_On the Application of the Law of Contrast to the
Hypothesis that Red, Yellow, and Blue are the only
Primary Colours; and that Orange, Green, Indigo,
and Violet are Secondary or Composite Colours._
76. The experiments to which I have just applied the principle of
the modification which colours undergo by juxtaposition, and the
explanation consequent upon the manner in which white light has been
considered, are also clearly explained in the language of painters
and dyers, who admit of only three primary colours—red, yellow, and
blue. As there are persons who, while they hold this opinion, desire,
notwithstanding, to give a reason for the phenomena resulting from the
juxtaposition of colours, I will explain them in accordance with this
language; and, for greater clearness, I make five groups of juxtaposed
colours, beginning with those which include the observations to which
the preceding law is most easily applied. I shall presume that orange
is composed of red and yellow, green of yellow and blue, indigo and
violet of red and blue.
FIRST GROUP.—_Two Secondary Colours having a Simple Colour as a Common
Element._
It is very easy to verify the law when we look at two colours which
form part of the group: we see that by their reciprocal influence they
lose more or less of the colour which is common to them. It is evident
that they become more unlike each other in proportion to this loss.
1. _Orange and Green._—These colours having the element yellow in
common, lose it by juxtaposition. _The orange appears redder, and the
green bluer._
2. _Orange and Indigo._—These colours having the element red in common,
lose it by juxtaposition. _The orange appears yellower, and the indigo
greener._
3. _Orange and Violet._—Like the preceding.
4. _Green and Indigo._—These colours having the element blue in common,
lose it by juxtaposition. _The orange appears yellower, and the indigo
bluer._
5. _Green and Violet._—Like the preceding.
SECOND GROUP.—_A Compound Colour, and a Simple Colour, which is found
in the Compound._
Plate 6.
1. _Orange and Red._—The orange loses red, and appears yellower; the
red becomes bluer, to differ as much as possible from the orange.
[Illustration: PLATE VI.]
2. _Violet and Red._—The violet loses red, and appears bluer; the red
becomes yellower, to differ as much as possible from the violet.
3. _Indigo and Red._—Like the preceding.
4. _Orange and Yellow._—The orange loses yellow, and appears redder;
the yellow becomes bluer, to differ as much as possible from the orange.
5. _Green and Yellow._—The green loses yellow, and appears bluer; the
yellow becomes redder, to differ more from the green.
6. _Green and Blue._—The green loses blue, and appears yellower; the
blue becomes redder, to differ as much as possible from the green.
7 _Violet and Blue._—The violet loses blue, and appears redder; the
blue must become yellower to differ as much as possible from the violet.
8. _Indigo and Blue._—Like the two preceding.
THIRD GROUP.—_Two Simple Colours._ (See 6, 7.)
1. _Red and Yellow._—Red in losing yellow appears bluer; and the yellow
losing red appears bluer; or, in other words, the red inclines to
purple, and the yellow to green.
2. _Red and Blue._—The red in losing blue appears yellower; and the
blue losing red appears yellower; or, in other words, the red inclines
to orange, and the blue to green.
3. _Yellow and Blue._—The yellow in losing blue appears redder; and the
blue losing yellow appears more violet; or, in other words, the yellow
inclines to orange, and the blue to violet.
FOURTH GROUP.—_Two Compound Colours consisting of the same Simple
Colours._
_Indigo and Violet._—As indigo differs from violet only in containing
more blue in proportion to red, it follows that the difference will
be greatest when the indigo loses red and inclines to greenish blue,
while the violet, by gaining red, inclines toward that colour. It is
clear that, if the violet lost red, or if the indigo acquired it, the
two colours would approximate; but, as they differ from each other, the
first effect ensues.
We may further explain the preceding phenomena by considering indigo
relatively to violet, as blue; then it will lose its blue, which is
common to both colours, and incline to green; while the violet, also
losing its blue, will appear redder.
FIFTH GROUP.—_A Compound Colour, and a Simple Colour, which is not
found in the Compound._
1. _Orange and Blue._ 2. _Green and Orange._ 3. _Violet and Greenish
Yellow._
Upon the hypothesis that orange, green, and violet are compound
colours, and that red, blue, and yellow are simple, it follows
that in opposing them in the order in which they are reciprocally
complementary, and supposing also that the colours so juxtaposed are
entirely free from any foreign colour, there appears no reason for the
compound colour losing one of its elements rather than another, or for
the simple colour being unlike one of the elementary colours rather
than another. For instance, in the juxtaposition of green and red, we
see no reason why green should pass into blue rather than into yellow,
or why the red should incline to blue rather than to yellow.
SECTION II.
ON THE DISTINCTION BETWEEN SIMULTANEOUS, SUCCESSIVE,
AND MIXED CONTRAST OF COLOURS, AND ON THE CONNEXION
BETWEEN THE EXPERIMENTS MADE BY THE AUTHOR, AND THOSE
PREVIOUSLY MADE BY OTHER OBSERVERS. DISTINCTION BETWEEN
SIMULTANEOUS, SUCCESSIVE, AND MIXED CONTRAST OF COLOURS.
77. Before speaking of the relation of my experiments to those made by
others on the contrast of colours, we must distinguish three classes
of contrast. The _first_ includes those relating to the contrast which
I term _simultaneous_; the _second_ to that which I term _successive_;
and the _third_ to that which I term _mixed_.
78. _Simultaneous contrast of colours_ includes that phenomena of
modification which objects variously coloured seem to undergo in
physical composition, and in the depth of tone of their respective
colours, when seen at the same time.
79. _Successive contrast of colours_ includes the phenomena observed
when the eyes having looked for some time at one or more coloured
objects, perceive, after having ceased to look at them, images of those
objects, presenting the colour complementary to that of the actual
object.
80. This distinction also facilitates the understanding of the
phenomena which maybe called _mixed contrast_; for, the retina having
seen a certain colour for some time, has an aptitude to see for a
further time the complementary of that colour, as well as any new
colour presented by an external object; the sensation perceived being
the result of this new colour, and the complementary of the first.
For want of this distinction, one of the branches of optics most
fertile in applications, has not been treated with the clearness and
precision which are necessary to show its importance to those who have
not experimented upon it.
81. The following is a simple mode of observing _mixed
contrast_:—Having closed one eye, the right for example, look steadily
with the left at a sheet of paper of a colour A; when this colour seems
to become dull, look immediately at a sheet of paper of the colour B,
the eye then has the impression produced by the mixture of this colour
B with the complementary (C) of the colour A.
82. To be convinced of this mixed sensation, it is only necessary to
shut the left eye, and to look at the colour B with the right eye; when
the sensation perceived is not only that of the colour B, but it may
appear modified in the contrary way to that of the mixed sensation C +
B, or what is the same, it appears to be rather A + B.
83. Upon shutting the right eye, and looking again at the colour B with
the left eye, and that many times in succession, different sensations
are successively perceived, but more and more feebly, until at length
the left eye returns to its normal state.
84. I advise any person who thinks that one of his eyes is more able
to perceive colours than the other, to look at a sheet of paper
alternately with the right and left eye; if the sensations of each are
identical, he may conclude that he has deceived himself. And even if
the sensations be different, the experiment should be repeated several
times, successively, for the difference observed in a single experiment
might be occasioned by one of the eyes having been previously modified
or fatigued.
85. This practice appears to me especially useful to painters. I now
give some examples of mixed contrast.
86. The left eye, having looked for some time at red, has an aptitude
to see afterwards green, the complementary of red. If then it be
attracted by yellow, it perceives a sensation resulting from the
mixture of green and yellow. The left eye being shut, and the right
eye, which has not been modified by the sight of red, being opened, it
sees yellow, and it is possible that this yellow may appear more orange
than it is really.
87. _If the left eye_ | _and had_ | _the latter would_
_had first seen_ | _afterwards seen_ | _have seemed_
Yellow Red Violet.
88. Red Blue Greenish.
89. Blue Red Orange-red.
90. Yellow Blue Blue-violet.
91. Blue Yellow Orange-yellow.
92. Red Orange Yellow.
93. Orange Red Red-violet.
94. Red Violet Deep blue.
95. Violet Red Orange-red.
96. Yellow Orange Red.
97. Orange Yellow Greenish-yellow.
98. Yellow Green Bluish-green.
99. Green Yellow Orange-yellow.
100. Blue Green Yellow-green.
101. Green Blue Blue-violet.
102. Blue Violet Reddish-violet.
103. Violet Blue Greenish-blue.
104. Orange Green Bluish-green.
105. Green Orange Reddish-orange.
106. Orange Violet Bluish-violet.
107. Violet Orange Yellowish-orange.
108. Green Violet Red-violet.
109. Violet Green Yellow-green.
110. Red Green Bluer.
111. Green Red Tinted-violet.
112. Yellow Violet A little bluer.
113. Violet Yellow Greenish.
114. Blue Orange Yellower.
115. Orange Blue More violet.
116. I should observe that all these colours, at least to my eyes, did
not undergo equally intense or equally continuous modifications. For
instance, the modification produced by the successive view of yellow
and violet, or of violet and yellow, is stronger and more durable than
that produced by the successive view of blue and orange, and still
more than that of orange and blue. The modification produced by the
successive view of red and green, of green and red, is but slight, and
not enduring.
I may also add that the depth of tone exercises some influence on the
modification; for, if after looking at orange, we look at dark-blue,
the latter will appear greenish rather than violet, a result contrary
to that afforded by a light blue.
117. I have thought it the more necessary to mention under a special
name the phenomenon which I call _mixed contrast_, as it explains
certain facts remarked by dealers in coloured fabrics, as well as
the inconvenience felt by painters, who, wishing to produce an exact
imitation of their models, look at them so long as to be unable to
perceive their tones and modifications. I will mention two facts which
have been communicated to me by manufacturers, referring the reader to
Part II. for the application of the study of mixed contrast to painting.
118. First Fact. When a purchaser has looked a long time at a yellow
cloth, and he is then shown an orange, orange-red, or scarlet one, he
finds it dull, and judges it to be a dark or crimson-red; because the
retina affected by the yellow has a tendency to see violet; and hence
all the yellow of the orange colour disappears, and the eye sees it as
a red, or a red inclining to violet.
119. Second Fact. If there be presented to a purchaser, one after
another, fourteen pieces of a red fabric, he judges the six or seven
last pieces to be less beautiful than the first, although they may
be all identical. What is the reason of this false judgment? It is,
that the eyes which have seen six or eight red pieces in succession,
are in the same condition as if they had looked steadily for the
same length of time at a single red stuff,—having a tendency to see
the complementary of red, that is green. This tendency necessarily
enfeebles the brilliancy of the red of the last pieces. The dealer,
therefore, that he may not be a sufferer from the fatigued eyes of
his customer, after showing him a few red pieces, should present some
green ones, to restore the eyes to their normal state. If the view of
the green were sufficiently prolonged to pass the normal state, the
eyes would acquire a tendency to see red, and then the pieces seen last
would appear more beautiful than the rest.
PART THE SECOND.
ON THE APPLICATION OF THE LAW OF SIMULTANEOUS CONTRAST OF COLOURS.
INTRODUCTION.
120. Before entering into the details of these applications, I think
it necessary to offer some considerations which will enable me to
establish some propositions or principles, to which I shall have
frequent occasion to refer. I propose to give—
121. 1. Definitions of several expressions applicable to colours and
their modifications. 2. The means of representing and defining colours
and their modifications by the aid of diagrams. 3. A classification of
the harmonies of colours. 4. A view of some arrangements of the primary
colours with white, black, and grey.
SECTION I.
_Definition of the words Tones, Scales, and Hues._
122. The words _Tones_ and _Hues_ recur continually, both in common
language and in that of artists; yet they are not so well defined as to
be free from ambiguity, or to be well understood.
123. The word TONE of a colour will be employed exclusively to
designate the various modifications which that colour, in its greatest
intensity, is capable of receiving from white, which _lowers_ its tone,
or of black, which _heightens_ it.
124. The word SCALE will be applied to the assemblage of tones of the
same colour, thus modified. The pure colour is the normal tone of
the scale, if the normal tone does not belong to a broken or reduced
scale—_i.e._, to a scale, of which all the tones are made dull with
black (149).
125. The word HUE will be applied exclusively to the modifications
which a colour receives from the addition of a small quantity of
another. We shall speak, for example, of the _tones_ of the blue
scale, the _tones_ of the red scale, &c. We say the _hues_ of blue
to designate all the scales whose colours, still remaining blue,
yet differ from pure blue; each hue comprehending the tones which
constitute a scale more or less allied to the blue scale.
126. I have defined the tones of a colour to be the various
modifications, which that colour at its maximum of intensity is capable
of receiving from black and white; it must be observed that the
condition “maximum of intensity for receiving black,” is absolutely
essential to this definition; for if black be added to a tone below the
maximum, it would pass into another scale. Artists distinguish colours
as _pure, broken, reduced, grey_, or _dull_.
