rosy complexions. It is otherwise with bonnets of gauze, crape, or
lace; they are suitable to all complexions. The white bonnet may have
flowers, either white, rose, or particularly blue.
529. A _light blue bonnet_ is particularly suitable to the light-haired
type; it may be ornamented with white flowers, and in many cases with
yellow and orange flowers, but not with rose or violet flowers.
530. A _green bonnet_ is advantageous to fair or rosy complexions; it
may be trimmed with white flowers, but preferably with rose.
531. A _rose-coloured bonnet_ must not be too close to the skin; and if
it is found that the hair does not produce sufficient separation, the
distance from the rose colour may be increased by means of white, or
green, which is preferable. A wreath of white flowers in the midst of
their leaves has a good effect.
532. I shall not advise the use of a light or deep red bonnet, except
when the painter desires to diminish too warm a tint in the complexion.
533. Finally, the painter should never prescribe either yellow or
orange-coloured bonnets, and be very reserved in the use of violet.
TYPE WITH BLACK HAIR.
534. A _black bonnet_ does not contrast so well with the general
appearance of the type with black hair as with the other type, yet it
may produce a good effect, and receive advantageously accessories of
white, red, rose, orange, and yellow.
535. A _white bonnet_ demands the same notice as that, concerning its
use, in connexion with the blonde type (528), except that for brunettes
it is better to give preference to accessories of red, rose, orange,
and yellow, rather than of blue.
536. Bonnets _of rose-red or cherry-colour_ are suitable for brunettes,
when the hair separates, as much as possible, the bonnet from the
complexion. White feathers accord well with red; and white flowers,
with abundance of leaves, have a good effect with rose.
537. A _yellow bonnet_ suits a brunette very well, and receives with
advantage violet or blue accessories. The hair must always interpose
between the complexion and the head-dress.
538. It is the same with bonnets of an _orange_ colour, more or less
broken, such as chamois, with which blue trimmings are eminently
suitable.
539. A _green bonnet_ is suitable to fair and light rosy complexions,
rose-red or white flowers are preferable to all others.
540. A _blue bonnet_ is only suitable to a fair or light-red
complexion; nor can it be allied to such as have a tint of
orange-brown. When it suits a brunette, it may take with advantage
yellow or orange trimmings.
541. A _violet bonnet_ is always unsuitable to every complexion, since
there are none to which the addition of yellow will be favourable. Yet,
if we interpose between the violet and the skin, not only the hair, but
also yellow accessories, a bonnet of this colour may become favourable.
542. Whenever the colour of a bonnet does not realize the intended
effect, even when the complexion is separated from the head-dress by
large masses of hair, it is advantageous to place between the latter
and the bonnet certain accessories, such as ribbons, wreaths, and
detached flowers, &c., of a colour complementary to that of the bonnet,
as I have prescribed for the violet bonnet. The same colour must also
be placed on the outside.
ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH COPPER-COLOURED
SKINS.
543. The tint of the complexions of the women of the North American
Indian races is too positive to induce them to endeavour to
dissimulate, either by lowering its tone, or by neutralizing it. There
is, then, no alternative but heightening it, for which purpose we must
use draperies either of white or of blue strongly inclining to green,
when the tint will become of a redder orange.
ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH BLACK OR OLIVE
SKINS.
544. If I have prescribed the harmony of contrast of tone where the
colour of the complexion is copper-red, there is a stronger reason for
it when we have to drape olive or black skins; we can then use either
white or the most brilliant colours, as red, orange, and yellow. The
consideration of contrast determines which one we ought to choose in
a particular case. If the complexion is intense black, dark olive, or
greenish-black, red is preferable to every other colour; if the black
is bluish, then orange is particularly suitable. Yellow will best
accord with a violet-black.
545. _Results applicable to Portrait painting._
The tint may be heightened without leaving its scale:—
1. By a white drapery which heightens by contrast of tone.
2. By a drapery the colour of which is exactly the
complementary of the tint, and of which the tone is
not too high; such as perhaps a green drapery for
a rosy complexion; or perhaps a blue drapery for
the orange complexion of a blonde. The tint may be
heightened by making it leave its scale:—
1. By a green drapery of a light tone upon an orange complexion.
2. By a blue drapery of a light tone upon a rosy complexion.
3. By a yellow, canary, or straw-coloured drapery, upon
an orange complexion, of which the complementary
violet neutralizes some of the yellow of the complexion,
and heightens its rose.
546. _Note._—The modifications resulting from the juxtaposition of
parts diversely coloured are much more positive than those arising from
reflection by one part upon another.
_If the Painter wishes to dissimulate a Tint of the Complexion—_
547. As above, he must distinguish two cases:—
1st, WHEN HE SEES THE COLOURS MODIFIED BY JUXTAPOSITION ONLY, _when the
tint may be lowered without leaving its scale_:—
1. By a black drapery, which lowers it by contrast of
tone. 2. By a drapery of the same scale as that of
the tint, but of a much higher tone.
Such, perhaps, as a red drapery upon a rosy complexion; or, an orange
drapery upon an orange-tinted complexion; or, the effect of a dark
green drapery on a complexion of a green tint.
2nd, _The tint may be lowered by making it leave its scale_.
1. By a green drapery of very dark tone, upon an
orange complexion. 2. By a blue drapery of a dark
tone, upon a rosy complexion. 3. By a very dark
yellow drapery, upon a very pale orange complexion.
APPLICATIONS TO HORTICULTURE.
SECTION I.
548. The applications I propose to make are of two kinds: the one
relating particularly to the arrangement of plants in gardens,
according to the colour of the flowers; the other, to the method of
distributing and planting ligneous plants in masses, which I suppose
to have been previously planned. Doubtless, I need not have discussed
the latter subject, but I have been led to it so naturally, and the
rules which guided me are so positive and simple, that I have no doubt
of their proving profitable to those of my readers who follow them in
laying out plantations, &c.
The artist who conducts these operations is called a Gardener, or
Landscape Gardener.
ON THE ART OF ARRANGING ORNAMENTAL PLANTS IN GARDENS
SO AS TO DERIVE THE GREATEST POSSIBLE ADVANTAGE
FROM THE COLOURS OF THEIR FLOWERS.
549. Among the pleasures afforded us by the cultivation of choice
plants, there are few so intense as the sight of a collection of
flowers, varied in colour, form, size, and position. It is probably
because we admire the plants individually, and become attached to
them on account of the pains they cost us, that we have hitherto so
generally neglected to dispose them in such a manner as to produce the
best possible effect when their flowers are seen collectively.
Thus, no defect is more common than that of the _proportion_ in which
flowers of similar colours are distributed in a garden. Sometimes the
eye is struck by blue or white, sometimes it is dazzled by yellow.
Add to this defect of proportion, the ill effect produced by placing
together many species of flowers, which, although of the same colour,
are not of the same tint: for instance, in spring we see the leopard’s
bane (_doronica_), of a brilliant golden yellow, side by side with the
narcissus, which is of a pale greenish yellow; in autumn, the Indian
pink beside the African marigold, dahlias of various reds grouped
together, &c.
Such arrangements as these cause the eye, accustomed to appreciate
the effects of contrast of colours, to feel sensations quite as
disagreeable as those experienced by the musician whose ear is struck
with discords.
550. Previously to my observations on simultaneous contrast, and
the demonstration of the law which governs it, it was impossible to
prescribe rules which, by instructing horticulturists to place, with
certainty of success, flowers in proximity whose colours reciprocally
enhance each other, enabled them to avoid either the monotony resulting
from the grouping of flowers of the same colour, or the disagreeable
effect of a collection of flowers whose hues are mutually injurious.
ASSORTMENTS OF FLOWERS,
_Where the Plants are apart._
551. The associations of flowers which relate to the harmonies
of contrast of colour, are first, those with colours mutually
complementary to each other; such as blue with orange, or yellow with
violet. Rose or red flowers contrast with their own leaves.
552. White flowers accord more or less favourably with blue and orange
flowers, already allied together; and perfectly with rose or red
flowers, but not so well with yellow or violet flowers, already allied.
White associates much less favourably when the latter is brighter or
greener.
White flowers are the only ones that possess the advantage of
heightening light tones of any colour, and of separating those whose
colours are mutually injurious.
553. Yellow flowers, especially those which incline to orange, accord
very well with blue ones.
Flowers of a yellow, more green than orange, have a very good effect
with flowers of a red inclining to blue, rather than to orange.
Deep red flowers accord well with deep-blue flowers.
Orange flowers are not misplaced near violet flowers.
ASSORTMENTS RELATING TO THE HARMONIES OF CONTRAST OF HUES.
554. It is so difficult to make associations of hues which will have
a satisfactory effect, that I prescribe _in general_ the mutual
association of flowers whose colours belong to neighbouring scales.
We must then separate
Pink flowers from those that are either Scarlet or Crimson.
Orange ” ” Orange-yellow,
Yellow ” ” Greenish-yellow,
I shall even go further in advising the separation of—
Red flowers from Orange, Blue or Pink from Violet.
_Where the Plants are indiscriminately mixed._
555. Flowers which only present contrasts of hues and which spring
from seeds sown thickly in borders, or in beds, will not have the same
objection as when the roots are planted at a distance from each other.
556. Flowers, presenting a disagreeable contrast of hues, may still
produce a good effect, when their assortment makes part of an
arrangement of contrasts of colours, strongly opposed; in this case
being no longer seen isolated, they become in a manner the element of a
picture.
SECTION II.
ASSORTMENTS AS TO HARMONY OF ANALOGY.
557. I only reckon shrubs susceptible of this harmony; because only
perennial plants afford to the horticulturist a guarantee that the
flowers of one year will be identical with those of the preceding;
consequently, if we plant woody shrubs in such manner as to secure
a regular gradation of tones, the successive annual flowerings will
be constantly according to that order. We may apply this kind of
arrangement to standard roses.
558. But I do not advise any one to attempt submitting annuals to this
arrangement, because of the uncertainty that exists in the tones of
their colour.
_Harmonies of Analogy of Hues._
559. If I have spoken against the associations of _contrast_ of
hues (554), I am more inclined to speak against the associations of
_analogy_ of hues, always remembering the restrictions I have stated
above (Section 1). We must not forget that my intention is to describe
assortments, whose good effects are certain. Now the more the colours
contrast, conformably to our law, the more latitude there will be,
although the colours of individual flowers associated vary in tone and
in hue.
