark Yellow Shade</td>
+
+    <td class='c009'>30</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Medium Yellow</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Light Yellow</td>
+
+    <td class='c009'>20</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Silver</td>
+
+    <td class='c009'>15</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Black</td>
+
+    <td class='c009'>10</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>The black was well placed to contrast with the light tones, the silver to contrast with the dark tone.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_XCIX'>XCIX</span>
+
+<img src='images/i_353.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate XCIX</span></p>
+
+</div>
+
+</div>
+
+
+
+<table class='table3'>
+
+<colgroup>
+
+<col class='colwidth94'>
+
+<col class='colwidth5'>
+
+</colgroup>
+
+  <tr><th class='c020' colspan='2'>COLOR ANALYSIS FROM A STONE</th></tr>
+
+  <tr>
+
+    <td class='c008'>Pale Gray-Green</td>
+
+    <td class='c009'>40</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Gray-Green</td>
+
+    <td class='c009'>35</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>Pale Red</td>
+
+    <td class='c009'>25</td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'><hr></td>
+
+  </tr>
+
+  <tr>
+
+    <td class='c008'>&#160;</td>
+
+    <td class='c009'>100</td>
+
+  </tr>
+
+  <tr><td class='c020' colspan='2'>Ground, pale green.</td></tr>
+
+</table>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_C'>C</span>
+
+<img src='images/i_355.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate C</span><br>  <br>  COLOR NOTE FROM AN OLD AND PARTLY<br>  DISCOLORED PROPELLER FLANGE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CI'>CI</span>
+
+<img src='images/i_357.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CI</span><br>  <br>  COLOR NOTE FROM LEAVES ON A TREE<br>  <br>  The sun glancing across the smooth leaves makes a cool gray, and shining through them makes a warm green.<br>  The shaded leaves are a deep green.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CII'>CII</span>
+
+<img src='images/i_359.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CII</span><br>  <br>  COLOR NOTE FROM A SUNSET SKY</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CIII'>CIII</span>
+
+<img src='images/i_361.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CIII</span><br>  <br>  COLOR NOTE FROM BARE WOODS ON THE<br>  EDGE OF A MEADOW</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CIV'>CIV</span>
+
+<img src='images/i_363.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CIV</span><br>  <br>  COLOR NOTE FROM EVERGREENS AGAINST<br>  A GRAY-BLUE RAIN CLOUD</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CV'>CV</span>
+
+<img src='images/i_365.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CV</span><br>  <br>  COLOR NOTE FROM A SHADOW ON<br>  WHITE GROUND</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CVI'>CVI</span>
+
+<img src='images/i_367.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CVI</span><br>  <br>  COLOR NOTE FROM A BLUEBIRD<br>  <br>  A harmony of cobalt and light red.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CVII'>CVII</span>
+
+<img src='images/i_369.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CVII</span><br>  <br>  COLOR NOTE FROM A SLICE OF AN ORANGE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CVIII'>CVIII</span>
+
+<img src='images/i_371.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CVIII</span><br>  <br>  COLOR NOTE FROM ORANGE CANNA BLOSSOM<br>  <br>  with part of leaf</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CIX'>CIX</span>
+
+<img src='images/i_373.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CIX</span><br>  <br>  COLOR NOTE FROM A BUNCH OF AZALEAS</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CX'>CX</span>
+
+<img src='images/i_375.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CX</span><br>  <br>  COLOR NOTE FROM OAK LEAVES AGAINST<br>  A DISTANT HILLSIDE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXI'>CXI</span>
+
+<img src='images/i_377.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXI</span><br>  <br>  COLOR NOTE FROM OATS SEEN FROM THE<br>  EDGE OF THE FIELD<br>  <br>  So the top was a mass of soft blue-gray-green, while the<br>  stalks were highly colored.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXII'>CXII</span>
+
+<img src='images/i_379.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXII</span><br>  <br>  COLOR NOTE FROM A PUSSY WILLOW</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id003'>