127. Pure colours are those termed _simple_, red, yellow, blue, and
those which result from their binary compounds, orange, green, violet,
and their _hues_. (150.) _Broken_ colours are the pure colours mixed
with black, from the tone of the lightest to the deepest. According to
these definitions, it is evident that in all the scales of simple and
binary colours, the tones which are above the pure colour are _broken_
tones.
128. Artists, and especially painters and dyers, admit that the
mixture of three primary colours, in a certain proportion, gives
black; hence, when these three colours are so mixed that two
predominate, black will result, formed from the union of the whole of
the colour, which is in small quantity, within suitable proportions of
the two predominant colours. For example, if blue be mixed with red
and yellow, a little black is produced, which reduces or _breaks_ the
orange.
129. We must remember that the _primary colours_ of painters are not
those of the prismatic spectrum, but substances employed by them, as
red, yellow, and blue colours.
SECTION II.
_Of Diagrams designed to Represent and Define Colours and their
Modifications._
130. Various contrivances have been proposed under the titles
of Tables, Scales, Colour-Circles, Chromatometers, &c., for
representing either by numbers or a rational nomenclature, colours
and their modifications. They are generally founded on these three
propositions:—1. There are three primary colours. 2. Equal portions of
these colours being mixed, produce pure secondary colours. 3. Equal
portions of the three primary colours produce black.
131. But we know of no substance which exhibits pure colour; that
is, which reflects only one kind of coloured rays, whether pure red,
pure yellow, or pure blue. And since it is impossible to procure pure
colouring matters, how can it be said that orange, green, and violet
are composed of two simple colours mixed in equal proportions? Or that
black consists of a mixture of equal parts of three simple colours?
[Illustration: PLATE VII.]
These chromatic tables, &c., point out mixtures which do not produce
the results deducible from the principles on which they are said to be
based.
132. But most of the blue, red, and yellow colours with which we are
acquainted, give, by their binary compounds, violet, green, and orange
inferior in brilliancy to the natural violet, green and orange colours
of objects. This result would be explained by admitting that colours
mixed two by two, reflect at least two kinds of coloured rays; and that
where there is any mixture of colours which reflect separately red,
yellow, and blue, there is produced a certain amount of black which
reduces the brilliancy of the mixture.
133. Conformably with this view, the violet, green, and orange colours
which result from a mixture of coloured matters, are most brilliant
when the respective colours of these materials approach each other.
For example, a mixture of blue and red inclines more to violet than
a mixture of blue and yellow inclines to green, and that of red and
yellow inclines still more to orange.
134. In order to represent all the modifications that I have called
_tones_ and _hues_ of colours, as well as the relations which exist
between those that are complementary to each other, I have devised
the following diagram (Plate 7). From a centre, _c_, I describe two
circumferences, _y_ Y. I divide each of these by means of three rays,
_c a_, _c b_, _c d_, into arcs of 120 degrees each. I divide the
portion of each ray comprised between the two circles _y_ Y into twenty
parts, which represent as many tones of the colours red, yellow, and
blue.
135. In each of the scales of these three colours there is one tone,
which, when pure, represents the colour of the scale to which it
relates. I therefore call it the _normal tone of that scale_. If we
represent a unit of surface _s_, entirely covered by the pigment
which reflects the normal colour, and if we suppose that this
colouring matter is equally distributed over the surface _a_ 1, we
shall represent the tones superior to the normal tone by the unit of
surface covered with 1 of the normal colour, plus the quantities of
black increasing with the number of tones; and we shall represent the
inferior tones by the unit of surface covered with a fraction of the
quantity 1, constituting the normal tone, mixed with (——) quantities of
black, as the tone has a less elevated number. If the tone 15 of the
red scale be the normal tone, the normal tone of the yellow scale will
have a lower number, while the normal tone of the blue scale will have
a higher number. This depends upon the unequal lightness of the colours.
136. If each arc of 120° be divided into two of 60° and if radii
pass through the points of division, beginning at _y_, there will be
represented twenty tones of the orange, green, and violet scales, the
colours at the extremities of each diameter being complementary to one
another. Each arc of 60° might be divided into arcs of 30°, and thus
would be obtained radii representing twenty tones of scales, which I
shall call orange-red, orange-yellow, greenish-yellow, greenish-blue,
bluish-violet, and violet-red.
137. By dividing each arc into five, for example, by means of five
radii, which I divide into twenty parts each, beginning at the
circumference _y_, I shall obtain sixty new scales.
138. Beginning with red, I designate them as follows:—
_a_ Red _e_ Yellow _i_ Blue
1 Red 1 Yellow 1 Blue
2 Red 2 Yellow 2 Blue
3 Red 3 Yellow 3 Blue
4 Red 4 Yellow 4 Blue
5 Red 5 Yellow 5 Blue
139. _b_ Red-orange _f_ Yellow-green _k_ Blue-violet
1 Red-orange 1 Yellow-green 1 Blue-violet
2 Red-orange 2 Yellow-green 2 Blue-violet
3 Red-orange 3 Yellow-green 3 Blue-violet
4 Red-orange 4 Yellow-green 4 Blue-violet
5 Red-orange 5 Yellow-green 5 Blue-violet
140. _c_ Orange _g_ Green _l_ Violet
1 Orange 1 Green 1 Violet
2 Orange 2 Green 2 Violet
3 Orange 3 Green 3 Violet
4 Orange 4 Green 4 Violet
5 Orange 5 Green 5 Violet
141. _d_ Orange-yellow _h_ Green-blue _m_ Violet-red
1 Orange-yellow 1 Green-blue 1 Violet-red
2 Orange-yellow 2 Green-blue 2 Violet-red
3 Orange-yellow 3 Green-blue 3 Violet-red
4 Orange-yellow 4 Green-blue 4 Violet-red
5 Orange-yellow 5 Green-blue 5 Violet-red
I attach no importance to this nomenclature; I employ it only as the
simplest to distinguish the seventy-two scales just described. The
number may be increased indefinitely, by inserting as many as we choose
between the above.
142. Let us now represent the gradations of each colour in the scales
of the circle by the addition to it of black, progressively increasing
till it becomes pure black. Imagine a quadrant whose radius is equal
to that of the circle, and arranged so as to turn upon an axis
perpendicular to the plane of the circle. Divide this quadrant, 1st, by
concentric arcs _y yʹ_, which coincide with the circles denoted by the
same letters; 2nd, by ten radii, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Divide
each of these radii into twenty parts, representing twenty tones,
corresponding to the tones of the scales represented on the circle.
143. I suppose that the tenth radius comprises the gradations of
normal black, covering the half-circle described by the movement of
the quadrant upon its axis; this black mixed in decreasing quantities,
with increasing quantities of white, gives the twenty tones of normal
grey, and ends by being lost in the white situated above the tone 1. I
suppose, further, that the normal tone of each of the scales taken upon
each of the radii of the quadrant 1, 2, 3, 4, 5, 6, 7, 8, 9, is formed
of the mixture of black with the colour of any of the scales that the
circle contains, and in such a proportion that the normal tone 15 of
that scale is represented by the unit of surface covered with 1, or
¹⁰/₁₀ of red.
144. The tone 15 of the scale of the
1st Radius = ⁹/₁₀ of Red + ¹/₁₀ of Black.
2nd ” = ⁸/₁₀ ” + ²/₁₀ ”
3rd ” = ⁷/₁₀ ” + ³/₁₀ ”
4th ” = ⁶/₁₀ ” + ⁴/₁₀ ”
5th ” = ⁵/₁₀ ” + ⁵/₁₀ ”
6th ” = ⁴/₁₀ ” + ⁶/₁₀ ”
7th ” = ³/₁₀ ” + ⁷/₁₀ ”
8th ” = ²/₁₀ ” + ⁸/₁₀ ”
9th ” = ¹/₁₀ ” + ⁹/₁₀ ”
These proportions relate to the effect of the mixtures upon the eye,
and not to the material quantity of the red and black substances.
145. We see then—1. That each of these _tones_, 15, composed of colour
and black, reduced by white and deepened by black, gives a scale of
twenty tones, so much the more broken as they are nearer the scale of
normal black. 2. That the quadrant by its movement upon the axis of
the circle, represents the scales of every colour except red, broken
by black. These broken scales are equidistant, and are formed of
equidistant tones. 3. That all the colours are thus contained in a
circle, whose plan comprehends the pure colours; the central space,
black; and the intermediate space the pure colours, broken by the
various proportions of black.
146. The diagram, as just described, thus represents the lowering
of pure colours by white, and their gradation by black; their
modifications by their mutual mixtures, the modification of hues,
and the modification of breaking. We will presently inquire into the
possibility of realizing it by means of coloured materials.
147. We have presumed—1. That the normal tone of each of the scales
is as pure as possible. 2. That the tones bearing the same number in
all the scales,—both those of the pure colours and those of the broken
colours,—are, to the sight, of equal depth. 3. That if three tones,
of the same number, be taken in three consecutive scales, the tone of
the intermediate scale is the mean between the colours of the extreme
scales. It is thus easy to explain the modifications of a pure colour
commencing with its normal tone.
148. These modifications are so produced that—1. _The Pure Colour never
leaves its Scale._—The modification is in the direction of the radius
of the circle—proceeding from the normal tone towards the centre,
it gains white; while proceeding from the normal tone towards the
circumference, it gains black.
149. 2. _The Pure Colour leaves its Scale by the addition of Black._—In
this case the various scales comprised in the quadrant perpendicular
to the circle, begin at the normal tone of one of the pure scales
of the circle with which the quadrant coincides. This normal tone,
resulting from a quantity of colour represented by unity, covering a
unit of surface _s_, the normal tones of the quadrant result from the
mixture of black and a fraction of unity of the colour. These mixtures
constitute broken colours, each covering a unit of surface _s_, and are
of the same depth as the normal tone of the pure colour. The fraction
of the quantity of colour is, in the broken normal tones, so much less,
as the scales, to which these tones belong, approximate to the vertical
axis of the semicircle.
Besides, each normal tone of the scales of the quadrant is modified,
like the normal tones of the scales of the circle, by increasing
quantities of white towards the centre, and of increasing quantities of
black towards the circumference.
150. 3. _A Pure Colour is modified by the addition of another Pure
Colour._—In this case hues are formed so much more resembling each
other, as the quantities of the second colour are smaller. These
modifications are made circularly, so that the tones retain their
numbers. Thus admitting, with painters and dyers, that there are only
three primary colours, and that by combining these two by two, we
obtain all the pure complex colours; and by combining them in threes,
all the broken colours; we find that it is possible to represent by
this hypothesis, all the modifications of colours.
151. Another advantage of this construction is that of giving to all
artists who may make applications of the law of simple contrast, the
complementaries of all the pure colours; since the colours of the
circular plan which are found at the extremities of the same diameter
are complementary to each other. For example, not only are red and
green, blue and orange, yellow and violet on the same diameter, but
it is so with orange-red and bluish-green, and yellowish-green and
violet-red; of red No. 1 and of green No. 1; so that all the colours
opposed to each other are mutually complementary.
152. The complementary of a colour contiguous to another being once
known, it is easy, according to the principles of combination, to
determine the modification that the second must receive from the
first; since this modification is the result of the mixture of the
complementary with the contiguous colour. In fact, if there is no
difficulty when the result is that of the non-complementary mixture
with a simple colour, red, yellow, and blue, with a binary colour,
orange, green, violet (using the language of painters, 76), there is no
greater difficulty when the result is that of the mixture of two binary
colours. For, the complementary being much less intense than the colour
with which it is mixed, the result will be found by subtracting from
the last binary colour the portion of its simple colour, which with the
complementary forms white, or in other words, neutralises it.
153. _Examples._—1. Orange being added as a complementary to green,
neutralises a portion of its blue, and consequently makes it appear
less blue or more yellow.
2. Orange being added as complementary to violet, neutralises a portion
of its blue, and consequently makes it appear less blue or more red.
3. Green being added as complementary to violet, neutralises a portion
of its red, and consequently makes it appear less red or more blue.
154. These three examples are easily explained by subtracting from the
binary colour a portion of its simple colour which is identical with
that contiguous to it. Thus:—
1. Blue subtracted from Green, makes it appear more Yellow.
2. Blue ” ” Violet ” ” Red.
3. Red ” ” Violet ” ” Blue.
155. To put the diagram into practice we must adopt invariable types
of colour, either in the solar spectrum, or in polarized light, or
coloured rings, or colours developed in a constant manner, by any
process whatever; then imitate them with the utmost fidelity, by means
of colouring matters which should be applied to the circular plan of
our chromatic diagram.