560. An objection might be addressed to me _that the green of the
leaves, which serves as a ground to the flowers, destroys the effect
of their contrast_. But it is not so; and to be convinced of it, it is
sufficient to fix upon a screen of green silk, two kinds of flowers
in conformity with the arrangement of the coloured bands (_pl. 1.
fig. 7_), and to look at them from a distance of about ten paces; for
when the eye is fixed on two well-defined objects simultaneously,
surrounding objects, especially distant ones, produce but feeble
impressions.
ON THE ART OF ASSORTING LIGNEOUS PLANTS IN GARDENS, SO
AS TO DERIVE THE BEST POSSIBLE ADVANTAGE FROM THE
COLOUR OF THEIR FOLIAGE.
561. If we consider trees and shrubs no longer under the relation of
the colour of their flowers, but with regard to the manner in which
we may employ their foliage in the decoration of gardens, we shall
perceive that there is only a very small number of contrasts of
scale and hue which we can realize while vegetation is active; yet
in autumn, when plants, losing their leaves before falling, assume
various colours, as red, rose, scarlet, orange, and yellow, these, by
their brilliancy, recall the season of flowers. Most trees and shrubs
present, in the summer season, only the green of their foliage; and,
although this green varies in tone and hue, the differences are always
trifling.
562. _Harmonies of Contrast._—The most decided contrast of colour that
we can establish between the leaves of ligneous plants, is that of
green, with foliage nearest to red. But even the _purple beech_ is more
of a red-brown than a dark _red_, properly so called, for the colour
of leaves results from a mixture of red and green, which, according
to the principle of mixing colours must produce black, if they are
in suitable proportion, or a brown tone of the green or red scale,
according as one or the other colour predominates. The contrast of hue
is established by the assortment of a bluish-green and a yellowish
green of tones unequally high, by the contrast of a bluish-green brown
with a yellowish light green, &c.
563. _Harmonies of Analogy._—Nearly all the masses of various trees
in our landscape gardens present certain harmonies of hues mostly
resulting from associations established according to considerations
foreign to those of the assortment of foliage—an evident result,
remembering (561) that the colours of the leaves of the greater part
of plants are of green belonging to scales more or less allied, and of
tones but little distant from each other.
(_a_) Harmonies of analogy of hues formed of allied tones belonging to
neighbouring scales, are those which it is least difficult to obtain.
(_b_) Arrangements of foliage presenting a series of equidistant tones
of the same scale of green.
ON THE DISTRIBUTION AND PLANTING OF TREES, ETC., IN MASSES.
564. The principal object of the two following chapters is to supply
a deficiency in works on gardening as to the manner of distributing
and planting trees in masses, &c., the outlines of which have been
previously sketched conformably with precise rules. For authors say
nothing on this subject, and the embarrassment of a landowner who
wishes to plant an estate already planned out, is further increased
by this circumstance, that, in the majority of cases, the author of
the plan of the projected garden, after having defined the lines of
the plantations, indicated the places where isolated trees must be
placed, designated the kinds of trees which should constitute groups,
and others which must enter into the formation of masses with trees
and shrubs (which he does not generally indicate), leaves the care of
planting and other details to ordinary gardeners.
Yet the distribution of trees and shrubs, however easy it may appear,
in a piece of ground otherwise perfectly planned, contributes more
than is generally supposed to the pleasure of a landscape garden, and
presents also more difficulties than to allow of its being effected in
a satisfactory manner, when it is abandoned, as generally happens, to
chance. In fact, if, at the end of a few years, we observe the greater
part of masses planted as they frequently are, we shall be struck with
defects which were not at first perceptible, because we were then under
the influence of the pleasure we always experience at witnessing the
development of plants which have been confided to a carefully prepared
soil; and besides, there are some defects which are only perceptible
after a certain time, such, for example, as that resulting—
1. _From the plants being placed too near together._
2. _From placing, in the front row, clumps which rise too high, or
which lose their lower branches._ Such are the elder tree, and sumach.
565. It was after many years of lost enjoyments, through having planted
without fixed rule, masses otherwise well designed in their contours,
that I was led by my own experience to seek the means of avoiding
similar errors in future. The rules I now give are not the result of
reflection merely; they have been practised many years, and I am much
deceived if those who observe them will not derive great facilities in
their application, and experience from them a lively satisfaction.
566. I will now define several expressions employed to designate the
different associations of plants which may form part of a landscape
garden.
An assemblage of trees and shrubs, occupying a large space, is termed a
_forest_. But in a landscape garden a similar assemblage, or that which
has been arranged to present the appearance of a vast space, is called
a _wood_, if it is composed of trees and underwood; and a _park_, if it
consists of trees only.
[Illustration: ARRANGEMENT OF PLANTS IN LANDSCAPE GARDENING.
PLATE XVIII.]
A collection of trees, shrubs, bushes, and underwood, is called a
_grove_; when it consists only of trees, it is termed _a group of
trees_.
There are _thickets_ of shrubs, bushes, underwood, and of flowering
herbaceous plants.
There are _thickets_ formed of a single species of plants, and thickets
formed of several species. The first are called _homogeneous_, and the
second _heterogeneous_, or _varied_.
There are _isolated masses_, and _masses subordinated together_.
A small mass of flowers or shrubs, isolated, and of a circular or
elliptical form, is called a _bed_.
CHAPTER I.
_Of Lines of Plants._
567. I call a _line of plants_, plants placed at equal distances from
each other, in straight or curved lines: these plants may be trees,
shrubs, bushes, underwood, or flowering herbaceous plants.
568. A _line of plants_ of sufficient extent, and of which the plants
are close enough to conceal from view objects placed behind them, is
called a _screen_.
All masses planted according to my method are composed of lines of
plants parallel to each other; in other words, there is between two
similar lines an equal distance throughout. But the distance between
the first and the second may differ from the distance between the
second and the third, and so of the others. The result would be the
same if the lines were closed curves, as, for instance, circles or
ovals. The lines of plants are the elements of the masses.
ARTICLE I.
_Of the Lines of Plants called Screens._
569. When we desire to conceal any object of considerable extent, we
have recourse to a _screen of plants_. Whenever the extent of the
land will not permit of the planting of several lines, constituting a
mass, evergreens, such as thujas, almond-laurels, &c., are those to be
preferred, succeeded by the hornbeam, lilac, privet, &c.
The most homogeneous screens, that is to say, those which are formed
of a single species of plant, are preferable to all others for the
object they are intended to fulfil; and to avoid the monotony of a
single species, we must have recourse to one which offers varieties.
For example, a screen composed of violet and white lilacs, will possess
at the same time the advantage of homogeneity for concealing what is
behind it, and the advantage of variety of foliage; the leaves of the
violet-lilac being of a less yellow-green than those of the white
lilac. We may alternate one or more plants of violet-lilac with one
plant of white lilac.
_Of Lines of Plants considered as Elements of Masses._
570. 1st. If the plants in the same line are not of the same species,
it is essential that they do not differ too much from each other in
respect to height.
2nd. Where a line happens to be entirely seen, the same species must be
placed alternately.
3rd. We must avoid placing the same species in two neighbouring lines,
when we would employ varied masses which are composed of several lines
only.
RULE.—_When two lines of vegetation are planted to constitute a mass,
in planting the first or exterior line, we must follow the rule
indicated above_ (570), _then go on planting the second line, in the
same manner as the first, except that the stakes indicating the centre
of vegetation must be placed chequer-wise relatively to the centre of
vegetation of the first line._
I will cite an example of a plantation of two lines intended to conceal
a wall.
1st _Line_. 1. Almond-laurel. 2. Violet-lilac. 3. Laburnum. 4.
Violet-lilac. 1_a_. Almond-laurel, &c.
2nd _Line_. 1. Clump of _prunus mahaleb_. 2. _Idem_, &c.
The distance between the clumps of the first line is four or five feet.
We may plant the first line in _screen_, and the second with trees
larger than in the first; we may also plant the second line with roots
of _prunus mahaleb_, comprehending between two roots three or five
clumps of the same species.
_Of Homogeneous Masses._
571. The _homogeneous mass_ includes only a single species of plant,
because the intention of the gardener in forming it, is to produce an
effect of _individuality_.
In the large French garden, designed by Le Notre, where the trees
combine so effectually with the elements established by the architect,
to prolong, so to speak, a similar work, the symmetrical plantations
are identical, and generally composed of trees of a single species.
572. Although homogeneous masses of trees have a good effect in a large
composition, it is not so with those which are composed of a single
species, or of a single variety of flower. They almost always present a
monotonous aspect, especially if the latter have a definite extent; and
if the species of plant of which they are composed is in flower only
a part of the year, the defect of monotony will be greatly increased.
Homogeneous masses of shrubs or of flowers are only suitable when they
are in leaf or in flower during a great portion of the year; as their
extent is small, and they serve simply as a bond of union between
different parts more or less distant from each other.
_Of Heterogeneous or Varied Masses._
573. I shall distinguish two cases—one where it is a _heterogeneous_ or
_varied_ mass, isolated, intended to serve as an individual composed of
distinct parts; and the other where it consists of many varied masses,
allied together, and separated by paths, at least in some parts.
_Isolated Masses._
If each line consists of only a single species, we must arrange the
lines according to their size. For example—1. Lilacs. 2. Laburnum. 3.
Judas trees.
574. _Heterogeneous or varied masses_ placed together so as to form a
whole, are generally separated from each other by glades, or unplanted
intervals, but cultivated or sown in grass, or by paths. To make
what follows thoroughly understood, I must point out the essential
difference that exists between landscape gardening and French
(geometrical) gardening.
575. French gardening is regular and symmetrical, the paths are
straight, and the eye is only impressed by objects slightly varied;
for when there are squares or straight borders, symmetry necessarily
requires that the objects on one side be repeated on the other. The
result is, that when the spectator has visited the principal points of
this composition, which are never very numerous, he has seen everything
it has to offer to his curiosity.
576. I will not say, with some writers, that landscape gardening is
conceived with an entirely different aim. The spectator who surveys
a landscape garden, should be excited, so to speak, at every step,
by the sight of various objects. The different points of view must
be as numerous as possible, the paths must always, therefore, be
traced, so that from no point can their whole extent be discovered.
The plantations must be disposed so as to conceal the walls, fences,
or other disagreeable ill-placed objects. They must allow the eye
the greatest possible scope, at all the points the gardener wishes
to be displayed; and the views must vary with the different points
successively observed.
577. To achieve this, it is evident that there must be no straight
paths, but only curved ones. When paths pass between masses, the
intervals between these masses must also permit to be seen groups of
objects, which must form planes, skilfully prolonging the perspective,
as far as possible. The masses, though varied, must nevertheless be
allied together, so that neighbouring masses may harmonize as dependent
parts of the same whole.
ARTICLE II.
