_On the Juxtaposition of Coloured Surfaces with White._
44. When white bodies are viewed simultaneously with coloured bodies
contiguous to them, they are sensibly modified. I confess that the
modification is too feeble to be determined with absolute certainty
while we are ignorant of the law of contrast; but, understanding that,
and knowing the modifications that white undergoes in connexion with
certain colours, we shall not fail to recognise this modification in
special cases, provided the colours opposed to the white be not too
deep.
_Red and White._
45. Green, complementary to Red, being added to White, the Red appears
more brilliant and deeper.
_Orange and White._
46. Blue, complementary to Orange, being added to White, the Orange
appears more brilliant and deeper.
_Greenish-Yellow and White._
47. Violet, complementary to Greenish-yellow, being added to White, the
Yellow appears more brilliant and deeper.
_Green and White._
48. Red, complementary to Green, being added to White, the Green
appears more brilliant and deeper.
_Blue and White._
49. Orange, complementary to Blue, being added to White, the Blue
appears more brilliant and deeper.
[Illustration: PLATE IV.]
_Indigo and White._
50. Yellowish-orange, complementary to Indigo, being added to White,
the Indigo appears more brilliant and deeper.
_Violet and White._
51. Yellowish-green, complementary to Violet, being added to White, the
Violet appears more brilliant and deeper.
_Black and White._
52. Black and white, which may be considered in some respects
complementary to each other, become, conformably to the law of contrast
of tone, more different than when seen separately. This results from
the effect of the white light, which is reflected by the black (4),
being more or less destroyed by the light of the white stripe. By an
analogous action, the white heightens the tone of the colours to which
it is contiguous.