These types must be sufficiently numerous to reproduce the principal
colours, in order that a practised eye may without difficulty insert
all the tones of the same scale and all the hues of which types are
wanting. In fact the diagram thus established, should present terms so
near that the various colours of the natural bodies might be referred
to them.
156. 1. _That it represents all the Modifications resulting from the
Mixture of Colours._—Thus any colour lowered by white and deepened with
black may, retaining its place in the scale, give rise to an infinite
variety of tones; infinite, inasmuch as an unlimited number may be
inserted from tone 1 to tone 20.
157. 2. Pure colours, by their mutual modifications, may produce an
infinite variety of hues; for between two adjacent hues we may insert
as many as we desire.
158. 3. The normal tone of a pure colour represented by a quantity
equal to 1, covering the unit of surface, is the commencement of the
normal tones and scales proceeding towards black; these normal tones
being represented by black and a quantity of colour less than unity,
constituting the mixtures which cover a unit of surface s, and colour
it of a tone which has the same number as the normal tone of the pure
scale to which it relates. It is understood that in proceeding from
this tone to the corresponding tone of normal black, we may insert an
unlimited number of mixtures of colour and black.
159. The modifications of colours, thus indicated by the diagram,
render it extremely easy to understand the definitions given above
(123) of the words, scales, tones, hues, pure and broken colours.
160. 2. _It affords the means of knowing the complementaries of every
colour, since the names written at the two extremities of any one
diameter indicate the colours complementary to each other._
161. EXAMPLES.—_a._ Suppose it be required to know the mutual influence
of _blue and yellow_; at one extremity of a diameter we read the word
_blue_, and at its opposite end, the word _orange_; showing that blue
tends to give orange to yellow. Again, at the end of another diameter
we read the word yellow, and at its opposite, the word violet; by which
we see that yellow tends to give violet to blue.
162. _b._ Suppose _green and blue_ be contiguous; at one extremity
of a diameter we read the word green, and at its opposite end, red;
showing that green tending to give red to blue, must render it more
violet. Again, at one end of a diameter we read the word blue, and at
its opposite end, orange. But what arises from the mixture of green and
orange? The orange will tend to neutralize its complementary, blue, in
the green; and as it is always too feeble to neutralize all the blue,
its influence will be limited to neutralizing a portion of it; whence
it results that green, contiguous to blue, will appear more yellow than
it really is.
163. _c._ Let _green and yellow_ be contiguous, we shall see in like
manner that the green, by imparting red to the yellow, will render it
orange; and that violet, the complementary of yellow, by neutralizing
some yellow in the green, will make the green appear bluer, or less
yellow.
164. 3. _A third advantage of this diagram, which distinguishes it from
other chromatic diagrams, is, that it affords the preceding advantages,
without being coloured._
165. 4. _A fourth advantage is that of its manifesting to all artists
who use coloured materials of a definite size, especially the workers
of tapestry, carpets and the like, the relation of number which must
exist between the tones of the various scales which they work together._
SECTION III.
_Harmony of Colours._
166. The eye has an undoubted pleasure in seeing colours, independently
of the design and every other quality of the object which displays
them. A suitable example to demonstrate this, is the wainscoting of an
apartment in one or more flat tints which only attract the eyes and
affect them more or less agreeably, as the colours are well or badly
chosen.
167. First Case. _Agreeable Colour._—Every one, whose eyes are
well organized, derives pleasure from looking at the coloured rays
transmitted through a coloured glass, whether it be red, orange,
yellow, green, blue, or violet.
168. Second Case. _Different Tones of the same Scale of Colour._—The
simultaneous view of the series of tones of the same scale, which
commences with white and ends with dark brown, gives undoubtedly
an agreeable sensation, especially if the tones have equal and
sufficiently numerous intervals; for example, from eighteen to thirty.
169. Third Case. _View of Different Colours, belonging to adjacent
Scales, assorted conformably to Contrast._—The simultaneous view of
different colours, belonging to scales more or less allied to each
other, may be agreeable; but the assortment of scales producing this
effect is very difficult to obtain, because the more nearly the scales
approach, the more frequently it happens that one of the colours
injures that which is adjacent to it, and even both are reciprocally
injurious. The painter may, however, take advantage of this harmony,
by sacrificing one of the colours, which he subdues, to make the other
more brilliant.
170. Fourth Case. _View of very different Colours, belonging to very
distant Scales, arranged conformably to Contrast._—The simultaneous
view of complementary colours, or of binary assemblages of colours,
which, without being complementary, are yet very different, is also an
undoubtedly agreeable sensation.
171. Fifth Case. _View of various Colours, assorted more or less
according to the Law of Contrast_, being seen through a glass of a
colour not deep enough to allow all the colours peculiar to the glass
to be visible, afford a spectacle which is not without its charm, and
which is placed between that produced by the tones of the same scale,
and that which is produced by various colours; for it is evident, that
if the glass were of a deeper colour, it would cause objects to be seen
of the colour peculiar to it.
172. Hence we infer that there are six distinct harmonies of colour,
comprised in two species.
FIRST SPECIES—HARMONIES OF ANALOGY.—1. _The harmony of scale_,
produced by the simultaneous view of different tones of the same
scale, more or less approximating. 2. _The harmony of hues_, produced
by the simultaneous view of tones of the same, or nearly of the
same depth, belonging to neighbouring scales. 3. _The harmony of a
dominant coloured light_, produced by the simultaneous view of various
colours assorted according to the law of contrast, but one of them
predominating, as would result from the view of these colours through a
slightly-coloured glass.
173. SECOND SPECIES—HARMONIES OF CONTRAST.—1. _The harmony of contrast
of scale_, produced by the simultaneous view of two very distant tones
of the same scale. 2. _The harmony of contrast of hues_, produced by
the simultaneous view of tones of different depths, belonging, to
neighbouring scales. 3. _The harmony of contrast of colours_, produced
by the simultaneous view of colours, belonging to very distant scales,
assorted according to the law of contrast. The difference in the depth
of the adjacent tones may further augment the contrast of colours.
SECTION IV.
_Assortments of Red, Orange, Yellow, Green, Blue, Violet
with White, Black, and Grey._
174. It will not be useless to the object of this work to introduce
some observations relative to the degree of beauty of certain
arrangements of the primitive colours with black, white, and grey. But
I cannot too strongly insist upon the fact, that they are not given
as a rigorous deduction from scientific rules, for they are only the
expression of my particular taste; yet I hope that many classes of
artists, especially dressmakers, decorators of all kinds, designers of
patterns for woven fabrics, paper-hangings, &c., will find advantage in
consulting them.
175. The _ground_, as well as the interval between the colours, having
influence upon their effect, all my observations were made with white,
black, grey, and coloured circles, ⁴/₁₀ of an inch in diameter,
separated by intervals of ⁴/₁₀ of an inch; thirteen circles arranged in
a straight line forming a series.
176. The series designed to show the effect of white were on a ground
of normal grey; those to show the effect of black and of grey were upon
a white ground, slightly tinged with grey. It is necessary to remark
that the _coloured_ circles placed apart, were upon black grounds,
which must have exercised some influence.
177. The colours which have been under my notice are red, orange,
yellow, green, blue, violet. Their differences in regard to brilliancy
are so great as to admit of their being divided into two groups, one
comprising red, orange, yellow, and bright green, the other blue and
violet, which, with the same depth of tone, have not the brilliancy of
the former. I shall call the first group _luminous colours_, and the
second _sombre colours_. But the deep and broken tones of the _luminous
scales_ may in many cases be assimilated to the sombre group, as the
light tones of blue and violet may sometimes be employed as _luminous_
colours.
ARTICLE I.
_Colours with White._
Plate 8.
A. _Binary Assortments._
178. All the primary colours gain by their juxtaposition with white,
but the binary arrangements which result from them are not equally
agreeable; and it is to be remarked that the depth of tone of a colour
has a great influence upon the effect of its assortment with white.
The binary assortments in the order of their greatest beauty, are as
follows:—_light blue_ and white, _rose_ and white, _deep yellow_ and
white, _bright green_ and white, _violet_ and white, _orange_ and white.
Dark blue and dark red produce, with white, too strong a contrast of
tone to allow of their assortment being as agreeable as that of their
light tones. On the contrary, yellow being a light colour, we must take
the normal or deepest tone of yellow to produce its most beautiful
effect. Dark green and violet contrast too much in tone with white for
their combination to be as agreeable as those which are made with the
light tones of these colours. The objection which can be made to the
combination of orange and white is that of too much brilliancy; yet I
should not be surprised to find that many persons preferred it to that
of violet and white.
B. _Tertiary Assortments of Colours complementary to each other with
White._
179. It is to me impossible to establish an order of beauty among
binary combinations of primary complementary colours. I shall
therefore only describe the effect of white interposed between the
binary complementary assortments, or between each of the complementary
colours.
[Illustration: PLATE VIII.]
180. 1. _Red and Green_ are of all complementary colours the most
equal in depth; for red, as regards its brilliancy, is midway between
yellow and blue; and in green these two extremes are united. 2. The
arrangement, white, red, green, white, &c., is not decidedly superior
to the preceding, at least when the colours are not deep. 3. The
arrangement white, red, white, green, white, &c., seems to me inferior
to the preceding.
181. 1. _Blue and Orange_ are more opposed to each other than red and
green, because the least brilliant colour blue, is separated, while
the most brilliant are combined in orange. 2. The arrangement, _white,
orange, blue, white_, &c., is agreeable. 3. The arrangement, _white,
orange, white, blue, white_ &c., is also agreeable.
182. 1. _Yellow and Violet_ form an arrangement which, as regards
depth of tone, is most distinct, since the least intense or lightest
colour, the yellow, is separated from the others. Because of this
great contrast of tone, the deep, but pure, greenish-yellow combines
better with light violet, than light yellow and deep violet. 2. The
arrangement, _white, yellow, violet, white_, &c., appears to me
inferior to the preceding arrangement (1). 3. The arrangement, _white,
yellow, white, violet, white_, &c., seems to me inferior to 2.
C. _Ternary Assortments of Colours not complementary with White._
183. 1. Red and orange do not accord well. 2. The arrangement, _white,
red, orange, white_, &c., is scarcely preferable. 3. The arrangement,
_white, red, white, orange, white_, &c., is not so bad as the
preceding, because white being favourable to all the colours, its
interposition between the colours which injure each other, can only
produce an advantageous effect.
184. _Red and Yellow_ accord pretty well, especially if the red is
purple-red rather than scarlet, and the yellow rather greenish than
orange. 2, The arrangement, white, red, yellow, white, is preferable to
the preceding. 3. The arrangement _white, red, white, yellow, white_,
is still better.
185. 1. _Red and Blue_ accord passably, especially if the red incline
rather to scarlet than to crimson. Deep tones are preferable to
light ones. 2. The arrangement _white, red, blue, white_, &c., is
preferable to 1. 3. The arrangement _white, red, white, blue, white_,
is preferable to the second.
186. 1. _Red and Violet_ do not accord well, yet they are found in some
natural productions, as the sweet pea. 2. The arrangement _white, red,
violet, white_, is not so bad as the preceding. 3. The arrangement
_white, red, white, violet, white_, is preferable.
187. 1. _Orange and Yellow_ accord incomparably better than red
and orange. 2. The arrangement _white, orange, yellow, white_, is
agreeable. 3. The arrangement _white, orange, white, yellow, white_, is
not so good as 2, and perhaps 1, because there is too much white.
188. 1. _Orange and Green_ do not accord well. 2. The arrangement
_white, orange, green, white_, is preferable to 1. 3. The arrangement
_white, orange, white, green, white_, is perhaps preferable to 2.
189. 1. _Orange and Violet_ accord passably, yet not so well as orange
and green; the contrast, in the latter case, is greater than in the
arrangement orange and violet. 2. The arrangement _white, orange,
violet, white_, &c., is preferable to the preceding. 3. The arrangement
_white, orange, white, violet, white_, &c., is preferable to 2.
190. 1. _Yellow and Green_ form an agreeable combination. 2. The
arrangement _white, yellow, green, white_, &c., is still more
agreeable. 3. The arrangement _white, yellow, white, green, white_,
&c., is inferior to the preceding, and perhaps to the first. The
inferiority of 3 seems to me to be caused by too much light for the
_green_.
191. 1. _Yellow and Blue._ The arrangement of _yellow_ and _blue_
is more agreeable than that of _yellow_ and _green_, but it is less
lively. 2. The arrangement _white, yellow, blue, white_, &c., is
perhaps preferable to the preceding. 3. The arrangement _white, yellow,
white, blue_, &c., is perhaps inferior to the preceding.
192. 1. _Green and Blue_ produce an indifferent effect, but better
when the colours are deep. 2. The arrangement _white, green, blue,
white_, &c., is preferable. 3. The arrangement _white, green, white,
blue, white_, &c., has a still better effect, because the light is more
equally distributed.