578. _Harmony between masses distant from each other_, in which
harmonies may be established by the same general means as they are
between neighbouring masses. The foliage in the masses being much more
abundant than the flowers, the shades of their greens will not differ
so much from each other as the colours of their flowers; consequently,
the distant masses, however varied in their foliage, are always in
harmony of form and colour, if they have been planted according to
our rules; and if they are composed solely of ligneous plants, which
lose their leaves in winter, or solely of evergreens, which do not
lose them; but in the opposite case, that is to say, when the masses
are formed, the one of deciduous trees, and the other of evergreens,
some remarks must be made relative to the conditions of harmony, which
are the more necessary, as even the most studied landscape gardens
generally err in this respect; for a clump or a mass of evergreens is
almost always out of keeping in a large space where masses of deciduous
trees are found. To remedy this defect we must multiply the groups
or masses of evergreens, so as to establish between all of them this
same correlation which is required by deciduous trees; but it is not
necessary that the trees should occupy a space equal to that occupied
by ordinary trees; it is sufficient if their forms recur at suitable
intervals. In a word, for evergreens to produce a good effect, they
must compose a whole, which unites or intercalates with the general
effect of the masses of deciduous trees.
We may oppose allspice trees to pines, cedars to larches; different
groups, composed of three or four trees only, suffice to harmonize a
large space of ground occupied with two or three groups composed of
half a hundred similar trees.
579. _There are certain cases in which the want of either perspective
or harmony requires, in a large mass, a line of trees which is neither
concentric with its circumference, nor identical with the central line,
if there be one; such, for example, as the line P. R., which is found
in the masses 1 and 2_ (Pl. 18); _for if the planting of this line be
correct, and according to the preceding principles, the trunks, which
define it, beyond the concentric plantings, must be in the points
of intersection of the line P. R., with the concentric lines, and
the central line, if there be one; and the trunks must be as much as
possible at equal distances from each other._
Such a plan, always easy to make, will enable a landowner, when once
his masses are planned, their concentric lines traced, and the species
to be planted determined upon, to order from the nurseryman the exact
number of each species he requires.
580. _After tracing the lines of plantations, and putting in the stakes
to mark out the centre of the holes to be dug, we must draw upon grey
paper lines representing those of the masses we intend to plant, taking
as many equidistant points as there are stakes in the corresponding
lines of plantation; we then fasten on these points wafers, or little
circles of paper, of the colour of the flowers or the foliage of the
plants, according to the desired effect._
By this means we can judge of the harmony of the colours of flowers
with the different hues of green composing the mass, and thus rectify
any defect in the plan before we begin to plant.
The principles on which the preceding rules are founded are those of
height, form, variety, facility of development, and distinctness of
view. Harmonious arrangement, with reference to these points, not being
so exclusively the object of this work as the subject of colour, must
be passed with this indication.
_Contrast of Colours._
581. This principle, regarded generally, is included in the preceding,
since a difference in colour will render plants distinct which have
numerous analogies; but viewed specially, it produces among perfectly
dissimilar plants, effects which can only be obtained from colour;
and it is then that the principle of contrast is to be taken into
consideration.
In the application of the law of contrast to the arrangement of
flowers, we must never forget the difference between an assemblage
forming a line of plants, and an assemblage of flowers belonging to
plants of various heights, standing on different planes, so as to
produce the effect of a picture. I have alluded to this before (551);
for in a linear arrangement, for example, there is nothing more
unpleasant than the blue flowers of the German iris, associated with
the light violet of the lilac. But if we add to this association large
tufts of _alyssum saxatile_, Persian iris, and red tulips, so that the
golden yellow, white, and deep red, appear on one plane, and the deep
blue and the light violets on a more distant plane, we shall obtain
general effects of a most agreeable kind.
_Repetition._
582. When a line of plants exhibits the repetition of the same
species, and presents them regularly at the same intervals, an
effect is produced which, although very agreeable, is but little
appreciated—for it is very rarely met with in gardens. It is especially
the repetition of a similar arrangement of colours that is agreeable,
and which recommends the observance of this principle.
Repetition of the same arrangement of plants of various kinds, and of
course distinct to view, contributes greatly to prolong the extent
either of an alley or of a mass; a similar general effect repeated
a certain number of times becomes a standard, by means of which
the eye judges the space to be greater than if it were bordered
with individuals of the same species or variety equal in number
to the former. This effect is carried to the utmost extent when
the arrangement is composed of a certain number of tufts—five, for
instance—placed between two trees, which rise above them, but not too
high.
Repetition and distinctness of view concur in producing an agreeable
effect.
583. _Variety_, like every other principle, should never be carried too
far, and it is a great mistake to suppose that plantations made without
design, and which thus it might seem must be extremely diversified,
produce in this respect more effect than those which have been arranged
according to the principles of distinct view, contrast, and repetition.
Whenever objects must have a certain superficial extent, we gain
nothing by multiplying varieties of them. Thus, the repetition of an
arrangement of three colours, including white or black, will generally
be more agreeable than that of an arrangement of five colours.
Diversity of colours, pushed to the extreme, can only be permitted
in a continuous border, or a bed of different varieties of the same
species of flowers, as a border of larkspur, china aster, or anemones;
but, for flowering shrubs, we shall gain everything by not indefinitely
multiplying their colour, in a view which the eye can embrace at once.
And as with colours so with forms, which must not be too diversified in
the same arrangement.
_Symmetry._
584. We should deceive ourselves very much if we supposed the principle
of symmetry to be excluded from landscape gardening. But, in order
to perceive it or to put in practice, it is necessary to distinguish
the _symmetry of similar parts_, and _the symmetry of parts merely
corresponding_.
The former is that of two equal parts of one whole, as the two halves
of a circle, of a square, of an equilateral or isosoceles triangle,
&c.; while
_Symmetry of parts merely corresponding_, is that of two parts of the
same whole, which, without being equal, have the same form, or nearly
so; such are the two triangular parts of the Mass 3, Plate 18.
Or, that of two separate parts, more or less analogous in form, extent,
or nature, which have a correspondence of position relatively to an
intermediate object.
Or, that of two masses or groups of trees, or of a mass and a group of
trees which are presented, the one to the left, the other to the right.
_General Harmony._
585. In the general composition of a large landscape garden, it is not
enough to have satisfied all these principles, if the different masses
subordinated together, which we shall now regard as individuals, as
well as the various constructions of wood or of stone, are not combined
by some harmonious relation suitable for satisfying the principles of
_general_ harmony. The isolated or subordinated masses near or distant
from each other must be allied together by the same vegetable form or
by analogous forms, or by the same arrangements of several species; or,
lastly, by the same colours of flowers or of foliage. By the aid of
similar means, we ally the house and other buildings to the different
parts of the garden. When the neighbouring masses, especially those
formed near buildings, are not sufficiently allied together, or the
perspective of their concentric or median lines is not satisfactory,
we have recourse to a different line of vegetation, which cuts the
first and thus adds to the general harmony. Thus, as I have so strongly
insisted, when we decide to plant evergreens in a landscape garden,
they must be distributed throughout the composition.
SIXTH DIVISION.
INTERVENTION OF THE PRECEDING PRINCIPLES IN THE JUDGMENT
OF COLOURED OBJECTS, RELATIVELY TO THEIR COLOURS,
CONSIDERED INDIVIDUALLY, AND TO THE MANNER IN WHICH
THEY ARE ASSOCIATED.
586. In this division my object is purely critical. The positive
conclusions at which I have arrived upon certain assortments of
colours, so as to derive the best result from them under given
circumstances, become rules, adapted to guide those who would judge
a work of art in which such assortments occur. The generalizations
established in the preceding chapters, with the object of aiding the
numerous artists who use colours, now critically considered, will serve
as the basis of a conscientious and sound judgment upon the merit of
any work in which these generalizations are concerned. They will, I
trust, possess the double advantage of all the rules involved in the
nature of such things; they guide the workman who does not disdain
them, and they direct the critic who judges the work of which these
rules govern some element. We cannot then refuse to recognise the
utility of such an examination, both for artists and for the public,
to whom they are more particularly addressed, in the hope that a clear
demonstration of what is laudable or censurable will form such a public
taste as, by preventing a reliance on first impressions, will lead to a
sound judgment; and that we may not henceforth strive to enlist public
suffrages by falling into unsuitable singularity, or by wandering from
the truth.
587. If there exists a subject worthy of being studied critically on
account of the frequency and variety of the cases it presents, it is
unquestionably this; for whether we contemplate the works of nature
or of art, their varied colours form one of the finest spectacles man
is permitted to enjoy. Hence the desire of reproducing the coloured
images of objects which excite our admiration or interest, has produced
the art of painting. The imitation of the painter’s works has given
birth to tapestry, and carpets, and mosaics; while the necessity for
economically multiplying designs has led to ornamental printing. The
love of colour has also induced man to paint his dwelling and to dye
his garments and household decorations.
588. The sight of colours, so simple a thing for the greater part of
mankind, is, according to some philosophers, a phenomenon entirely
out of the domain of positive knowledge, inasmuch as they consider
that it varies with the organization, and even the imagination, of
individuals; consequently, they think that it cannot be inferred that,
because one man sees an object in a certain way, another will see it in
like manner under the same external circumstances. They believe that
no generalization, deduced from observation, can direct the artist
with certainty, either in the art of seeing his model or in faithfully
reproducing a coloured image of it: they also think that no useful
physiological generalization can arise from a profound study of the
modifications his organs experience from the sight of the colours that
bodies present to him.
I cannot admit that we ought to abstain from the study of a subject
because it presents variable phenomena.
All those who are engaged in the study of the positive sciences, should
inquire for some fact capable of illustrating the study of these
phenomena.
589. I entered upon this study, not having spontaneously chosen it, but
because it appeared to me indispensable before pretending to establish
a sound judgment on the beauty of the dyer’s colours. As soon as I felt
the necessity for this study, in my capacity of Director of the Dyeing
Department of the Royal Manufactories, my first care was to discover
whether I saw colours as the generality of persons see them. I was soon
perfectly convinced that I did, and not till then did I venture to make
my researches the subjects of public lectures. These have been repeated
before the students of the Polytechnic School. Certain questions
addressed to my auditors to satisfy me that they saw the things I put
before their eyes as I saw them myself, have, in the majority of cases,
always proved them to be so, and yet my demonstrations were given
in the reception-hall at the Gobelins,—a place ill adapted for the
exhibition of the phenomena of contrast to a large audience. Certain
observations by myself, tested by a great number of persons in my
laboratory, and afterwards publicly exhibited, form the subject of this
book; all who repeat my experiments will discover whether my opinion is
well-founded, or whether an opinion is correct which pretends that the
sight of colours is not capable of giving a general positive result.