+
+<span class='pageno' id='Page_CXIII'>CXIII</span>
+
+<img src='images/i_381.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXIII</span><br>  <br>  COLOR NOTE FROM A TROUT POND</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXIV'>CXIV</span>
+
+<img src='images/i_383.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXIV</span><br>  <br>  COLOR NOTE FROM A TREE FUNGUS<br>  <br>  Texture like velvet.</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXV'>CXV</span>
+
+<img src='images/i_385.jpg' alt='Sky Snow in Sunshine Shadows on Snow Dead Grass through Snow Crows Dried Oak Leaves Tree Trunks, light Pine Green Tree Trunks, dark' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXV</span><br>  <br>  COLOR SCHEME FROM WINTER LANDSCAPE BETWEEN BALTIMORE AND WASHINGTON</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXVI'>CXVI</span>
+
+<img src='images/i_387.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXVI</span><br>  <br>  SPECTRAL RED<br>  NEUTRALIZED BY BLACK AND WHITE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXVII'>CXVII</span>
+
+<img src='images/i_389.jpg' alt='' class='ig001'>
+
+<div class='ic002'>
+
+<p><span class='sc'>Plate CXVII</span><br>  <br>  SPECTRAL YELLOW<br>  NEUTRALIZED BY BLACK AND WHITE</p>
+
+</div>
+
+</div>
+
+
+
+<div  class='figcenter id002'>
+
+<span class='pageno' id='Page_CXVIII'>CXVIII</span>
+
+<img src='images/i_392.jpg' alt='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.' class='ig001'>
+
+</div>
+
+
+
+<hr class='c031'>
+
+<div class='footnote' id='f1'>
+
+<p class='c006'><a href='#r1'>1</a>. Church, <cite>Colour</cite>.</p>
+
+</div>
+
+<div class='footnote' id='f2'>
+
+<p class='c006'><a href='#r2'>2</a>. Rood, <cite>Modern Chromatics</cite>.</p>
+
+</div>
+
+<div class='footnote' id='f3'>
+
+<p class='c006'><a href='#r3'>3</a>. “Mind,” n.s., Vol. II. 1893.</p>
+
+</div>
+
+<div class='footnote' id='f4'>
+
+<p class='c006'><a href='#r4'>4</a>. 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.</p>
+
+</div>
+
+<div class='footnote' id='f5'>
+
+<p class='c006'><a href='#r5'>5</a>. <cite>The Chemistry of Paints and Painting.</cite></p>
+
+</div>
+
+<div class='footnote' id='f6'>
+
+<p class='c006'><a href='#r6'>6</a>. Church.</p>
+
+</div>
+
+<div class='footnote' id='f7'>
+
+<p class='c006'><a href='#r7'>7</a>. Chevreul.</p>
+
+</div>
+
+<div class='footnote' id='f8'>
+
+<p class='c006'><a href='#r8'>8</a>. <span class='sc'>Colour.</span> By A. H. Church. Ch. X., p. 116.</p>
+
+</div>
+
+<div class='footnote' id='f9'>
+
+<p class='c006'><a href='#r9'>9</a>. <span class='sc'>Modern Chromatics.</span> By Prof. O. N. Rood. Ch. XVI.</p>
+
+</div>
+
+<div class='footnote' id='f10'>
+
+<p class='c006'><a href='#r10'>10</a>. <span class='sc'>Colour.</span> By A. H. Church. Ch. XI., p. 144.</p>
+
+</div>
+
+<div class='footnote' id='f11'>
+
+<p class='c006'><a href='#r11'>11</a>. F. Schuyler Matthews.</p>
+
+</div>
+
+<div class='footnote' id='f12'>
+
+<p class='c006'><a href='#r12'>12</a>. Lectures and Lessons on Art. F. W. Moody. P. 131.</p>
+
+</div>
+
+<div class='footnote' id='f13'>
+
+<p class='c006'><a href='#r13'>13</a>. Rood.</p>
+
+</div>
+
+<div class='footnote' id='f14'>
+
+<p class='c006'><a href='#r14'>14</a>. <span class='sc'>Floral Art of Japan.</span> By Condor.</p>
+
+</div>
+
+<div class='footnote' id='f15'>
+
+<p class='c006'><a href='#r15'>15</a>. In <span class='sc'>The American Florist</span>.</p>
+
+</div>
+
+<div class='footnote' id='f16'>
+
+<p class='c006'><a href='#r16'>16</a>. <span class='sc'>Note.</span>—“A streak of light.”—<i>Rood.</i></p>
+
+</div>
+
+
+
+<div class='pbb'>
+
+ <hr class='pb c003'>
+
+</div>
+
+<div class='tnotes x-ebookmaker'>
+
+
+
+<div class='chapter ph2'>
+
+
+
+<div class='nf-center-c0'>
+
+<div class='nf-center c012'>
+
+    <div>TRANSCRIBER’S NOTES</div>
+
+  </div>
+
+</div>
+
+
+
+</div>
+
+
+
+ <ul class='ul_1 c002'>
+
+    <li>Typos fixed; non-standard spelling and dialect retained.
+
+
+
+    </li>
+
+    <li>Used numbers for footnotes, placing them all at the end of the last chapter.
+
+    </li>
+
+  </ul>
+
+
+
+</div>
+
+
+
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 77736 ***</div>
+  </body>
+
+  <!-- created with ppgen.py 3.57g (with regex) on 2025-12-27 01:03:03 GMT -->
+
+</html>
+
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diff --git a/LICENSE.txt b/LICENSE.txt
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@@ -0,0 +1,11 @@
+This book, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for eBook #77736
+(https://www.gutenberg.org/ebooks/77736)