193. 1. _Green and Violet_, especially when light, form a combination
preferable to the preceding, _green_ and _blue_. 2. The arrangement
_white, green, violet, white_, &c., is not decidedly superior to the
preceding. 3. The arrangement, _white, green, white, violet, white_,
&c., is not decidedly superior to it.
194. 1. _Blue and Violet_ accord badly. 2. The arrangement, _white,
blue, violet, white_, &c. is scarcely preferable to the preceding (1).
3. The arrangement _white, blue, white, violet, white_, &c., is not so
bad as the preceding (2).
ARTICLE II.
_Colours and Black._
Plate 9. (Frontispiece.)
195. I do not know whether the use of black for mourning, prevents
the use of it, in numberless cases, where it would produce excellent
effects; it may be combined most advantageously, not only with sombre
colours to produce the harmony of analogy, but also with light and
brilliant colours to produce the harmony of contrast.
196. Chinese artists appear to have made excellent use of it, for I
have often seen furniture, painting, ornaments, &c., where it has
been most judiciously employed. I recommend those artists for whom
this paragraph is particularly designed, to attend to the following
observations, not doubting that many will be profitable to them.
A. _Binary Combinations._
197. No combination of primary colours with black is disagreeable, but
there exists among these a generic difference of harmony, which is not
shown, at least to nearly the same degree, in the binary combinations
of white with the same colours. In fact the brilliancy of white is
so predominant, that whatever may be the difference of lightness or
brilliancy observed between the various associated colours, there will
always be the harmony of contrast, according to what has been said
(44-52) of the influence of white in raising the tone and augmenting
the intensity of the colour adjacent to it.
198. If the binary combinations of black be examined in this point of
view, it will be seen that the deep tones of all the scales, and even
of the blue and violet scales (which are not, properly speaking, deep),
form with it harmonies of analogy and not of contrast. So likewise do
the unbroken tones of the _red, orange, yellow-green_ scales, and the
very light tones of the violet and blue scale. We may add, according to
what has been said (55), that the combinations of _black_ with sombre
colours, such as _blue_ and _violet_, whose complementaries, orange and
_greenish-yellow_, are luminous, may diminish the contrast of tone if
the colours be juxtaposed with _black_ or one not far from it, and in
this case the _black_ loses much of its vigour.
199. _Blue_ and _Black, Violet_ and _Black_, make combinations which
may be employed successfully when only dark colours are required. The
first is superior to the second.
200. Light combinations which exhibit the harmonies of contrast, appear
to me in the order of beauty thus:—
_Red_ or _Rose_ and _Black_, _Orange_ and _Black, Yellow_ and _Black_,
lastly, _Bright Green_ and _Black_. As to yellow, I repeat that it must
be brilliant and intense, inasmuch as black tends to impoverish its
tone.
B.—_Ternary Combinations of Colours mutually Complementary with Black._
201. 1. _Red, Green_, &c. 2. _Black, Red, Green, Black_, &c. This
arrangement being quite different from the former, it is difficult to
decide respecting their comparative beauty. 3. _Black, Red, Black,
Green, Black_, &c., appear to me inferior to the preceding, because
there is too much black.
202. 1. _Blue, Orange_, &c. 2. _Black, Blue, Orange, Black_. I prefer
the first to the second; the proportion of dark colour being too strong
relatively to the _orange_. 3. _Black, Blue, Black, Orange, Black_, &c.
This pleases me less than the first.
The effect of _black_ with _blue_ and _orange_ is inferior to that of
_white_.
203. 1. _Yellow, Violet_, &c. 2. _Black, Yellow, Violet_, &c. 3.
_Black, Yellow, Black, Violet, Black_, &c. The second is superior to
the third, because the proportion of sombre colours with the _yellow_
is too strong in the latter. The first appears to me superior to the
second.
C.—_Ternary Combinations of Colours not Complementary with Black._
204. 1. _Red, Orange_, &c. 2. _Black, Red, Orange, Black_, &c. 3.
_Black, Red, Black, Orange, Black_, &c. As orange and red injure each
other, there is an advantage in separating them by black. The third
arrangement is preferable to the second; and both are preferable to
those in which _black_ is replaced by _white_.
205. 1. _Red, Yellow_, &c. 2. _Black, Red, Yellow, Black_. 3. _Black,
Red, Black, Yellow, Black_, &c. The two last arrangements appear
to me superior to the first, and many persons would prefer them to
the arrangement in which _white_ replaces _black_. I cannot too
strongly recommend the arrangement 2 and 3 to artists, for whom these
observations are especially designed.
206. 1. _Red, Blue_, &c. 2. _Black, Red, Blue, Black_. 3. _Black, Red,
Black, Blue, Black_, &c. No. 2 is preferable to No. 3, because there
are too many sombre colours in the latter, and because these differ too
much from the _red_. The effect of _black_ upon the binary arrangement,
_red_ and _blue_, is inferior to that of _white_.
207. 1. _Red, Violet_, &c. 2. _Black, Red, Violet, Black_, &c. 3.
_Black, Red, Black, Violet, Black_, &c. The _red_ and _violet_ injure
each other, it is therefore advantageous to separate them by _black_;
but the latter does not produce so good an effect as _white_. It is
difficult to say whether No. 3 is preferable to 2; because, if there be
in the latter _red_ near _violet_, this defect is more than compensated
in 3, by the predominance of sombre colours over the _red_.
208. 1. _Orange-Yellow_, &c. 2. _Black, Orange-Yellow_, &c. 3. _Black,
Orange, Black, Yellow, Black_, &c. The _orange_ and _yellow_ being
very luminous, the _black_ allies itself to them very well in the
arrangement 2 and 3; and if the arrangement, _white, orange, yellow,
white_, be preferred to No. 2, I think that in the arrangement 3, the
_black_ produces a superior effect to the _white_.
209. 1. _Orange, Green_, &c. 2. _Black, Orange, Green_, &c. 3. _Black,
Orange, Black, Green, Black_, &c. _Black_ combines well with _orange_,
and with _bright green_. In like manner it combines well with _orange_
and _yellow_. If, in the arrangement 2, _white_ be preferred to _black_,
I think it cannot be in 3. I recommend to artists the combination of
_black_ with the binary arrangements _orange_ and _yellow, orange_ and
_green_.
210. 1. _Orange, Violet_, &c. 2. _Black, Orange, Violet, Black_, &c. 3.
_Black, Orange, Black, Violet, Black_, &c. _Black_ does not combine so
well as _white_ with _orange_ and _violet_, because the proportion of
dark colours relatively to _orange_, a very vivid colour, is too great.
211. 1. _Yellow, Bright Green_, &c. 2. _Black, Yellow, Green, Black_,
&c. 3. _Black, Yellow, Black, Green, Black_, &c. _Yellow_ and _light
green_ being luminous colours, _black_ combines very well with them;
and if in the arrangement 2 the effect of _white_ be preferred to that
of _black_, I think that it cannot be in the arrangement 3.
212. 1. _Yellow, Blue_, &c. 2. _Black, Yellow, Blue, Black_, &c. 3.
_Black, Yellow, Black, Blue, Black_, &c. If the arrangement 2 be
preferable to 3, I think it inferior to 1. The _black_ does not appear
to combine so well as the white in the group _yellow_ and _blue_.
213. 1. _Green, Blue_, &c. 2. _Black, Green, Blue, Black_, &c. 3.
_Black, Green, Black, Blue, Black_, &c. Although _green_ and _blue_
do not well accord, yet the combination with _black_ is not decidedly
advantageous. Because of the augmentation of the proportion of sombre
colours, the _white_ has a superior effect to the _black_.
214. 1. _Green, Violet_, &c. 2. _Black, Green, Violet, Black_. 3.
_Black, Green, Black, Violet, Black_, &c. If the _black_ unite better
with _green_ and _violet_ than with _green_ and _blue_, yet these
ternary combinations are inferior to the binary combinations; and
inferior to the ternary combination where it is replaced by _white_.
215. 1. _Blue, Violet_, &c. 2. _Black, Blue, Violet, Black_, &c. 3.
_Black, Blue, Black, Violet, Black_, &c.
216. Although _blue_ and _violet_ are colours which do not accord well,
and although there is an advantage in separating them, yet it must
be remembered that _black_ in isolating them, does not relieve their
sombre colour, but, on the other hand, the harmony of the arrangements
of 2 and 3 is more agreeable as a harmony of analogy than the harmony
of contrast presented by _white_ with the same colours. Thus there
are cases in which the assemblage of _black, blue_, and _violet_, may
be advantageous, when it is desired to produce diversified, but not
striking effects.
ARTICLE III.
_Colours with Grey_.
Plate 10.
[Illustration: PLATE X.]
217. All the primary colours gain purity and brilliancy by the
proximity of grey; yet the effects are far from being like or even
analogous to those which result from the proximity of the same colours
with white. This will not create surprise, if it be remembered that
while white preserves the character of each colour and exalts it by
contrast, it can never be taken for a colour properly so called; grey,
on the contrary, may be; it happens that the latter makes with the most
sombre colours, as blue, violet, and deep tones in general, assortments
which belong to the harmonies of analogy; while, with colours naturally
brilliant, such as red, orange, yellow, and the light tones of green,
they form analogies of contrast. But, although white contrasts more
with sombre colours than with those that are naturally luminous, there
is not observed between white and those two kinds of colours the
difference observable between grey and the same colours. This result
confirms what I have said of the binary combinations of black. (203.)
A.—_Binary Combinations._
218. _Grey and Blue, Grey and Violet_, form arrangements of which the
harmony of analogy is agreeable, yet less so than that of _black_ with
the same colours.
219. _Grey and Orange, Grey and Yellow_, _Grey and Bright Green_, form
equally agreeable arrangements of harmony of contrast; perhaps they are
less so than those in which _grey_ is replaced by _black_.
220. _Grey and Rose_ are a little dull and inferior to _Black and
Rose_. All the binary arrangements of _grey_, except, perhaps, that of
_orange_, are inferior to those of _white_.
B.—_Ternary Combinations of Complementary Colours with Grey_.
221. _Red_, _Green_, _&c_.—1. _Red, Green_, &c. 2. _Grey, Red, Green,
Grey_, &c. 3. _Grey, Red, Grey, Green, Grey_, &c. If it be doubtful
whether the binary assortment of _grey, red, and green_, be favourable,
it cannot be called injurious. The third assortment is, perhaps,
inferior to that in which the grey is replaced by _black_.
222. _Blue and Orange._—1. _Blue, Orange_, &c. 2. _Grey, Blue, Orange,
Grey_. 3. _Grey, Blue, Grey, Orange, Grey_, &c. I prefer the first
arrangement to the two others.
223. _Yellow and Violet._—1. _Yellow, Violet_, &c. 2. _Grey, Yellow,
Violet, Grey_, &c. 3. _Grey, Yellow, Grey, Violet, Grey_, &c. Although
the arrangements 2 and 3 are lighter than the arrangements in which
_grey_ is replaced by _black_, yet the binary arrangement appears to me
preferable to the ternary.
C.—_Ternary Assortments of Colours not Complementary to each other with
Grey._
224. _Red and Orange._—1. _Red, Orange_, &c. 2. _Grey, Red, Orange,
Grey_, &c. 3. _Grey, Red, Grey, Orange, Grey_, &c. The arrangements
2 and 3 are preferable to the binary. The third is preferable to the
second. In short, the grey produces, with _red_ and _orange_, a better
effect than _white_, but the effect is inferior to that of _black_.
225. _Red and Yellow._—1. _Red, Yellow_, &c. 2. _Grey, Red, Yellow,
Green_, &c. 3. _Grey, Red, Grey, Yellow, Grey_, &c. Although the grey
combines well with the _red_ and the _yellow_, it has not so decidedly
advantageous an effect as _black_ in the binary arrangement.
226. _Red and Blue._—1. _Red, Blue_, &c. 2. _Grey, Red, Blue, Grey_,
&c. 3. _Grey, Red, Grey, Blue, Grey_, &c. The arrangement 2 is
preferable to 3. I dare not say to 1. The effect of grey is inferior to
that of _white_.
227. _Red and Violet._—1. _Red, Violet_, &c. 2. _Grey, Red, Violet,
Grey_, &c. 3. _Grey, Red, Grey, Violet, Grey_, &c. The assortment 3
appears to me superior to 2, and the second to the first; but it is
difficult to say whether _grey_ is superior to _black_. I am certain it
is superior to _white_.
228. _Orange and Yellow._—1. _Orange, Yellow_, &c. 2. _Grey, Orange,
Yellow, Grey_, &c. 3. _Grey, Orange, Grey, Yellow, Grey_, &c. The
assortment 3 appears to me preferable to 2; the harmony of contrast is
less intense than with _black_. The assortment 3 is, perhaps, superior
to the assortment of _white, orange, white, yellow, white_.