Because some individuals have organs of sight so imperfect that they
cannot distinguish green from red, or blue from grey, &c., must we
write our treatises on optics without mentioning either red, green, or
blue, and cast away these colours from the palette? Assuredly human
nature is too limited to allow of our making such a sacrifice of our
common organization to the infirmity of an individual.
590. In order to comprehend clearly how experiment and observation,
after having disentangled the causes which exercise a determinate
influence upon the sight of colours, led me to adopt the opinion that
these phenomena are perfectly defined by the law of contrast and the
conclusions therefrom, doubtless it will suffice to consider how
1. Our former ignorance respecting the different states of the eye,
which, in seeing colours, give rise to the phenomena of simultaneous,
successive, and mixed contrasts.
And our former ignorance respecting the definite influence that the
direct or diffused light of the sun exercises, according to its
intensity, upon the colours of bodies, have led to the establishment of
an opinion contrary to my own;—that is to say, the opinion that _the
same colour appears so diversely to different persons, and even to the
same person, that nothing general or precise can be deduced from the
sight of coloured objects, with regard to their respective colours_.
2. To consider how the following have passively contributed to belief
in this opinion.
The limited number of ideas we have generally about the modifications
of coloured bodies, by their mutual mixtures; or in other terms, upon
the colours resulting from these mixtures.
The want of a precise language to convey the impressions we receive
from colours.
591. It is indisputable that if we are ignorant of the regularity with
which the eye passes successively through stages, the extremes and the
mean of which are very different, in viewing the colours which put the
organ into the condition of perceiving the phenomenon of one of the
three contrasts (77) we shall be led to consider the sight of colours
as a very variable phenomenon, _while the successive stages through
which the organ passes being once distinguished, the variations of the
phenomenon become perfectly definite_.
592. If we are ignorant of the law of simultaneous contrast, we shall
suppose that the same colour varies in tint according to the colour
with which it may be associated; and if we are ignorant that contrast
affects the tone as well as the colour, we cannot explain how two
similar colours (for instance, blue and yellow at the same depth of
tone) will appear redder by juxtaposition; while, if the blue is very
deep relatively to the yellow, it will appear black, rather than
violet, and the yellow will appear more green than orange. Finally, if
we are ignorant of the effect of the brightness which a complementary
can give to a dull colour, we cannot explain the great difference
there is between the effect that a red ground has upon imitative
gilt ornaments, and the effect of the same ground upon metallic gilt
ornaments (384).
593. Doubtless, also, if it be not known that in a complex object, the
eye can only see clearly at the same moment a small number of parts
and that the same part may appear to different eyes with different
modifications, according as it is seen juxtaposed with one or another
colour, as in the instance given (407).
594. We might know the regularity of the successive states of the eye
during the sight of coloured objects, and the law of simultaneous
contrast of colours, and yet, if we were ignorant of the influence of
various degrees of intensity of light in varying the colour of bodies
and in rendering the modifications of contrast more or less evident,
we should be led to believe in an indefinite variation in the aspect
of colours; but this variation is perfectly defined by the following
remarks:—
If the direct light of the sun or diffused daylight illuminates a
monochromous body unequally, the part most vividly lighted is modified
as it would be if it received orange, and the modification appears the
stronger the greater the difference of light on the parts (280): thus
the more intense the light, the more it gilds the body it illumines;
it is thus always easy to foresee the effects of it when we know the
result of the mixture of orange with various colours.
595. The phenomena of simultaneous contrast being less evident in a
very vivid light than in a weaker light (63), it follows that if we
disregarded the difference in the effects, we should greatly deceive
ourselves in our appreciation of the phenomena of contrast of similar
colours. Simultaneous contrast, which tends to make the differently
coloured parts appear as distinct as possible, is carried to a maximum,
precisely when the light being feeble, the eye requires the greatest
contrast of colour to perceive distinctly the various parts upon which
it is fixed.
596. We may perceive the modifications presented by bodies when
lighted, and yet we may experience much difficulty in accounting for
them, for want of knowing how to represent exactly the modifications
which the coloured materials experience, in their colour, according
as they receive light or white, shade or black; or according as they
are mixed together. It is partly to make these modifications clearly
known that I have designed the _chromatic hemisphere_ (134, _et seq._).
In describing it, I have attached less importance to its material
realization than to the rational principle upon which it depends. On
looking at the lines of this diagram independently of all colouring, we
understand how any colour is reduced by white, deepened by black, and
broken by black and white, and how, by mixture with a pure colour, it
produces hues. I shall add subsequently some new considerations on the
gradations of colour made with coloured materials.
My object would not have been attained had not the chromatic
hemisphere given me the means of representing, by a simple
nomenclature, the modifications which a colour undergoes by the
addition of white and black, modifications which produce the _tones
of its scale_; those which it receives from black yielding _broken
scales_, and those resulting from the addition of a pure colour,
produce scales which are _hues_ of the first colour.
597. Finally, to the definitions which I have given of the words
_tone, scale, hue, broken colours_, I must add the distinction of the
associations of colours into _harmonies of analogy_, and _harmonies of
contrast_ (172).
I am convinced that all those who accept the small number of
definitions I have given, will find much advantage from them in
accounting for the effects of colours, and in expressing their views to
others. By their aid it will be easy to notice relations which might
have escaped observation, or which, in the absence of precise language,
could not have been clearly communicated.
598. It would be ignoring a fact to attribute the opinion I have
combated, exclusively to ignorance of what I have just recapitulated,
or to believe, that in order to establish the contrary opinion, which I
maintain, it is sufficient to dissipate this ignorance.
But I am satisfied with pointing out the error, without making the
least pretension to overthrow it, otherwise than by stating what I
believe to be the truth.
599. The study of the positive facts just reviewed, leads to a
certainty in the view of colours which all may acquire who devote
themselves to it. They will see how fruitful it is in applications,
and that it is independent of every hypothesis, and that it would be
impossible to obtain this result, if there did not commonly exist
among men an average organization of the eye, which permits them to
perceive in similar circumstances the same modifications, but with
varied intensity of perception.
600. Having noticed the series of principles upon which my book
is founded, I next consider these facts under the three following
relations:—
1. The certainty they give in judging of the colour of an object.
2. The certainty they give to our judgment in the various arts which
address the eye by coloured materials.
3. The union they establish between the principles common to many arts,
which speak to the eye as it were various languages, in employing
different materials.
4. The influence that the disposition of the spectator’s mind may have
upon his judgment of a work of art.
SECTION I.
ON THE CONNEXION OF THE LAW OF SIMULTANEOUS CONTRAST
OF COLOURS WITH THE JUDGMENT WE FORM UPON ALL
COLOURED BODIES, UNDER THE RELATIONS OF THE
RESPECTIVE BEAUTY OF PURITY OF THEIR COLOURS, AND
OF THE EQUALITY OF THE DISTANCE OF THEIR TONES IF
THESE BODIES BELONG TO THE SAME SCALE.
601. The most simple and general conclusion deduced from the law of
contrast is certainly that which concerns the judgment we exercise,
either by taste or profession, on a colour, whether presented by a
coloured paper, a textile fabric, a glass, an enamel, a picture,
&c. All those who have some experience in the matter consider one
condition as essential to be fulfilled to avoid error, namely, that
the colour concerning which we have to determine be compared with
another colour analogous to it. _If we are ignorant of the law of
contrast, the result of this comparison is not exact, whenever the
objects compared are not identical._ I now proceed to demonstrate this
by examples adapted to the application of the principle spoken of.
Further, a more remote consequence of the law affords the means of
knowing whether the tones of a scale of wool or silk are equidistant.
ON THE COMPARISON OF TWO SAMPLES OF THE SAME COLOUR.
602. When we have to do with two patterns of any kind, which are
related to the same colour, if there is no identity between the
tints, we must take into account the contrast which exaggerates the
difference; thus if the one be greenish-blue, it will make the other
appear less green, or more indigo, or even more violet, than it really
is; and, reciprocally, the first will appear greener than when viewed
alone; the same with the reds, if one is more orange than the other,
the latter will appear more purple, and the former more orange, than
they really are.
INFLUENCE OF A SURROUNDING COLOUR UPON ONE COLOUR WHEN COMPARED WITH
ANOTHER.
603. Since the contrast of colours which are not analogous, tends to
improve and purify them, it is evident that whenever we would exercise
a correct judgment upon the beauty of colours, after comparing them
with the colours of objects analogous to the first, we must take into
account the kind of work, and the manner in which they are juxtaposed,
if the objects compared are not the exact representation of the same
subject. For, other things being equal, the same colours not blended,
and which are not sufficiently analogous to injure each other, will
certainly appear more beautiful disposed in contiguous bands than if
each were seen on a ground which consisted of it exclusively, and which
consequently produced only a single impression of colour upon the eye.
Colours forming palms like those of Oriental shawls or patterns, as
of Turkey carpets, produce a much greater effect than if they were
shaded or blended, as they generally are in paintings. Consequently,
for example, in comparing a stripe of crimson in a Cashmere shawl of
various stripes with the crimson of a French shawl, we must destroy
the contrast of colours by placing around it a piece of grey or white
paper, cut out so as to allow this stripe only to be seen, when the
parts compared will be submitted to the same influence from the
surrounding objects.
604. So, when we compare the colours of old tapestries, pictures,
&c., with colours recently dyed or painted. Time acts very unequally,
not only on the different kinds of colours of dyed stuffs, but also
upon the tones of the same scale. Thus, the deep tones of certain
scales,—those of violet, for example,—fade, while the deep blues of the
indigo-blue scale, the deep tones of madder, kermes, cochineal, are
permanent. Also, the light tones of the same scale fade during a time
which has no sensible effect in altering its deep tones. Whence the
colours which have most resisted the destructive action of time, being
more isolated from each other, as well as deeper and less blended,
appear to have more brilliancy. There are many pigments, as most of the
lakes, which are in the same condition as compared with ultramarine,
the oxides of iron, the blacks, &c.
_On the Effect of Contrast upon the Browns and the
Lights of most of the Scales of Wool and Silk
employed in Tapestry and Carpets._
605. When we look at the whole effect of tones of most of the scales
made use of in these manufactures, the phenomenon of contrast
exaggerates the difference of colour observed between the extreme
and the middle tones of the same scale. For instance, in the scale
of indigo-blue, applied to silk, the lights are greenish, the browns
are tinged violet, while the intermediate tones are blue; but the
difference of green and violet at the two extremes is augmented by the
effect of contrast. So in the scale of yellow, the light tones appear
greener, and the browns redder, than they really are.
606. In speaking of a difference existing between the deep and
the light tones of most of the scales of wool and silk, which is
exaggerated by contrast, I will add some remarks relative to the
gradations the dyer produces. This gradation is very seldom perfect,
as the light tones are exactly represented to the eye by the colour
taken at its normal tone, reduced by white. Thus, a compound which at
the normal tone is pure yellow, or slightly tinged with orange, will,
by reduction, produce light tones of a greenish-yellow. An orange-red
compound upon silk or wool will yield light tones tinged violet-red. To
obtain a correct gradation, we must in most cases add to the weak tones
a new coloured material, adapted to neutralize or weaken the defect
spoken of.
607. Many of the colouring matters used in painting produce the same
result when reduced with white. I do not speak here of changes which
may be the effect of chemical action; I allude only to those which
result from an attenuation of the coloured material. For example, the
normal tone of carmine is a much purer red than its light tones, which
are evidently tinged with lilac. Ultramarine, so beautiful in itself,
yields light tones which, with respect to the blue rays, appear to
reflect more violet rays than the normal tone. In consequence of these
facts, it is difficult to colour the chromatic diagram, because many
trials must be made to obtain the modification of colour which yields
the normal tone of a scale, by the addition of such coloured materials
as will render the gradation correct.
MEANS AFFORDED BY CONTRAST FOR ASCERTAINING WHETHER THE
TONES OF A SCALE OF COLOUR ARE EQUIDISTANT.
608. Contrast, which augments the difference existing between two tones
of the same colour, affords the means of judging with greater certainty
than could otherwise be done, whether the numerous tones of a scale
are at the same distance from each other. Thus, if the tone 2, placed
between 3 and 4, appears equal to the tone 1, it follows, if the tones
are equidistant, that 3 placed between 4 and 5 will appear equal to
2; that 4 put between 5 and 6 will appear equal to 3, and so with the
others. If the tones are too near together to yield this result, we
must move them successively, not one degree, but two or three. This
means of judging of the equality of distance that separates the tones
of the same scale, is based upon the fact, that _it is easier to
establish an equality than to estimate a difference between patterns of
the same colour._
OF THE BINARY ASSOCIATIONS OF COLOURS, CRITICALLY CONSIDERED.
609. In order to sum up in few words the generalities which must serve
as the bases of our judgment, not on one colour compared with another
of the same sort, but on the associations of two colours, which any
object whatever presents to our eyes, we must consider combinations
both of complementary and non-complementary colours.
1st. _Combination of Complementary Colours._
_This is the only association where the colours mutually improve,
strengthen, and purify each other without leaving their respective
scales._
This case is so advantageous to the associated colours, that the
combination is also satisfactory when the colours are not absolutely
complementary; also when they are made dull with grey. I therefore
prescribe the complementary association when we have recourse to the
harmonies of contrast in painting, in tapestry, in the arrangement
of coloured glass windows, in the assortment of hangings with their
borders, in that of stuffs for furniture and clothing; and, lastly, in
the arrangement of flowers in our gardens.
2nd. _Combination of Non-complementary Colours._
_The product of this combination is distinguished from the preceding
in this,—the complementary of the juxtaposed colours, differing from
the other colour to which it is added, there must necessarily be a
modification of hue in the two colours, as well as a modification of
tone, if they are not taken at the same height._
610. Juxtaposed non-complementary colours can _certainly_ give rise to
three different results:—
1. They may improve each other.
2. The one may be improved, the other may lose
some of its beauty.
3. They may injure each other.
The greater the difference between the colours, the more favourable
will the juxtaposition be to their mutual contrast; consequently, the
more analogy they will have, and the more chances there are that the
juxtaposition may injure their beauty.
1. _Two non-complementary colours improve each other by juxtaposition._
611. Yellow and blue are so dissimilar, that their contrast is always
sufficiently great for their juxtaposition to be favourable, although
the juxtaposed colours belong to different scales of yellow and blue.
2. _One colour juxtaposed with another which is not its complementary,
may be improved, while the latter may be injured._
A blue, which is improved by a yellow, being placed beside a violet
(blue rather than red) may lose some of its beauty, by becoming
greenish; while the orange it adds to the violet, neutralising its
excess of blue, rather improves than injures it.
3. _Two non-complementary colours may injure each other._
A violet and a blue are reciprocally injurious, when the first greens
the second, and the latter neutralizes sufficient of the blue in the
violet to make it appear _faded_.
It might also happen that although the colours juxtaposed be modified,
neither gaining nor losing in beauty, that the one may gain without the
other losing; lastly, that the one may neither gain nor lose, while the
other loses.
612. _In the association of two colours of equal tone, the depth of the
tone may have some influence on the beauty of the association._
For example, a deep indigo-blue and an equally deep red, gain by
juxtaposition; the first, by losing some violet, will become a pure
blue, the second, in acquiring orange, will become brighter. If we take
light tones of the same scales, it may happen that the blue will become
too green to be good as a blue, and that the red, acquiring orange,
will be too yellow to be a pure red.
613. _In the association of two coloured objects of tones very distant
from each other, belonging to the same scale, or to scales more or
less allied, the contrast of tone may have a favourable influence upon
the beauty of the light tone_; because, in fact, if the latter is not
a pure colour, its juxtaposition with the deep tone, upon the whole
brightening it, will purify the colour from whatever grey it may have.
614. It is very necessary for the correction of our judgment of these
principles on the binary associations of colours, not to lose sight
of all that precedes, concerning colours that are “dead,” or without
gloss, and that their combination be considered independently of the
form of the objects presenting them, for the twofold reason, that
_the glossiness of the coloured surfaces, and the form of the bodies
which these surfaces bound_, may modify the effect of two associated
colours; consequently, the analysis I have made of the optical effects
of colours would be incomplete without speaking of the possible
influence of these causes.
_Influence of Gloss taken into consideration in the Effect of Contrast
of two Colours._
615. The optical product of the juxtaposition of contrasted flat
colours is composed of two effects:—1. The effect which arises from
each of the juxtaposed colours, by receiving the complementary of the
colour contiguous to it, is thus strengthened or tinged agreeably,
independently of any augmentation of gloss. 2. The effect arising from
gloss in the two juxtaposed colours. Here it may be remarked that
associations which I have not prescribed, such as red with violet, or
blue with violet, have a fine effect in the plumage of certain birds
and butterflies; for, in these natural associations, the effect arising
from the addition of the complementaries to each, which would injure
the _flat_ colours, is entirely insensible in surfaces which acquire
_metallic brilliancy_ from their organic structure. Finally, I shall
add, that it would be necessary, before raising the objection, to
demonstrate that the same red, associated with green, the same violet
associated with yellow, and the same blue associated with orange,
equally glossy, would be less effective than in natural assortments.
_Influence of Form taken into consideration in the Effect of Contrast
of two Colours._
616. Elegance of form, the arrangement of the parts, their symmetry,
the effects of light and shade, and the association of ideas which may
connect this form with an agreeable recollection, will prevent the
perception of the ill effect of two associated colours, even when not
glossy. Thus, for example, in flowers, combinations, which would not
produce a good effect upon two plain surfaces, are very beautiful. For
example, the flower of the sweet pea, which has the combination of red
and violet.
617. The critic must be directed by the considerations here summed up:—
1. The kind of association: the greater the difference
between the colours, the more they beautify each
other; and, the less difference there is, the more
they will tend to injure one another.
2. The equality in depth of tone.
3. The difference of tone, the one being deep, the
other light.
4. The glossiness of the surfaces which reflect the
colours to the eye.
5. The form of the coloured body.
OF THE COMPLEX ASSOCIATIONS OF COLOURS, REVIEWED CRITICALLY.
618. It is evident that the rules prescribed for judging of a colour,
and the associations of two colours, in an absolute manner, must serve
for judging as to the colours of an association, however complex it may
be. We shall consider the masses of colours which are upon the same
plane, the extent which each occupies, and the harmony which unites
them. On submitting to a similar examination the colours on the other
planes, we can then look at the colours of the latter. The critic who
is well satisfied with seeing clearly at the same time, only a very
small number of the objects that a picture presents to him and who is
also accustomed to examine a coloured composition in this manner, is in
the position of a person who reads in succession writing on the same
side of a sheet of paper; one series of lines crossing the first at
right angles, and the third composed of lines running diagonally across
the paper. The critic must review the _ensemble_ of the picture as to
its colours, and then, being attentive to their particular and general
associations, he will be in a condition to enter into the thought of
the painter, and to see whether he has employed the most suitable
harmonies to express it. Although it is easier to form with opposed
colours than with neighbouring colours binary assortments favourable to
the associated colours, yet, when a great number of pure and brilliant
colours are employed, it is more difficult to harmonize them than if we
produced the effect with a small number of colours, which would involve
only the harmony of analogy, or that of scale, or of hue.
619. Although harmony of contrast most favourably causes two colours to
impart value to each other, yet, when we desire to derive the greatest
advantage from a union of numerous brilliant colours in any work—a
picture, for instance,—this diversity presents some difficulties in
the general harmony, which a smaller number of colours, and especially
of brilliant colours, would not present. It is, therefore, evident
that, if we compare two effective pictures, well adapted to be judged
under the relation of colour (other things being equal), the one which
presents more harmony of contrast of colour will have the greater
merit, on account of the difficulty overcome in the employment of the
colours; but it must not be inferred that the painter of the other
picture is not a colourist; for the art of colouring is composed of
several elements, and the talent of opposing pure colours to each
other, is only one of these elements.
620. Let us now consider the relations existing between the subjects
of painting and the harmonies they admit of. We know that the more
pictures address the eye by numerous contrasts, the more difficulty
the spectator experiences in fixing his attention; especially if the
colours are pure, varied, and skilfully distributed upon canvas. It
results, therefore, from this, that these colours, being much more
vivid than the flesh tints, the painter who wishes that his idea should
be found in the expression of his figures, and who, deeming this part
of his art superior to the rest, is convinced that the eyes of most
people ignorant of the art of seeing, being carried away by their
first impressions, are incapable of returning from these to receive
others;—the painter, I say, who knows all this, and is conscious of
his power, will be restrained in the use of harmonies of contrast,
and prodigal of the harmonies of analogy. But he will not derive
advantage from these harmonies, especially in a subject covering a vast
space filled with human figures, as the “Last Judgment” of M. Angelo,
unless he avoids confusion by correct drawing, by a distribution of
the figures in groups, skilfully distributed over the canvas, so that
they may cover it almost equally, yet without cold symmetry. The eye
of the spectator must embrace all these groups easily, and seize
the respective positions; while in looking into one of them he must
discover a variety which will invite his attention to other groups.