229. _Orange and Green._—1. _Orange, Green_, &c. 2. _Grey, Orange,
Green, Grey_, &c. 3. _Grey, Orange, Grey, Green, Grey_, &c. Grey
combines well with _orange_ and _green_, but it does not contrast so
agreeably as _black_ or _white_.
230. _Orange and Violet._—1. _Orange, Violet_, &c. 2. _Grey, Orange,
Violet, Grey_, &c. 3. _Grey, Orange, Grey, Violet, Grey_, &c. The
binary assortment appears to me preferable to the other two. The
assortment 2 is preferable to 3. If the _grey_ is a little dull with
_orange_ and _violet_, it has not the same disadvantage as _black_, in
causing too great a predominance of sombre colour.
231. _Yellow and Green._—1. _Yellow, Green_, &c. 2. _Grey, Yellow,
Green, Grey_, &c. 3. _Grey, Yellow, Grey, Green, Grey_, &c. _Grey_
combines well with _yellow_ and _green_, but the assortments 2 and 3
are a little dull, and inferior to those in which _black_ replaces
_grey_.
232. _Yellow and Blue._—1. _Yellow, Blue_, &c. 2. _Grey, Yellow,
Blue, Grey_, &c. 3. _Grey, Yellow, Grey, Blue, Grey_, &c. The two
assortments, two and three, are inferior to the first. The _grey_
is heavy to _yellow_ and _blue_; its effect is inferior to that of
_white_, and perhaps also to that of _black_.
233. _Green and Blue._—1. _Green, Blue_, &c. 2. _Grey, Green, Blue,
Grey_, &c. 3. _Grey, Green, Grey, Blue, Grey_, &c. _Grey_, in its
combination with _green_ and _blue_, has not the same objection as
_black_, but it has an inferior effect to _white_.
234. _Green and Violet._—1. _Green, Violet_, &c. 2. _Grey, Green,
Violet, Grey_, &c. 3. _Grey, Green, Grey, Violet, Grey_, &c. _Grey_ is
not employed advantageously with _green_ and _violet_, it is inferior
to _white_ in the ternary arrangements, and perhaps I should also give
preference to _black_.
235. _Blue and Violet._—1. _Blue, Violet_, &c. 2. _Grey, Blue, Violet,
Grey_, &c. 3. _Grey, Blue, Grey, Violet, Grey_, &c. The remarks made
(218) in the assortment of _black_ with _blue_ and _violet_ are
applicable to the arrangement with grey, taking into account the
difference of tone which exists between _grey_ and _black_.
_Recapitulation._
236. I will now give a summary of the observations which appear
the most striking on reading the foregoing paragraphs, premising,
however, that I do not pretend to establish laws fixed upon scientific
principles, but to state general propositions which express my own
peculiar taste.
237. 1st. _In the harmony of contrast the complementary arrangement is
superior to every other._
The tones must be as nearly as possible of the same depth to produce
the finest effect. The complementary arrangement in which white
associates most advantageously, is that of blue and orange, and that of
yellow and violet is the least advantageous.
238. 2nd. _The Primaries, Red, Yellow, and Blue associated in pairs
assort better together, as a harmony of contrast, than an arrangement
formed of one of these primaries, and of a binary colour in
juxtaposition with it, having the same primary as one of its elements._
_Examples._
Red and Yellow accord better than Red and Orange.
Red and Blue ” ” Red and Violet.
Yellow and Red ” ” Yellow and Orange.
Yellow and Blue ” ” Yellow and Green.
Blue and Red ” ” Blue and Violet.
Blue and Yellow ” ” Blue and Green.
239. 3rd. _The arrangement of Red, Yellow, or Blue with a binary colour
containing the former, contrasts the better, as the simple colour is
essentially more luminous than the binary._
Whence it follows, that in this arrangement, it is an advantage for the
red, yellow, or blue to be of lower tone than the binary colour.
_Examples._
Red and Violet accord better than Blue and Violet.
Yellow and Orange ” ” Red and Orange.
Yellow and Green ” ” Blue and Green.
240. 4th. _When two colours accord badly together, it is always
advantageous to separate them by White._
In this case it is more advantageous to place each colour next to
white, than in an assortment where the two colours are together beside
white.
241. 5th. _Black never produces a bad effect when it is associated
with two luminous colours. It is therefore often preferable to White,
especially in an assortment where it separates the colours from each
other._
_Examples._
1. Red and Orange.
Black is preferable to white in the arrangements 2 and 3 of these two
colours. 2. Red and Yellow. 3. Orange and Yellow. 4. Orange and Green.
5. Yellow and Green.
Black, with all these binary assortments, produces harmony of contrast.
242. 6th. _Black in combination with sombre colours, such as blue and
violet, and with broken tones of luminous colours, produces harmony of
analogy, which, in many instances, may have a good effect._
The harmony of analogy of black, associated with blue and violet, is
preferable to the harmony of contrast of the assortment white, blue,
violet, white, &c., the latter being too crude.
243. 7th. _Black does not accord so well with two colours, one of
which is luminous, the other sombre, as when it is associated with two
luminous colours. In the first instance the combination is so much the
less agreeable as the luminous colour is more brilliant._
With all the following assortments Black is inferior to White. 1. Red
and Blue. 2. Red and Violet. 3. Orange and Blue. 4. Orange and Violet.
5. Yellow and Blue. 6. Green and Blue. 7. Green and Violet.
With the assortment yellow and violet, if it is not inferior to white,
it produces only a mediocre effect.
244. 8th. _Although Grey never produces exactly a bad effect in
its association with two luminous colours, yet in most cases its
assortments are dull, and it is inferior to Black and White_.
Among the assortments of two luminous colours, there are scarcely
any besides those of red and orange with which grey associates more
happily than white. But it is inferior to it, as also to black, in the
arrangements red and green, red and yellow, orange and yellow, orange
and green, yellow and green. It is also inferior to white, with yellow
and blue.
245. 9th. _Grey, in combining with sombre colours, such as Blue and
Violet, and with broken tones of luminous colours, produces harmonies
of analogy, which have not the vigour of those with black; although
the colours do not combine well together, it has the advantage of
separating them from each other._
246. 10th. _When Grey is associated with two colours, one of which is
luminous the other sombre, it will perhaps be more advantageous than
White, if this produces too strong a contrast of tone; on the other
hand, it may be more advantageous than Black, if that increases too
much the proportion of sombre colours._
_Examples._
Grey associates better than Black with—
1. Orange and Violet. 2. Green and Blue. 3. Green and Violet.
247. 11th. If, when two colours accord badly, there is in principle an
advantage in separating them by White, Black, or Grey, it is important
to the effect to take into consideration—1. The height of tone of the
colours. 2. The proportion of sombre to luminous colours, including, in
the first, the broken brown tone of the brilliant scales, and in the
luminous colours, the light tones of the Blue and Violet scales.
Consider the height of tone of the colours.
248. The effect of white with red and orange is inferior as their tones
become higher, especially in the assortment white, red, orange, white,
&c.; the effects of the white being too crude. On the contrary, black
unites very well with the normal tones of the same colours, that is
to say, the highest tones without any mixture of black. Although grey
does not associate so well as black with red and orange, it has the
advantage of producing a less crude effect than white.
Consider the proportion of sombre to luminous colours.
249. Whenever colours differ very much, either in tone or in
brilliancy, from the black or white with which we wish to associate
them, that arrangement where each of the two colours is separated from
the other by black or white, is preferable to that in which the black
or the white separate each pair of colours. Thus the assortment white,
blue, white, violet, white, &c., is preferable to the assortment white,
blue, violet, white, &c., because the separation of the brilliant from
the sombre is more equal in the first than in the second. I should
add that this is somewhat more symmetrical as to the position of the
two colours, and the principle of symmetry influences our judgment of
things more than is generally recognised. It is also in conformity with
the above, that the assortment black, red, black, orange, black, &c.,
is preferable to the assortment black, red, orange, black, &c.
250. Some remarks appear to me also necessary to prevent false
deductions from the above propositions. In the preceding examples, the
colours, including white, black, and grey, are supposed to occupy an
equal extent of surface, and to be placed at equal distances apart, for
without these conditions the results will be different; for example, I
have preferred the assortment white, red, white, yellow, white, to the
assortment white, red, yellow, white. There are some cases in which the
latter is preferable to the former, as in the arrangement of flowers
in gardens, especially yellow and rose flowers, which present less
coloured surface than the white flowers with which they are associated.
251. I have spoken of the good effects of black and green separated,
and I may add that green designs upon a black ground are also
agreeable; but it does not follow that black lace upon a green stuff
will have a good effect, at least on the optical quality of black, for
this acquires a rusty tint, which resembles a faded colour.
252. The more colours are opposed, the easier it is to assort them;
because they do not experience by their mutual juxtaposition, any
modification which renders them disagreeable, as generally happens
to colours which are very nearly alike. Must we then conclude that
with two colours which have in this case been indicated to an artist
to be employed, with some liberty to modify them, he should endeavour
to increase the effect of contrast rather than that of analogy?
Certainly not; for frequently the latter is preferable to the former.
For example:—Take orange-red and a pure red, instead of increasing the
yellow in the orange-red, or of giving a violet hue to the red, it
sometimes will be preferable to incline towards the harmony of scale or
of hue, by endeavouring to make the orange one of the light tones of a
scale whose red will be brown.
253. In conformity with this manner of observing, when we would avoid
the bad effect of two adjacent colours by white, black, or grey, we
must see whether, instead of a harmony of contrast, it may not be
better to obtain the harmony of analogy.
254. Finally, when we bring into combination not normal grey, but a
coloured grey, we are always sure of obtaining an effective harmony of
contrast by taking a grey coloured with a complementary of that opposed
to it. Thus an orange-grey or carmelite-brown or maroon has a good
effect with light blue.
FIRST DIVISION.—IMITATION OF COLOURED OBJECTS WITH COLOURED MATERIALS
IN A STATE OF INFINITE DIVISION.
INTRODUCTION.
255. Coloured materials, such as Prussian blue, chrome-yellow,
vermilion, &c., are infinitely divided, so to speak, either when ground
pure, or mixed with a white material, in a gummy or oily liquid.
The reproduction of the images of coloured objects with these pigments
is called the _Art of Painting_.
256. There are two systems of Painting—the one consists in representing
as accurately as possible upon a flat surface an object in relief in
such a way that the image makes an impression upon the eye of the
spectator similar to that which the object itself would produce. This
is termed the _Art of Chiaro-’scuro_.
257. There is a means of imitating coloured objects much simpler in
its facility of execution than the preceding. It consists in tracing
the outline of the different parts of the model, and in colouring
them uniformly with their peculiar colours. There is no relief, no
projection; it is the plane image of the object, since all the parts
receive a uniform tint: this system of imitating is _Painting in Flat
Tints_.
PAINTING ON THE SYSTEM OF CHIARO-’SCURO.
258. Are the modifications perceived in a single coloured object,
for example, in a blue or red stuff, &c., indeterminable, when these
draperies are seen as draperies of a vestment or furniture, with
more or less distinct folds, or are they determinable, in given
circumstances? This is a question of which I am about to attempt a
solution.
259. Firstly, let us distinguish three circumstances in which
modifications of colours may be observed:—
1. Modifications produced by coloured lights falling upon the model.
2. Modifications produced by two different lights—as, for example, the
light of the sun and diffused daylight—each illuminating different
parts of the same object.
3. Modifications produced by diffused daylight.
260. We will suppose that in the two first cases the lighted surfaces
are plane, and that all their superficial parts are homogeneous, and in
the same conditions, except that of light. In the third case, we shall
consider the position of the spectator viewing an object lighted by
diffused daylight, the surface of which is not so disposed as to act
equally in all its parts upon the light which it reflects to the eye of
the spectator.
261. Modifications produced by coloured lights.
Red rays falling on Black make it appear Purple-black.
” White ” Red.
” Red ” Redder.
” Orange ” Redder.
” Yellow ” Orange.
” Deep Green ” Red-black.
” Light Green ” Reddish-grey.
” Light Blue ” Violet.
” Violet ” Purple.
262. Modifications produced by Orange light.
Orange rays falling on—
Black make it appear Maroon, or Carmelite-brown.
White ” Orange.
Orange ” More vivid.
Red ” Scarlet.
Yellow ” Yellow-orange.
Light Green ” Yellow-green.
Deep Green ” Rusty-green.
Light Blue ” Orange-grey.
Deep Blue ” Grey, slightly Orange-grey.
Indigo Blue ” Orange-maroon.
Violet ” Red-maroon.
263. Modifications produced by Yellow light.
Yellow rays falling on—
Black make it appear Yellow-olive.
White ” Light Yellow.
Yellow ” Orange-yellow.
Red ” Orange.
Orange ” Yellower.
Green ” Greenish-yellow.
Light Blue ” Yellow-green.