621. The painter who fails to gain the effects of the physiognomies,
&c., in having recourse to the harmonies of analogy, will not have the
same advantage in fixing general attention, as the painter who employs
the harmonies of contrast.
The harmonies of contrast of colour are especially applicable to scenes
(illumined by a too vivid light), representing fêtes, ceremonies, &c.,
which may be sober without being mournful; they are also applicable to
large subjects, comprising groups of men animated with various passions.
Hence, the critic must never compare the colouring of two large
compositions without taking into account the difference which may exist
in the suitableness of each subject with one kind of harmony rather
than with the other.
_Painting in Flat Tints._
622. To apply painting in flat tints to historical, portrait, and
landscape painting—in a word, to the imitation of any object of which
we can produce a faithful representation, would be going back to the
infancy of art; but to abandon it to practise exclusively the system
of painting where all the modifications of light are reproduced
according to the rules of chiaro-’scuro, would be an error which can be
demonstrated beyond question.
1. That, in every instance in which a picture must be placed at such
a distance from the spectator that the details of chiaro-’scuro will
not be visible, we must have recourse to flat tints,—not neglecting,
however, to use masses of light and shade adapted to give relief, if it
is considered suitable.
2. That, in every case where the picture is necessary to the
decoration of an object, flat tints are preferable to chiaro-’scuro,
because the use of the object almost always prevents the picture which
ornaments it from being clearly seen under all circumstances. Thus
painting in flat tints is preferable to the other—
For ornamenting boxes, tables, screens, which, from the
various positions their use requires, only allow to
be seen a part of the pictures which decorate them;
or, if the paintings are entirely visible, as those
of a screen, they will be presented relatively to
the daylight in a manner quite different from each
other, on account of these various positions of
their parts;
For decorating curved surfaces, as those of vases, the
surfaces of which are never plain.
3. That the qualities peculiar to painting in flat tints are:—
Purity of outline;
Regularity and elegance of forms;
Beautiful colours properly assorted.
Whenever suitable, the most vivid and the most contrasting colours may
be advantageously employed.
Simplicity in the whole, so as to render clear and distinct view easy.
OF THE ARTS WHICH ADDRESS THE EYE BY EMPLOYING
COLOURED MATERIALS OF A DEFINITE SIZE, CONSIDERED
RELATIVELY TO THE PHYSICAL CONDITION OF THESE
MATERIALS, AND TO THE PECULIARITY OF THE ART IN
WHICH THEY ARE EMPLOYED.
623. If we examine paintings with sufficiently powerful magnifiers, we
shall see that the coloured material, far from being continuous in all
its parts, is in separate particles, and consequently, if the naked eye
does not perceive them separately, it is because they are too small.
In fact, the coloured threads (elements of tapestries and carpets),
and rigid coloured prisms (elements of mosaics), which are visible
to the naked eye, may be reduced to such a state of division, and so
mixed and combined, that at the distance from which we view them united
they appear as a uniform coloured surface—as if painted; whence the
possibility of making, with these elements, works which correspond to
those painted in chiaro-’scuro; but it will be easier to execute such
as correspond with flat tints.
TAPESTRIES, CARPETS, MOSAICS, AND COLOURED GLASS
WINDOWS, CORRESPONDING TO PAINTINGS IN CHIARO-’SCURO.
_Tapestries with Human Figures._
624. Tapestries with human figures derive their origin from the taste
of mankind for painting. They had adorned churches, palaces, and
castles, before they appeared in simple dwellings.
From the filamentous condition of the elements constituting them,
their size, the direction the weaver gives them in twisting the weft
upon each thread of the warp, results a coloured image presenting
two systems of lines cutting each other at right angles. From this
structure it results, that a tapestry will not produce the effect of a
painting (the surface of which is entirely uniform), if the spectator
does not view it from a point sufficiently distant; so that, these
lines ceasing to be visible, the delineation which separates each
part of the design from the contiguous parts, will appear like the
delineations of a painting, as much so as the indentations of the
outlines which are oblique to the weft will permit. Hence _the objects
represented by it must be large, of various colours, forming harmonies
of contrast rather than harmonies of analogy_.
625. Every model which does not fulfil the previous conditions is bad,
and as, in pictures which have not been painted with the intention of
being reproduced in tapestry, it is difficult to meet with the union
of pure outline with harmonies of colours sufficiently numerous and
contrasted, it follows that what would be very advantageous to the art,
is the execution of pictures intended to serve exclusively as models,
painted broadly, so as to resemble, in some degree, painting in flat
tints.
The weaver not having, at least at present, models painted on this
system, has to make, not only, as we say, _a translation_, but also
_a free and not a literal translation_, of the model; and it is this,
in my opinion, which distinguishes the artist-weaver from the mere
_workman_. Far from contending, then, with painting, the weaver, on the
contrary, must study the circumstances in which he should yield in the
struggle, so that he may avoid the difficulties with the means at his
disposal; and when, especially, he must deviate from his model.
_Tapestries for Furniture._
626. The preceding consideration respecting the size of objects that
figured tapestries should reproduce, is not applicable to tapestry for
furniture, seeing that the threads of the warp produce lines which, far
from being disagreeable, are often imitated by the paperstainer.
627. These fabrics being intended for chairs, couches, curtains,
screens, &c., the painter charged with composing designs for this class
of works, must never forget that tapestries may occupy dark places,
where they are imperfectly and often indistinctly seen; consequently
he must select simple and elegant forms, in harmony of colour with the
tapestry, &c., in the apartment. These models, even more than those for
tapestries with human figures, must assimilate with painting in flat
tints.
From among the facts I could quote to support this opinion, I shall
select the following. There was a deep rose-red curtain, the centre
representing a large bouquet of flowers of various colours, framed, as
it were, in a garland of white roses. The artist had painted the model
under the idea of executing this garland with silver thread; but this
metal being objectionable, on account of its tarnishing by various
exhalations, preference was given to white and grey silk, imitating
the tones yielded by a silver object in relief. An experiment showed
that it could not be attained by these means, because the contrast of
the ground made all the half-tints appear _green-grey_, and these in
their turn made the lights appear rusty-pink, in consequence of the
greenish colour of their contrast. This annoyance being communicated
to me, I advised M. Deyrolle, in reproducing the model, to make use
of only three light tones of the rose scale in silk, and a white
linen thread. By this means I expected that the complementary of the
ground, neutralizing the rose, would produce a greyish half-tint, well
adapted to set off the white. The result was such as I had foreseen. A
second copy, made with a mixture of the light tones of the pure rose
scale, slightly broken, gave an image less white, less _silvery_ than
the preceding; or, in other terms, appearing a little greenish when
compared with the first, and more harmonious. It resembled the effect
obtained with rose-red under lace or tulle, which permits little of the
ground to be seen. This example indicates the means of executing white
designs upon any kind of ground.
_Savonnerie Carpets._
628. Carpets are larger than the tapestries for hangings; on the other
hand, being liable from their position to be soiled by the feet, and
to receive furniture on some part, they are in a less favourable
condition than tapestries for being distinctly seen. This, then, is one
reason why we should choose models, of design and colour adapted to
the circumstances necessitated by custom, and in harmony with what is
around.
_Mosaics._
629. Mosaics being composed of minute prisms, and of materials
susceptible of polish, we can rigorously copy very small objects,
and, consequently, approach much nearer to painting in chiaro-’scuro
than by employing threads. But to arrive at this result, without
being unfaithful to the peculiarity of the art, the materials must be
sufficiently solid, and joined together so intimately as to resist
the agencies which would destroy a painting; for if this end be not
attained, we cannot see the use of copying a picture in mosaic. So that
to justify the production of such works, we must make sure that, in the
situations in which they are placed, they will resist the agents which
would destroy the works of the painter.
_Windows of Coloured Glass._
630. A work executed in small prisms of transparent coloured glass, in
imitation of painting in chiaro-’scuro, would be a true transparent
mosaic. I do not know that such an imitation has ever been executed.
All the coloured glass windows which I have spoken of as decorations of
Gothic churches, are composed exclusively of small pieces of glass of
uniform colour, united by strips of lead or of iron; or altogether of
these small pieces of glass, and of glass upon which we have applied
with a pencil materials which afterwards have been vitrified: we can
only entertain the question of the latter in this article.
We may propose two different objects in the production of these
windows: either the coloured pieces are altogether secondary in the
work, that is to say, occupying a much smaller extent of surface than
the others, they do not attain to the perfection of painting,—such
is the case with the greater part of the windows of large Gothic
churches,—or else these pieces are the principal parts, which,
predominating over the others, we attach great importance to the design
and to the gradation of tints; such are several windows executed at the
Royal Manufactory at Sèvres. The more such works resemble the preceding
windows by the effect of their variety, brilliancy, and apposition of
colours, the more they attain the object they must essentially fulfil.
_Tapestries, Carpets, Mosaics, and Coloured Glass
Windows, corresponding to Painting in Flat
Tints.—Tapestries with Human Figures._
631. Although I have advised for tapestry models executed on the system
of painting in chiaro-’scuro to resemble painting in flat tints, yet I
shall not recommend taking the models entirely according to this latter
system.
_Tapestry for Furniture._
It is quite otherwise with patterns of tapestry for furniture. I
believe that we can make some very beautiful works by copying patterns
in flat tints; and that, in the decoration of large apartments, we may
obtain an excellent effect from this kind of tapestry. I believe, also,
that it would be more suitable for forming part of a general system of
decoration, than the kind of tapestry of which I have spoken in the
preceding article. Moreover, it is more favourable than the latter to
the splendour of the colours.
The preceding observations are entirely applicable to the production of
carpets.
_Mosaics._
632. Mosaics being composed of more rigid and coherent coloured
materials than are employed in the arts which combine coloured
materials, I believe that it will be requisite, in judging works of
this sort, to consider the power of the materials to resist the effects
of friction, water, and atmospheric agents as essential qualities; the
colour will follow.
_Windows of Coloured Glass._
633. Considering coloured glass windows under the threefold relation
of transmitting light into large Gothic churches, of their accordance
with the decoration of objects consecrated to the rites of the Church,
of transmitting a coloured light entirely in unison with the religious
sentiments, I prescribe a uniform colour for rose windows and straight
windows with circular or pointed tops, the smallest number of colours
in the glass, glass of uniform colour predominating over the other to
produce the best possible effects of colour.
OF THE DISPOSITION OF THE MIND OF THE SPECTATOR IN
RESPECT TO THE JUDGMENT HE FORMS OF AN OBJECT OF
ART WHICH ATTRACTS HIS EYE.
634. It is not enough to have indicated the rules to be followed
and the principles to be observed in the production of effects, and
the judgment of them in relation to art; we must also speak of the
disposition of the spectator for receiving, more or less intensely,
the impression of those effects. To take no notice of this disposition
would be to display ignorance of human nature, and of the utility
of the examination, which should be impartially pursued also by the
critic, who may exaggerate blame as well as praise.
Without examining the influence that the passions exercise in opinions
formed on works of art, I will say a few words upon a predisposition
which may be remarked in a portion of the public, at least at certain
epochs, and which has its source in man’s vanity; then I will point
out the part which the association of ideas performs in our adoption
of opinions.
635. When a body of painters, called a _school_, has produced some
_chefs-d’œuvre_, it frequently happens that a great number of mediocre
works, executed under the pretence of continuing them, far from being
favourable, are, with a portion of the public, injurious to them, on
account of the monotony resulting from an imitation, more or less
servile, of their form, colour, and even of their subjects. The
public, under these circumstances, are ready to applaud any innovation
that will excite emotions which it has not for some time found in
contemporary painting, and it is then that amongst the public, voices
are raised against great works, which have nothing in common with the
tame imitations of them produced by mediocrity. Indeed, there comes
an epoch when innovation, losing the only advantage it possessed of
presenting to the eye images differing from those which it had been a
long time accustomed to see, the public returns to the _chefs-d’œuvre_,
and forgets all the feeble works composed in imitation of them by
feeble pupils; and we will add that, if works _professing to be of the
new school_, and endowed with undeniable merit, should exist, they
would, in the estimation of connoisseurs, take the places they ought to
occupy; whilst those which had arrested attention by innovation only,
would disappear for ever.
636. Finally, to notice the effect which associations of ideas have
on our opinions. For example, he who arrives at Versailles, full of
admiration for the age of Louis XIV., repeoples the gardens with all
the great men that have frequented them, and his thoughts recurring to
the _fêtes_ given by an elegant and polished court, the admiration
of Europe, he will judge the work of Lenôtre more favourably than he
who, without being hostile to the _grand siècle_, will see nothing but
a garden subordinate to a palace. And the Christian who associates in
his mind the architectural form, the brilliancy of the coloured glass,
and the religious ceremonies of the Gothic Church, all which he has
venerated from his childhood, will be in a disposition to prefer the
cathedral of Cologne to that of St. Peter’s at Rome; while the latter
would be associated with the profoundest veneration in the mind of a
Christian of Rome.
ON THE COLOURS OF MILITARY UNIFORMS.
The following section, in which are described the advantages of
contrast with regard to the heightening and purifying of the colour of
cloths for dress, properly belongs to the chapters on clothing, pp.
165, &c. But, as in the present day, the colours of men’s ordinary
dress are not usually very various or strongly contrasted, this portion
of the work has a more special application to military uniforms; the
choice of colours being regulated by the principles laid down and
exemplified throughout the work.
And, independently of economical considerations, the selection and
arrangement of colours for military uniforms demand investigation as
to the prominence or obscurity resulting from their combination, as
well as to their æsthetical effect.
_Of Uniforms composed of Complementary Colours._
By the law of contrast, red and green of similar tone in the same
uniform, will heighten each other. Let us suppose the augmentation of
colour by juxtaposition to equal one-tenth, its optical effect may be
stated as 1¹/₁₀. If a single coloured uniform, by one year’s wear lose
one-tenth of its colour, it is clear that the uniform of the above two
colours after being worn the same time will be as effective as the
single colour was originally.
Similar reasoning may be applied to all colours that are complementary,
as orange and blue, violet and greenish yellow, &c.; it is necessary
however to take into consideration their difference of tone.
Among colours which are not complementary, but which produce an
agreeable contrast, may be mentioned particularly blue and yellow, blue
and scarlet, green and yellow.
_Blue and Yellow._—These two colours harmonize well, the blue imparting
to the yellow an orange tint so much the deeper as the tone of the blue
is raised, while the yellow communicates to the blue a beautiful tint
of violet, or if the blue have any unpleasant greenish tint the yellow
will neutralize it. If, however, there be a great difference in the
tone of the two colours, contrast arising from this difference might
destroy the effect of the contrast of colours; so that a deep blue
might appear black or less violet, while the yellow, being enfeebled,
might seem greenish.
_Blue and Scarlet._—Deep blue and scarlet make a beautiful assortment,
the blue giving fire to the scarlet; the latter rendering the blue more
pure. There is no doubt that for effect a clearer blue and a fresh
orange would be preferable, if there be no white in the uniform.
_Green and Yellow._—This combination pleases by its gaiety, which suits
cavalry of the line. But the green should be yellower and clearer than
that which associates well with red; for the twofold reason that the
yellow, by neutralizing a portion of the yellow in the green, raises
the colour of the blue, and consequently lessens the brilliancy of the
green. Besides, this effect tends constantly to increase, as the yellow
of the green fades sooner than its blue. On the other hand, the yellow
cloth receiving red from the green, must not be taken too deep. This
case furnishes a good example of the economical advantage of contrasts
of colour generally; and it will be seen that good arrangements are
so much more difficult to make, as we depart from the contrast of
complementary colour.
_Of a single Colour and White._
We must refer to our preceding observations with respect to the
juxtaposition of white with colours (178) to reason upon these
combinations in uniforms. Colours are heightened, their complementaries
are added to the white, and effects are produced which are so much
the more perceptible as the colours are less raised in tone. If the
white is rusty the juxtaposition of blue will heighten its tint;
violet placed beside it will clear it, rendering it yellow; green
will increase its redness; yellow, and especially orange yellow, will
enfeeble it.
A white uniform has a good effect, not only when white pantaloons are
worn with a white coat, or with facings, collar, &c. of white to a
light coloured coat; but it has a good effect also with light trousers;
for instance, light blue and white coat, or collar and facings. White
trousers also do well with a uni-coloured coat.
_Bi-coloured Uniforms with White._
White produces a really good effect only with blue and orange, or blue
and red, being much inferior with green and yellow, or blue and yellow.
It is, however, very suitable for trousers, with any combination of
two agreeable colours in the coat. Nothing more clearly demonstrates
the advantage of blue or red with white, than the difference between
a uniform of deep red and blue without white, and the same with white
facings and buff-skin belt, &c.
_Bi-coloured Uniforms with Black._
Black enters advantageously into the composition of many uniforms of
two luminous colours, such as scarlet, orange, yellow, or bright green.
A scarlet coat with facings of greenish, rather than orange, yellow,
is perfectly adapted to black trousers. And black trousers may be
associated with sombre colours in the other parts of the dress for a
uniform which is not to be conspicuous or seen far off.
_Uniform of more than two Colours, not comprising Black and White._
Although three colours may be combined without producing a bad effect,
yet I give the preference to a bi-coloured dress with a mixture of
black and white. And I may remark here that if the sight of several
colours be more agreeable than of one only, there are disadvantages in
the union of many colours, especially if the colours are scattered on
different objects, or several parts of the same object.
_Uniform of several Shades of the same Colour._
Strictly speaking, it is possible to make an agreeable arrangement
of colours belonging to the same or neighbouring scales; yet the
difficulty of doing this, and the chances of success where there is
a contrast of colour, determine me to reject the former, at least
whenever brilliant colours are employed; but for sombre-coloured
arrangements they may be employed. In proof of this, I will mention the
bad effect of those French uniforms, in which there is a juxtaposition
of madder and of cochineal reds.
_Uniforms of two Tones of the same Scale._
This arrangement is not successful, for the lighter loses its colour,
and if the deep tone acquire it, it is scarcely ever advantageous.[3]
We will not therefore dwell upon it.
[3] It must be remembered that Chevreul speaks here of colours
exclusively as to their optical effect, and that the very objection
which he states to such an arrangement of colours, would be one of its
best recommendations to the advocates of an obscure, in preference to a
conspicuous uniform, as for Rifle Corps.
_Of a Mono-coloured Uniform._
If uniforms of contrasted colours are advantageous in an economical
point of view, if light coloured uniforms present advantages when
it is desirable to exhibit to the enemy the numbers who oppose him,
there are many cases in which the object is rather to conceal and
dissimulate their presence, than to display them. Well, for such
purposes, or if there is to be established a sort of hierarchy among
the various corps, by means of dress, we may have recourse to a single
and sombre-coloured uniform.
_The Influence of Superficial Extent upon Combinations of Colours in
Polychromous Uniforms._
I have already several times had occasion to speak of the influence
of extent in the proportions of colours even when well associated,
I must now add that it is not enough merely to make a satisfactory
combination, but that _to produce the best results from colours, they
must be employed in suitable respective proportions_.
When a colour is in feeble proportion to another, it must be spread as
equally as possible throughout the garment; as, for example, in the
uniform of the artillery, blue and scarlet; the latter, although far
less in superficial proportion, produces a very good effect, because it
is distributed throughout the uniform.
In a polychromous uniform, where one colour is found in several
garments, we must avoid confounding the colour with the superposed or
contiguous parts, so as to make one portion seem to belong to another.
For example, the French regiments wear red trousers, with a blue coat
turned up with the same red as the trousers. What happens? At a certain
distance the one seems a part of the other, and the blue coat-tails
seem far too narrow. It would be easy to remedy this defect by putting
blue with red braid for the portions of the coat turned up.
From the above, I admit the two following principles:—1. Whenever the
coat and trousers are of the same colour, and there is a second colour
put upon the coat in feeble proportion, it must be repeated on the
trousers, in a broad band, if the soldier wear boots, or in a braid,
if he wear shoes. 2. Whenever the trousers are not of the colour which
forms the basis of the coat, but of facings or distinctive parts, a
band or simple braid of the main colour of the coat will restore to the
trousers their distinctness.
* * * * *
These remarks show how desirable it is that the choice of colours, and
especially of those which are distinctive of regiments or corps, should
be the result of rules, established by their adaptation to the duties
to be rendered by the regiments wearing them.
INDEX.
A.
Aërial perspective, 83.
Analogy, harmonies of, 48.
Arabesques, varieties of, 164.
Architecture, Egyptian, employment of colours in, 138;
Greek, 139;
Gothic, 141;
application of colours to the interior of edifices, 143.
Art, judgment which a spectator forms as to an object of, 225;
associations of ideas connected therewith, 226.
Arts, which address the eye by employing coloured materials,
considered relatively, 218;
as coloured tapestries, carpets, mosaics, &c. 219 _et seq._;
coloured materials in flat tints, 224.
Association of ideas in judging of a work of art, 226.
Assortments of different colours, red, orange, yellow, green,
blue, and violet, with white, black, and grey, 49 _et seq._;
binary and tertiary, 50.