Deep Blue ” Green-slate.
Indigo ” Orange-yellow.
Violet ” Yellow-maroon.
264. Modifications produced by Green light.
Green rays falling on—
Black make it appear Greenish-brown.
White ” Green.
Green ” More intense and brilliant.
Red ” Brown.
Orange ” Faint Yellow, a little Green.
Green ” Greener, according to its depth.
Indigo ” Dull Green.
Violet ” Bluish-green Brown.
265. Modifications produced by Blue light.
Blue rays falling on Black make it appear Blue-black.
Black ” White ” Blue.
” ” Blue ” More vivid.
” ” Red ” Violet.
{ Brown, having a
” ” Orange ” { pale tint of Violet.
Blue ” Yellow ” Green.
” ” Green ” Blue-green.
” ” Indigo ” Dark-blue Indigo.
” ” Violet ” Dark-blue Violet.
266. Modifications produced by Violet light.
{Very faint
Violet rays falling on Black make it appear {Violet-black.
” ” White ” Violet.
” ” Violet ” Deeper Violet.
{Red-violet
” ” Red ” {Purple.
” ” Orange ” Light Red.
{Brown, with a
” ” Yellow ” {very slight tint
{of Red.
” ” Green ” Light Purple.
{Fine Blue
” ” Blue ” {Violet.
{Deep Blue
” ” Indigo ” {Violet.
267. It is understood that to represent the preceding phenomena
exactly, we must take into account the facility with which coloured
light penetrates every kind of glass, the more or less intense colour
of the stuff, and the kind of scale to which the coloured stuff and
that of the transmitted coloured light respectively belong.
268. These observations were made by partially exposing coloured stuffs
to the sun’s rays transmitted through coloured glasses. The portion of
stuff not exposed to these rays, was lighted by the direct light of the
sun. The portion of stuff which received the action of the coloured
rays being exposed to diffused daylight, reflected also rays of that
light which it would have reflected in case it had been protected from
the influence of the rays transmitted to it through coloured glasses.
269. II. Modifications produced by two lights of different intensity.
270. 1. The modification by the light of the sun falling upon one part
of the surface of a coloured body, while the other part is enlightened
by diffused daylight.
2. The modification produced when two parts of the same object are
unequally illuminated by diffused daylight.
_An object lighted partly by the sun, and partly by diffused daylight._
271. To observe this kind of modification properly, let us expose to
the sun a square piece of stuff A B, two and a half inches broad (Plate
I., fig 4) and place in the middle a piece of black wire _f, fʹ_; then
put parallel to this, and in the middle between A and B, two wires
_e, eʹ_ and _g, gʹ_, of about three-tenths of an inch in width. The
extremity _gʹ_ is fixed upon a perpendicular plane, so high, that all
the part B _f, fʹ_ may be in shadow.
272. 1. _If the stuff is red_, the lighted portion A is more orange or
less blue than the part B, which is in shade; and the portion _a_ is
more orange than the portion _aʹ_, as the portion _b_ is bluer than the
portion _bʹ_.
273. 2. _If the stuff is orange_, A is more orange or less grey than
B; and the portion _a_ is deeper, more vivid than _aʹ_, as _b_ is more
grey and duller than _bʹ_.
274. 3. _If the stuff is yellow_, A is more vivid, more orange than B;
_a_ is more so than _aʹ_, as _b_ is duller than _bʹ_.
275. 4. _If the stuff is green_, A is less blue or more yellow than B;
and _a_ is of a yellower green than _aʹ_, as _b_ is bluer than _bʹ_.
276. 5. _If the stuff is blue_, A is less violet and more green than
B; and _a_ is greener than _aʹ_, as _b_ is more violet or less green
than _bʹ_.
277. 6. _If the stuff is indigo_, A is redder or less blue than B; and
_a_ is redder than _aʹ_, as _b_ is deeper or bluer than _bʹ_.
278. 7. If the stuff is violet, A is less blue than B; and _a_ is
redder than _aʹ_ as _b_ is bluer than _bʹ_.
279. 2nd. Two contiguous parts of the same object unequally illuminated
by the same light, when viewed simultaneously, differ from each other,
not only in depth of tone, but also in optical composition of colour.
Place half-a-sheet of coloured paper (Plate I., fig. 5) upon the
partition _b_, of a chamber receiving diffused daylight by a window
_f_: place another half-sheet upon the partition _a_, in such a manner
that it will be lighted directly by the diffused light, while the other
is only indirectly lighted by reflection from the walls, floor, and
ceiling: the diffused light thus reflected being only white light, then
stand at _c_, so as to see both half-sheets at once. I shall designate
that which is upon the partition _a_, and most lighted, by A, and the
other, which is upon the partition _b_, and less lighted, by B.
These letters in the plate indicate the respective positions of the
half-sheets.
280. The inference from these observations is, that the colour of the
same body varies, not only in intensity of tone, but also of hue,
according as it is lighted directly by the sun, by diffused daylight,
or by diffused reflected light. This result must never be overlooked
whenever we define the colours of material objects.
3rd. _Modifications produced by diffused daylight reflected by a
surface all the parts of which are not in the same position relatively
to the eye of the spectator._
281. Distant bodies are rendered perceptible to the eye only in
proportion as they radiate or reflect, or transmit the light which acts
upon the retina.
According to the laws of reflection, it happens that those portions of
a surface which are in relief, or hollow, must reflect the light in
such a manner, that the eye of the spectator, in a given position, will
see these parts very variously lighted, in respect to the intensity of
reflected light, so that the parts of this surface will be, relatively
to the eye, in the same condition as the homogeneous parts of a plane
surface, which are illuminated by lights of unequal intensity.
There will be this difference, however, that the parts of the surface
of a body which appears to us hollow, and especially in relief, being
but feebly varied in the greater number of contiguous parts, there
will be generally a gradual diminution of the effects observed in
the case in which we have studied the modifications of two plane
homogeneous surfaces, lighted by diffused lights of unequal intensity.
The sphere presents a remarkable example of the manner in which light
is distributed over a convex surface, relatively to the eye of an
observer, who views it from a given position.
282. I shall not occupy myself with this gradation of white light, from
parts illuminated to those which do not appear so. I regard only the
principal modifications, and take for examples the cases where they are
as evident as possible. These modifications can be reduced to the four
following:—
_First modification_, produced by the maximum of white light which the
surface of a coloured body is capable of reflecting.
283. Other things being equal, the more highly the surface of a body
is polished, the more it will reflect white and coloured light. If we
observe the surface of a stick of sealing-wax, suitably placed, we
shall perceive a white stripe parallel to the axis of the cylinder,
produced by so large a quantity of colourless reflected light that the
red light reflected from this stripe is not appreciable by the eye.
Thus the white light reflected by a coloured body may be of sufficient
intensity to render the colour of the body in some of its parts
imperceptible.
_Second modification_, produced by those parts of a coloured surface
which send to the eye, in proportion to the coloured light, less white
light than the other parts differently lighted, or differently placed
in relation to the spectator.
284. When the eye sees certain parts of the surface of a polished or
uniformly coloured object which reflects to it proportionally to the
coloured light less of white light than the other parts, the first
parts will appear in most cases of a more intense tone of colour than
the second. We will cite the following:—
_Example 1._—A cylinder of red sealing-wax presents, proceeding from
the white stripe mentioned above, a red colour deeper in proportion as
less white light reaches the eye. Thus, in a certain position where the
white stripe appears to be in the middle of the cylinder, the part most
lighted will appear coloured, reflecting a red inclining to scarlet,
while that which is the least lighted reflects a red inclining to
crimson.
_Example 2._—If the eye is directed into a gold vase of sufficient
depth, the gold does not appear yellow as on the exterior surface, but
of a red-orange; because less white light, in proportion to coloured
light, reaches the eye in the first case than in the second. It is for
this reason that the concave parts of gold ornaments appear redder than
the convex.
_Example 3._—The spiral thread of a piece of twisted silk or wool held
perpendicularly before the eye, appears in the part opposite to the
light, of a much more decided colour than on the rest of the surface.
_Example 4._—The folds of bright draperies present the same
modification to an eye properly placed; the effect is particularly
remarkable in yellow silk stuffs, and in sky-blue; for we can easily
understand that it is less marked when the stuffs are less bright and
of dark colours.
_Example 5._—There are some stuffs which appear to be of two tones
of the same scale of colour, and sometimes also of two tones of two
contiguous scales, although the weft and the warp of these stuffs are
of the same tone and the same colour. The cause of this appearance
is very simple; the threads which, parallel to each other, form the
designs, are in a different direction to the threads which constitute
the ground of the stuff. Hence, whatever may be the position of the
spectator with regard to the stuff, the threads of the design will
always reflect coloured and white light in a different proportion to
that reflected by the threads of the ground, and, according to the
position of a spectator, the design will appear to be lighter or darker
than the ground.
_Third modification._—The colour complementary to that of a coloured
object developed in one of its parts, in consequence of simultaneous
contrast.
285. A natural consequence of the law of simultaneous contrast
in general, and of the effect of a colour upon grey and black in
particular, is, that since the same object presents some parts more or
less dark, contiguous to some parts where we see the colour peculiar to
the object, the first parts will appear tinted with the complementary
to this colour. But to observe this effect, it is necessary that the
grey part should reflect to the eye white light, and little or none of
the coloured light which the object naturally reflects.
_Fourth modification_, in a single coloured stuff.
286. For example, if the eye is directed towards a window which admits
daylight, and a person clothed in a new blue coat, dyed with indigo
or Prussian blue, be at the window, the eye will see one part of the
coat will appear different from the other part, because the nap of the
cloth is disposed in a contrary direction; one being of a fine blue,
while the other is of an orange-grey, by the effect of contrast of the
blue part with a part that reflects very little white light to the eye,
without, or almost without, blue light.
287. But as the pile of the nap loses its regular position by wear,
the cloth becoming dull and soiled, the coloured light is reflected
irregularly from all points; and the effect is either absolutely
destroyed or much weakened.
If the garment be of a deep green, the grey part will appear reddish;
if it be of a violet, maroon, or claret, the grey part will appear
yellow.
288. The complementary is only developed upon cloths of dark and sombre
colours; thus red, scarlet, orange, yellow, and light blue garments
do not exhibit it, because they have always too much of the essential
colour which is reflected. The modification occurs only when one of the
parts is more strongly illuminated than the other by diffused light
(279).
289. There is also one circumstance where the fourth modification will
appear evident; it is when we look at a series of light tones—blues,
rose, &c. (belonging to the same scale)—of a skein of silk or wool,
placed upon an easel, that one-half of the same skein presents to the
eye the threads disposed in a contrary direction to those of the other
half. The half of the skein which does not reflect coloured light to
the eye, appears tinted with the complementary of the other half which
does reflect it.
290. Fourth modification in a stuff presenting a dark and a light tone
belonging to the same scale.
If we place in juxtaposition a dark tone and a light tone of the
same scale, well assorted, the light tone will appear of the colour
complementary to the scale to which it belongs. This modification is
too important to allow me to pass it over hastily.
291. When we look for several seconds on a fabric dyed with a coloured
ground, and on which therefore patterns intended to be white, but
which, owing to the imperfection of the process employed, have received
a light tone of the colour of the ground, the patterns will appear
of the colour complementary to the latter. Thus, upon a ground of
yellow-chromate of lead, they will appear violet; upon a ground of
orange-chrome, they will appear blue; upon a green ground, rose, &c. To
dispel the illusion, and to recognise the true tint of the pattern, it
is only necessary to cover the ground with a white paper so perforated
as to leave visible only the pattern coloured like the ground. The
influence of a dark tone upon a feeble tone is such, that not only
is the latter neutralized, but the place it occupies upon the cloth
appears also tinted with its complementary colour.
292. From the preceding observations it follows that there may be a
printed cotton, the design of which, although coloured, will appear to
most eyes white, and not of the complementary of the ground. For those
eyes which see it thus, the perception of the phenomenon of contrast
will correct the imperfection of the art of the calico-printer.
293. In the Lectures upon Contrast, which I delivered in 1836, at the
Gobelins, I remarked, that in applying paper (cut for the purpose)
upon the lights of a blue drapery of the Virgin in a tapestry
representing the Holy Family, after Raphael, they appeared of a light
blue, although, when they were seen surrounded with darker tones, they
appeared of an orange tint.
294. We can conceive without difficulty that if the modification is
not manifested with monochromous objects of vivid colours, as yellow,
scarlet, &c., it is because that part of the surface of these objects
which reflects the least light to the eye, always reflects enough of
its peculiar colour to neutralize the complementary which the coloured
light of the illuminated portion tends to develop. I believe that this
effect tends to enfeeble the coloured light of the shaded part.
295. Although, in this chapter, I do not propose to treat of the
modifications shown by coloured stuffs with white designs; yet, as it
is a case so connected with the preceding considerations, I cannot
avoid mentioning them in this place.
296. If we observe a sky-blue silk with white flowers, the weft of
which is in an opposite direction to the weft of the blue ground, we
shall see the flowers white, if they are placed in the most favourable
manner to receive the white light reflected by them; while, in the
contrary position, we shall see these flowers absolutely orange. There
is still much white light reflected, but it is not sufficiently vivid
to neutralize the development of the complementary of the ground.
PAINTING ON THE SYSTEM OF FLAT TINTS.
297. In painting by flat tints, the colours are neither shaded, blended
together, nor modified by the coloured rays coming from the surrounding
parts of the picture.
In pictures which belong to this kind of painting, the representation
of the model is reduced to the observance of linear perspective, to the
employment of vivid colours in the nearer parts, and of pale and grey
colours in the more distant.
If the choice of contiguous colours has been made conformably to the
law of simultaneous contrast, the effect of the colour will be greater
than if it had been painted on the system of chiaro-’scuro.
298. In every instance where painting is an accessory, and not
a principal feature, painting in flat tints is in every respect
preferable to the other kind.
299. The essential qualities of painting in flat tints necessarily
reside in the good choice of colours and well drawn outlines. These
outlines contribute to render the impressions of colours stronger and
more agreeable, when, circumscribing forms clothed in colours, they
concur with them in suggesting to the mind a graceful object, when even
the imitation of it does not give a faithful representation.
300. We may, in conformity with what has been said, consider that
painting in flat tints may be advantageously employed,
1. When the objects represented are at such a distance that the finish
of an elaborate picture would disappear.
2. When a picture is an accessory, decorating an object whose use would
forbid too elaborate finish, and which would also be too costly. Such
are the paintings which ornament screens, work-boxes, tables, &c.; in
this case the objects preferable as models, are those whose beauty of
colours and simplicity of form are so remarkable as to attract the
eye by simplicity of outline, and by vivid colours: such are birds,
insects, flowers, &c.
SECTION III.
ON COLOURING IN PAINTING.
CHAPTER I.
_On Colouring._
301. _True or absolute colouring_ is the faithful reproduction in
painting of the modifications that light enables us to perceive in the
objects taken for models.
302. In the ordinary use of the word _colouring_, we allude to the more
or less perfect manner in which the painter has complied with the rules,
1. _Of aërial perspective._
2. _Of the harmony of local colours, and of the colours
of the different objects composing the picture._
ARTICLE I.
_Of Aërial Perspective._
303. We must not believe that the employment of many colours in a
composition is indispensable to give the epithet of _colourist_ to
the artist, for in pictures painted in one colour only, the simplest
of all, in which we only distinguish two colours including white, the
artist may be honoured with the title of _colourist_, if his work
presents lights and shades distributed as they are upon the model. To
convince ourselves of the justice of the expression, it will suffice to
remark that the model might very well appear to the painter coloured
with a single colour, modified by light and shade. In the same sense
this epithet may be applied to the engraver, who, by means of his
burin, reproduces a picture as faithfully as possible, in respect both
to the aërial perspective of its different planes, and to the relief of
each particular object.
304. A painter who has faithfully reproduced the aërial perspective,
with all its modifications of white and coloured light and of shades,
has effected a _true or absolute colouring_, which, however, may not be
universally deemed as perfect as that in which this quality of absolute
colouring is not found, at least in the same degree of perfection.
_Imperfectly faithful imitation._
305. _A painter may have perfectly seized upon all the modifications
of white and coloured light, but in his imitation, some of these
modifications are more strongly marked than in nature._
It almost always happens that _true but exaggerated colouring_ is more
agreeable than absolute colouring; and that many persons who experience
pleasure in seeing the modifications of exaggerated coloured light
which a picture may exhibit, do not feel the same pleasure from the
sight of a model, because the modifications corresponding to those
which are imitated in excess are not sufficiently prominent to be
evident to them. Besides the relish of the eye for an excess of an
exciting cause, is essentially analogous to the inclination we have for
food and drink of a pungent flavour and odour.
306. A painter may have perfectly seized all the modifications of
light which bring forward the planes and the relief of objects; the
modifications of the coloured light of his picture may be true, but the
colours may not be those of his model. As in pictures in which there is
a dominant colour, not found in the model, which is often called _the
tone of such a picture, and the tone of such a painter_, if he uses it
habitually.
307. We may form a very just idea of these pictures, by supposing
the artist to have painted them while looking at his model through a
glass of precisely the colour, to enable him to see the tint which
predominates in his imitation. We may mention as an example, of this
kind of imitation, a landscape painted from its reflection in a black
mirror, the effect of which is very soft and harmonious. Thus we speak
of brilliant or warm, cold or dull colouring.
_Of Colouring in respect to the Harmony of the Colours of the various
objects composing the Picture._
308. The colouring of the picture may be _true or absolute_, and yet
not agreeable in effect because the colours of the objects are not
harmonious. On the contrary, a picture may please by the harmony in the
local colours of each object, and by that of the colours of objects
contiguous to each other, and yet may offend in its gradation of lights
and shades, and by the _fidelity_ of its colours. In a word, it offends
by _true or absolute_ colouring, while a picture in flat tints, the
colours of which are perfectly assorted for the eye, although not those
which belong to the objects imitated, produces, with regard to general
harmony of colours, an extremely agreeable effect.
309. The general conclusion resulting from the analysis just made of
the word colouring, is, that the epithet _colourist_ may be applied
to painters endowed, in very different degrees, with the faculty of
imitating coloured objects by means of painting.
310. They who know the difficulties of _chiaro-’scuro_ and drawing,
may give the name of colourists to painters remarkable for the skill
with which they bring out objects placed upon the different planes of
their pictures, by means of correct drawing and a skilful gradation of
light and shade, even when their pictures do not exactly produce every
modification of coloured light, and have not this harmony of different
colours properly distributed to complete the effects of perfect
colouring.
311. Persons unaccustomed to judge of painting, or _chiaro-’scuro_,
are generally inclined to refuse the title of colourist to such
painters, while they unhesitatingly accord it to others who reproduce
the modifications of coloured light, and who tastefully distribute the
different colours of their pictures. Besides, the eye is so powerfully
influenced by colour, that frequently those who are strangers to
painting can only conceive a colourist to be skilful whose tints are
vivid, although his works may evince a want of observation.
312. We see by this how judgments will differ according to the
importance respectively attached to one quality of colouring rather
than to another.
313. For a painter to be a perfect colourist, he must not only imitate
the model by reproducing the image faithfully, with respect to the
variously coloured light, but also with regard to harmony of tints
in the local colours, and in the colours of the different objects
imitated. And although there are colours inherent to the model, which
the painter cannot change without being unfaithful to nature, yet, in
every composition, there are also colours at his disposal which must
be chosen so as to harmonize with the rest. We shall return to this
subject in the next chapter.
314. It is thus evident, that when a change in the colours of a picture
has been effected by time, it is impossible to decide whether the
artist who painted it should be called a _perfect_ colourist (310). But
if we refer to what I have said of the painter who has correctly seized
all the modifications of light adapted to bring out the distances and
relief of objects, who has truly represented the modifications of
coloured light, but which are not those of the model (312), we may
very easily conceive how, at the present day, after the lapse of
centuries, we may apply the name of _colourist_ to Albano, Titian,
Rubens, and others. In fact, the pictures of these great masters now
present to us gradations, more or less perfect, of light and shade,
and such harmonies of colours, that it is impossible to mistake or not
to admire them; and the idea that many pictures, not more than twenty
or five-and-twenty years old, painted by artists of undoubted ability,
have failed in colour more than the preceding, also increases our
admiration of the latter.
CHAPTER II.
_Utility of the Law of Simultaneous Contrast of Colours in the Art of
Colouring._
315. As to the advantages the painter will find in it when it is
required,—
1. To perceive and to imitate promptly and surely the
modifications of the light on the model.
2. To harmonize those colours of a composition which
are essentially inherent to the nature of the
objects to be produced.
316. We learn by the law of _simultaneous contrast of colours_, that
when we regard attentively two coloured objects at the same time,
neither of them appears of the colour peculiar to it; that is to say,
such as it would appear if viewed separately, but of a tint resulting
from the peculiar colour and the complementary of the colour of the
other object. On the other hand, if the colours of the objects be not
of the same tone, the lightest tone will be lowered, and the darkest
tone will be heightened.
317. The first conclusion from this is, that the painter will rapidly
appreciate in his model the colour peculiar to each part, and the
modifications of tone and of colour which they receive from contiguous
colours. He will also perceive and be prepared to imitate modifications
in them, which, if they had not always escaped him because of their
feeble intensity, might have been disregarded, because the eye is
peculiarly susceptible of fatigue when it seeks to disentangle
modifications, the cause of which is unknown, and which are not very
prominent.
318. Let us now return to _mixed contrast_ (77 _et seq._), in order
to make it evident that the painter is liable to see the colours of
his model inaccurately. As the eye, after observing one colour for a
certain time, has acquired a tendency to see its complementary, and
as this tendency is of some duration, it follows, not only that the
eyes of the painter thus affected cannot see correctly the colour
which he had for some time looked at, but also whatever colour he
sees while this modifying influence lasts. So that, conformably to
what we know of mixed contrast, he will see,—not the colour which is
before him,—but the result of this colour, and of the complementary of
that seen previously. It must be remarked, that besides the want of
clearness of view which will arise, in most cases, from the want of
exact coincidence of the second image with the first—for example, when
the eye has seen a sheet of green paper A (Plate III., fig. 4), in the
first place, and, in the second place, a sheet of blue paper, B, of the
same dimensions, but placed differently, this second image, not being
coincident in all its surface with the first, A, as represented in the
figure, the eye will see the sheet B violet only in the part where the
two images coincide. Consequently, this defect of perfect coincidence
of images will affect the outline of the second image, as well as the
colour which it really possesses.
319. We can establish three conditions in the appearance of the same
object relatively to the state of the eye; in the first, the organ
simply perceives the image of the object without taking into account
the distribution of colours, light, and shade; in the second, the
spectator, seeking to understand this distribution, observes it
attentively, when the object presents to him all the phenomena of
simultaneous contrast of tone and colour that it is capable of exciting
in him. In the third case, the organ, from the prolonged impression
of the colours, possesses in the highest degree a tendency to see the
complementary of these colours; these different states of the organ
being continuous.
I have no doubt that the dull colouring with which many artists of
merit have been reproached is partly due to this cause, as I shall show
more minutely hereafter.
_Utility of this Law to facilitate the prompt Imitation of
Modifications of Light on the Model._
320. The painter, knowing that the impression of one colour
beside another is the result of the mixture of the first with the
complementary of the second, has only to estimate mentally the
intensity of the influence of this complementary, to reproduce
faithfully in his imitation the complex effect which he has before his
eyes.
321. A painter wishing to imitate a white stuff with two contiguous
borders, one red, the other blue, perceives each of them changed by the
influence of their reciprocal contrast; thus the red becomes more and
more orange, in proportion as it approaches the blue, as this latter
becomes more and more green as it approaches the red. The painter,
therefore, making the borders of a single red and a single blue,
reduced in some parts by white or by shade, will reproduce the effects
he wishes to imitate. Whenever it is found that the painting is not
sufficiently marked, he is sure of what he must add without departing
from the truth, farther than by exaggerating a little (305).
2. A grey pattern drawn upon a yellow ground: the ground may be of
paper, silk, cotton or wool; according to its contrast, the design will
appear of a lilac or a violet colour (66).
The painter who would imitate this object, can reproduce it faithfully
with grey. But if a painter, ignorant of the reciprocal influence of
blue and red, convinced that he must represent what he sees, adds
green to his blue, and orange to his red; as in the second example, he
will trace a pattern more or less violet upon the yellow ground. Now,
supposing that the painter had perfectly seized the modifications of
the model, and, subsequently, had retouched his copy sufficiently to
produce a perfectly faithful effect, it is evident it would have been
perfect only after a number of trials, since he must have effaced what
was first done.
3. I cite a third example of the influence of contrast, not relating to
colours, like the two preceding, but to the different tones of the same
colour, contiguous to each other.
Suppose several bands in juxtaposition, 1, 2, 3, 4, (Plate 1, fig. 3),
of different tones in flat tints of the same scale, to form part of an
object: to imitate it perfectly, it is evident that it must be painted
in flat tints; but this object will appear to the eye a channeled
surface, the lines where the two bands touch will appear like a relief
by the effect of contrast of tone (9-11); therefore, if the painter is
ignorant of this, he will reproduce, not an absolute copy of the model,
but an exaggerated one. I the more willingly cite this example, because
it gave me an opportunity of enabling a most skilful paperstainer to
appreciate the utility of the law of simultaneous contrast. In going
with him over his factory, he showed me a chimney-board representing a
child whose figure stood out from a ground formed of two circular bands
in grey flat tints; 1 and 2 (Plate I., fig. 7); the first was higher
than the second; the phenomenon of contrast of tone was manifested at
the borders, _a a_, of the two bands, so that the part of the band 2,
contiguous to the band 1, was darker than the rest, as the part of the
band 1, contiguous to 2, was lighter than the rest, conformably to what
has been stated above (11). This effect, not being what the skilful
artist wished to obtain, he inquired of me how it was to be avoided.
I replied, that the grey of the band 2 must be reduced with white, in
proportion as it approached the border _a a_; and, on the contrary,
the grey of the band 1 must be strengthened with black, in proper
gradations, beginning at the same border. And I proved to him, _that to
imitate the model faithfully, we must copy it differently from what we
see it_.
322. From the above we educe the six following principles:—
1. Put a colour upon a canvas, it not only colours that part of the
canvas to which the pencil has been applied, but it also colours the
surrounding space with the complementary of that colour.
Thus, a red circle is surrounded with a green areola, becoming weaker
as it extends from the circle:—
A green circle is surrounded with a red areola.
An orange ” ” blue ”
A blue ” ” orange ”
A yellow ” ” violet ”
A violet ” ” yellow ”
(See Plates 3, 4, 5.)
2. White placed beside a colour heightens its tone; it is as if we took
away from the colour the white light which enfeebled its intensity
(44-52).
3. Black placed beside a colour weakens, and in some cases
impoverishes, its tone, as upon certain yellows (55). It is, in fact,
adding to black the complementary of the contiguous colour.
4. Put grey beside a colour, the latter is rendered more brilliant, and
at the same time it tints this grey with its complementary (63).
323. From this principle it results that in many cases where grey
is near to a pure colour in the model, the painter, if he wishes to
imitate this grey which appears to him tinted with the complementary of
the pure colour, need not use a coloured grey, as the effect will be
produced in the imitation by the juxtaposition of the colour with the
grey contiguous to it.
Besides, the importance of this principle cannot be doubted, when
we consider that all the modifications which a monochromous object
presents (excepting those which result from the reflections of coloured
lights emanating from neighbouring objects,) arise from the different
relations of position between the parts of the object and the eye of
the spectator; so that it is strictly true to say that, to reproduce by
painting all these modifications, it suffices to have a colour exactly
identical to that of the model, with black and white. In fact, with
white we can reproduce all the modifications due to the weakening of
the colour by light, and with black, those which are due to the height
of its tone. If the colour of the model in certain parts gives rise
to the manifestation of its complementary, because these parts do not
return to the eye enough colour and white light to neutralize this
manifestation, the modification may be imitated by the employment of a
normal grey tone, properly surrounded with the colour of the object.
It is necessary, in many cases, to employ with the colour of the
object the colours which are near it; that is to say, the hues of the
colour. For example; in imitating a rose, we can employ red shaded with
a little yellow, and a little blue, or, in other terms, shaded with
orange and violet; but the green shadows which we perceive in certain
parts arise from the juxtaposition of red and normal grey.
5. To put a dark colour near a different, but lighter colour, is to
heighten the tone of the first, and to lower that of the second,
independently of the modification resulting from the mixture of the
complementaries. An important consequence of this principle is, that
the first effect may neutralize the second, or even oppose it. For
example; a light blue placed beside a yellow tinges it orange, and
consequently heightens its tone; while there are some blues, so dark
relatively to the yellow, that they weaken it so much as not only to
hide the orange tint, but even to cause sensitive eyes to feel that
the yellow is rather green than orange. A very natural result, if we
consider that the paler the yellow, the greener it appears.
6. Put beside each other two flat tints of different tones of the same
colour, chiaro-’scuro is produced, because, in setting out from the
line of juxtaposition, the tint of the band of the highest tone is
insensibly enfeebled, while, setting out from the same line, the tint
of the band of the lowest tone becomes heightened; thus there is a true
gradation of light.
The same gradation takes place in all the juxtapositions of colours
distinctly separated.
I believe that attention to these principles, and especially a perfect
knowledge of the consequences of the last three, exercises a very
happy influence upon the art of painting, giving to the artist such
a knowledge of colours as he cannot possess before the law of their
simultaneous contrast and its consequences have been developed.
Among the details which the painter endeavours to render, there are
many which, due to contrast, either of colour or of tone, must be
produced spontaneously. I presume that the Greek painters, whose
palette was composed only of black, white, red, yellow, and blue, and
who executed so many pictures which their contemporaries have spoken of
with intense admiration, painted conformably to the simple method of
which I speak; _devoting themselves to great effects_, _many small ones
resulted from them_.
_Utility of the Law in order to Harmonize those
Colours of a Composition which are Inherent to
the Nature of the Object represented._
324. In all, or nearly all, compositions of painting, we must
distinguish the colours which the painter is under the necessity of
using, and those which he may choose, because, unlike the former, they
are not inherent to the model (313). For example, in painting a human
figure, the colour of the flesh, the eyes, and the hair, are fixed
by the model; but the painter has a choice of draperies, ornaments,
background, &c. In an historical picture, the flesh colours are, in the
majority of the figures, at the choice of the painter, as are also the
draperies and all the accessories, which can be placed and imagined
according to his judgment.
In a landscape, the colours are determined by the subject, yet not so
arbitrarily but that we can substitute for the true colour that of
a neighbouring scale; the artist may choose the colour of the sky,
imagine numerous accidental effects, introduce into his composition
animals, draped-figures, carriages, &c., of which the form and colour
may be so selected as to produce the best possible effect with the
actual objects of the scene.
325. A painter may also choose a dominant colour which produces, on
every object in his composition, the same effect as if they were
illuminated by a light of the same colour, or as if they were seen
through a coloured glass (259).
326. Although the law of contrast affords different methods of
imparting value to a colour, genius alone can indicate the mode in
which this idea should be realized in a painting.
327. Whenever the artist would attract the eye by colours, doubtless
the principle of _harmony of contrast_ must be his guide. The law of
_simultaneous contrast_ indicates the means of giving value to the pure
colours by each other; means which, although spoken of, are but little
known, as may be commonly seen in portraits of vivid colours, badly
assorted; and in those numerous small compositions in tints broken with
grey, where we look in vain for a pure tone; which, however, from the
objects represented in them, are eminently adapted to receive all vivid
colours.
328. The contrast of the most opposite colours is as agreeable as
possible, when they are of the same tone. But if crudity or too great
intensity of colours is feared, we must have recourse to the light
tones of their respective scales.
329. When the painter breaks tones with grey, and wishes to avoid
monotony, or when on the planes which are more remote, yet not so
remote as to render their differences of colour inappreciable, he
wishes every part to be as distinct as possible, he must have recourse
to the principle of _harmony of contrast_, and mix his colours with
grey.
330. This method of bringing out a colour by contrast, in using either
light tones complementary or more or less opposed, or broken tones
more or less grey, and of tints complementary to each other; or, in
employing a broken tone, of a tint complementary to a more or less pure
contiguous colour, ought especially to fix the attention of portrait
painters. A portrait will have a very poor effect when neither the
colour of the dress nor of the background have been well chosen.
331. The portrait-painter must endeavour to find the predominating
colour in the complexion he has to paint; and this found and faithfully
reproduced, he has to seek whatever accessories at his disposal will
give value to it. It is a very common error to suppose that the
complexion in women, to be beautiful, must consist only of red and
white: if this opinion be true for most of the women of our temperate
climate, it is certain that in warmer regions there are brown, bronzed,
or even copper complexions endued with a brilliancy, I may say beauty,
appreciated only by those who, in pronouncing upon a new object, lay
aside habitual expressions, which (albeit unconsciously to most men),
exercise so powerful an influence upon their judgment of objects seen
for the first time.
See the section in which I have treated of _the application of the law
of contrast to dress_. (Div. V.)
332. In order to make the best use of colours without being under
the necessity of multiplying them, as, for example, in draperies of
a single colour, recourse may be had to the coloured rays emanating
from neighbouring bodies, whether visible to the spectator or out of
sight. For example, a green or yellow light falling upon part of a blue
drapery renders it green, and by contrast heightens the blue-violet
tone of the rest; a golden yellow light falling on part of a purple
drapery imparts to it a golden tint, which makes the purple of the rest
come out, &c.
333. The principle of harmony of contrast then procures for the painter
in chiaro-’scuro the means of realising, with respect to brilliancy
of colours and distinction of parts, such effects as are produced in
paintings of flat tints.
334. Having treated of the utility of the law of simultaneous contrast
in the intelligent use of pure opposite colours, and of colours broken
by grey similarly opposed when it is required to multiply pure and
varied colours, it now remains for me to treat of those cases in which
the painter, desiring less diversity in the object, less variety in the
colours, employs sparingly the _harmony of contrast_, preferring the
_harmony of scale_ and the _harmony of hues_.
335. The greater the variety of colours and accessories in a
composition, the more the eyes of the spectator are distracted, and
the more difficulty is experienced in fixing attention. If then, this
condition of diversity of colours and accessories is obligatory on the
artist, the more obstacles there are to surmount in drawing and fixing
the attention of the spectator upon the physiognomy of the figures,
whether they represent the actors in a single scene, or whether they
are simply portraits. In the latter case, if the model has such an
ordinary physiognomy, as recommends itself neither by its expression
nor its beauty, and still more, if he must conceal or dissemble a
natural defect, all that is accessory to this physiognomy, all the
resources of contrasted colours, well assorted, should come to his aid.
336. But if, fervently inspired, he appreciates the purity of
expression, the nobility and loftiness of character pertaining to his
model; or even if a physiognomy, to most eyes commonplace, strikes him
by such an expression as he judges to belong only to men animated by
noble ideas, it is to such a model that he will address himself and
fix his chief attention; so that in giving it life upon his canvas,
no one can mistake either the resemblance, or the sentiment which
directed his pencil. Everything being accessory to the physiognomy,
the draperies will be of black or of sombre colours; and if ornaments
relieve them, they will be simple, and always in keeping with the
subject.
337. When, in this point of view, we examine the masterpieces of
Vandyke, and trace the beauty of their effect to the simplicity of
the means which produce it,—when we consider the elegance of their
attitudes, which always appear natural, the taste which presided over
the selection of all the accessories, we are struck with admiration
of the genius of the artist, who has not had recourse to those means,
so much abused at the present day, of attracting attention, either
by giving to the most vulgar person an heroic attitude, to the most
commonplace physiognomy pretension to profound thought, or by seeking
extraordinary effects of light, such as filling the figure with a
strong light, while the rest of the composition is in shade.
338. These reflections indicate the course which an historical painter
must take, when he would particularly fix the attention upon the
physiognomy of the persons in a remarkable scene. The more he employs
allied scales, the more care he must take to select such as do not lose
too much by their mutual juxtaposition.
339. There is another important direction to give, which is to avoid
as much as possible the same kind of images on different objects; thus
figures clothed in draperies with large flower patterns, in a room
where the carpet and porcelain vases repeat the same images, are never
free from objection, for it is troublesome to the eye to distinguish
those parts of the picture which the similarity of ornaments tends to
confound. Upon the same principle, the painter must generally avoid
placing beside the faithful copy of a model the copy of an imitation
which repeats this model. For example, when, he paints a vase of
flowers, the artist produces most effect, other things being equal,
in painting a vase of grey or white porcelain, instead of a vase upon
which a profusion of similar objects are its ornaments.
340. When it is required that a certain colour shall predominate in a
composition, or to speak more correctly, when the scene is illuminated
by a coloured light, shed over every object, we must not only take
simultaneous contrast into consideration, but also the modification
which results from the mixture of colours (172), comprising the
recomposition of white light by means of a proper proportion of the
differently coloured elementary rays.
341. We must here attentively study the article which treats of the
principal cases of the modifications of light resulting from coloured
rays falling upon bodies of various colours (261, _et seq._), when,
although the coloured light chosen imparts value to certain colours
of the objects upon which it falls, it also impoverishes and even
neutralizes others. Consequently, in employing any predominant colour,
we must renounce the advantages of others, or the effect produced will
be false. For example: if orange colour predominates, for the colouring
to be true it must necessarily follow—
1. That the purples must be more or less red.
2. That the reds must be more or less scarlet.
3. That the scarlets must be more or less yellow.
4. That the orange must be more intense, more vivid.
5. That the yellows must be more or less intense, and orange.
6. That the greens lose their blue, and consequently
become yellower.
7. That the light blues become more or less light grey.
8. That the deep indigo becomes more or less maroon.
9. That the violets lose some of their blue.
Thus we see that orange light heightens all the colours which contain
red and yellow, while, neutralizing a portion of blue in proportion
to its intensity, it destroys wholly or partially this colour in the
body which it illuminates, and consequently disturbs the greens and the
violets.