Author’s inquiries, history of the, 201.
B.
Beauvais, tapestries of, 102;
difference of from the Gobelins, 113.
Binary assortments of colours, 50, 59.
Binary combinations of primary colours with black, 54, 55.
Binary mixture of primary colours, 104.
Black, juxtaposition of coloured bodies with, 19;
assortments of different colours with, 54, 63 _et seq._;
binary combinations of colours complementary with, 55;
not complementary with, 56;
its association with luminous colours, 64;
inferior to white in certain assortments, 65.
Black and white, effects of their juxtaposition, 19.
Black draperies, 171.
Blue, complementary to orange, 16, 17, 18, 20;
placed beside greenish-blue, 25;
subtracted from green and from violet, 44;
its arrangement with a binary colour, 63.
Blue and black, effects of juxtaposition of, 20;
combinations of, 55.
Blue and grey, effects of juxtaposition of, 22.
Blue and orange, assortments of, with white, 51;
with black, 55;
with grey, 60.
Blue and violet, assortments of with white, 53;
with black, 58;
with grey, 62.
Blue and white, effects of their juxtaposition, 18.
Blue draperies, 170.
Blue light, modifications produced by, 71.
Bonnets, coloured, effect of upon the complexion, 171-4;
rose-coloured, 173;
green, yellow, violet, sky-blue, and orange, 174;
colours of, suited for fair-haired women, 175;
for black hair, 176.
Borders, coloured, of paper-hanging, 123;
flowered, 130, 131, 133.
Broken colours, 35.
Browns of wool and silk employed in tapestry and carpets,
effect of contrast on the, 208.
C.
Calico-printing, colours of, 118;
false judgment of the value of recipes for colouring
compositions, 119;
laws of contrast demonstrated in, 119, 120;
modifications which colours undergo on different
coloured grounds, 120.
Carmelite mixture, 108.
Carpets, of Savonnerie, 102, 222;
assortment of colours for, 161;
corresponding to paintings in chiaro-’scuro, 219, 222;
in flat tints, 224;
effect of contrast on the browns and lights of, 208.
Chairs, colour of, for harmonizing with the interior
of a house, 157.
Chemical nature of coloured bodies, 23.
Chiaro-’scuro, art of painting on the system of, 69;
various modifications of coloured light, 69, 70;
of white light, 75 _et seq._;
difficulties of, 85, 86;
paintings in, 219 _et seq._
Chromatic diagrams, 37;
their construction, 39;
their uses, 41 _et seq._
Chromatic hemisphere, principles of the, 203.
Churches, coloured glass windows in, 113 _et seq._, 147, 223;
general decoration of the interior of, 147;
white glass windows, 148.
Clothing, harmony and contrast of colours in, 165;
of men, _ib._;
of women, 167.
Coloured light, modifications of, 69 _et seq._
Colouring in painting, 82 _et seq._
(See PAINTING.)
COLOURS, HARMONY and
CONTRAST of, 1 _et seq._;
simultaneous contrast of, 4, 8, 9, 10;
effects of juxtaposition of, 11, 18, 21, 24;
primary and secondary, 25;
various kinds of contrast, 29;
definitions of terms, 34;
different distinctions of, 35;
chromatic diagrams, 37 _et seq._;
general harmony of, 46;
assortments of, 49 _et seq._;
modifications and effects of coloured light, 69 _et seq._;
in painting, 82;
in aërial perspective, 83;
harmony of local colours, 85;
the laws of contrast, 89, 95;
distribution of, 101;
of textile fabrics, 102, 105;
of glass windows, 113, 147;
colour printing of calicos, papers, &c., 118 _et seq._;
of clothing, 165;
application of to horticulture, plants, flowers,
&c., 179 _et seq._;
employment of in architecture, 138-143;
general principles of, 197;
sight of, 198, 200;
study of, 199;
contiguous, 205;
influence of one colour upon another, 206, 207;
binary associations of, critically considered, 210;
combination of, _ib._;
complex associations of, 214;
of tapestries, carpets, mosaics, &c. 219 _et seq._
Combinations of colours, 55.
Complementaries of colours, 18-23, 43, 45.
Complementary colours, mixture of, for threads, 105;
combination of, 210.
Complexions of women, colours of, in association with
the drapery, 169-171;
effect of head-dresses upon the, 171-4, 175, 176;
results of dress as applicable to portrait painting, 178;
dissimulating a tint of the, _ib._
Composition, predominance of a certain colour in, 100;
distribution of colours in, 101.
Compound colours, 26, 27, 28.
CONTRAST of COLOURS, 1, 4, 8;
law and formulæ of, 8, 9, 10, 29 _et seq._;
simultaneous and successive, 29, 87;
mixed, 29-33, 88;
law of, 34;
harmonies of, 48, 217;
lectures on, at the Gobelins, 80;
uses of the law of, 89 _et seq._;
principles of, 91;
results of, 93;
applications of the law of, 95 _et seq._;
principles of in connexion with the production of tapestry, 109;
law of demonstrated in calico-printing, 119-121;
advantages of with regard to clothing, 165;
harmonies of in gardening, 182, 183, 184;
in the arrangement of plants and flowers, 194;
effect of upon the browns and lights of wool and silk employed
in tapestry and carpets, 208.
Cornices for the interior of a house, 157.
D.
Daylight, modifications produced by the, 73.
Definitions of terms of art, 34.
Diagrams, chromatic, 36-46.
Distribution of colours in a composition, 100, 101.
Draperies of women as associated with complexion, 169-171;
rose-red, _ib._;
delicate green, yellow, violet, and blue, 170;
orange, white, and black, 171;
results applicable to portrait painting, 178.
Dress of women, assortment of colours in the, 177.
E.
Egyptians, various colours used by the, 138.
Eye, different states of the, in seeing colours, 200, 201, 202.
F.
Females, colours of their clothing, 167;
the dress assorting with fair skins, _ib._;
colours of the hair and head-dress of, 168;
of the complexion and the contiguous drapery, 169.
Figures, coloured, in paper-hangings, 121-3.
Flat tints, painting on the system of, 69, 81, 82, 217;
for ornamenting boxes, tables, screens, &c., 218.
Flowers, Coloured, in paper-hangings, 121;
arrangement of according to their colours, 180;
assortments of, when the plants are apart, 181;
when they are indiscriminately mixed, 182;
assortments of, as to harmonies of contrast and analogy, 182, 183;
small masses of designated a bed, 187;
law of contrasts in the arrangement of, 194.
Foliage of ligneous plants, assortment of according
to their colour, 184.
Forest, definition of a, 186.
Form, its influence in the effect of contrast of two colours, 213.
Formulæ which represent the law of simultaneous contrast of colours, 8.
French gardening, 191.
Furniture, tapestries for, 220.
G.
Galleries of the Fine Arts, on the interior decoration of, 150.
Gardening, applications of colour to, 179 _et seq._
(See HORTICULTURE.)
Glass, Coloured, in Gothic church windows, 113 _et seq._, 147;
beautiful effects of, 116;
employment of, 117;
corresponding to paintings in chiaro-’scuro, 219, 223;
in flat tints, 224, 225.
Gloss of wool and silk, its influence in the effect of contrast
of two colours, 213.
Gobelins, lectures at the, 80;
tapestries of the, 102, 104;
qualities which they must possess, 111;
difference of, from the Beauvais, 113.
Gothic architecture, employment of colours in, 141.
Greek architecture, employment of colouring in, 139.
Greek painters, 94.
Green, complementary to red, 15, 17, 18, 20;
to violet, 44.
Green and black, effects of juxtaposition of, 20.
Green and blue, change by juxtaposition, 27;
assortments of with white, 53;
with black, 58;
with grey, 62.
Green and grey, effects of juxtaposition of, 22.
Green and violet, change by juxtaposition, 26;
assortments of with white, 53;
with black, 58.
Green and white, effects of their juxtaposition, 18.
Green and yellow, change by juxtaposition, 27.
Green draperies, 170.
Green light, modifications produced by, 71.
Greenish yellow, complementary to violet, 3, 16, 17, 21.
Greenish yellow and black, effects of juxtaposition of, 20.
Greenish yellow and white, effects of their juxtaposition, 18.
Grey, juxtaposition of coloured bodies with, 21;
assortments of different colours with, 58, 63 _et seq._;
its association with luminous and sombre colours, 65, 66.
Grounds, black, of paper-hangings, 125;
various coloured ones, 126-135.
Grove, definition of a, 187.
H.
Hair, black, colours of bonnets suited for, 176.
Hair, fair, colours of bonnets suited for, 175.
Hair and head-dresses of women, colours of the, 168.
Hangings, coloured, for the interior of a house, 152-7;
colour of the wainscoting, relation to the, 155.
Harmonies of contrast, 48, 217;
analogy of in gardening, 182, 183, 184.
Harmony of colours, 46;
distinct kinds of, 48;
law of, 95;
between masses of trees in gardening and plantations, 192.
Harmony and contrast of colours, 1 _et seq._
(See COLOURS.)
Head-dresses of women, colours of the, 171;
effect of upon the complexion, 171-4.
Hieroglyphics, Egyptian, colouring of, 139.
HORTICULTURE, applications of colour to, 179;
how to derive the greatest advantage from the various
colours of flowers, 180;
assortments of flowers, so far as they relate to the harmonies
of contrast of colours, 181;
contrast of hues, 182;
harmonies of analogy, 182, 183;
assortments of
plants, 184;
distribution of trees, 185;
lines of plants, 187, 188;
homogeneous masses of plants, 189;
varied and isolated masses, 190;
harmony between masses distant from each other, 192;
arrangement of plantations, 193;
symmetry and general harmony, 196;
general principles of, 197 _et seq._
Houses, decorations for the interior of, 152;
hangings, 152-7;
cornices, 157;
chairs, sofas, &c., _ib._;
on decorating the different rooms of the, 159;
and their appropriate assortments, 160;
carpets, 161;
pictures, 162.
Hues, definition of, 34, 35;
harmony of, 48;
harmony of contrast, _ib._;
harmonies of contrast in flowers, 182;
analogy of, 183.
Human figures, tapestries for, 219.
I.
Imitation of colouring, 101.
Indigo, complementary to orange-yellow, 3, 16, 17.
Indigo and black, effects of juxtaposition of, 21.
Indigo and grey, effects of juxtaposition of, 22.
Indigo and red, changed by juxtaposition, 27.
Indigo and violet, changed by juxtaposition, 27.
Indigo and white, effects of their juxtaposition, 19.
Interiors of buildings, painters of, 101;
various assortments of colours in, 143;
stuffs with the wood of seats, _ib._;
frames for pictures and engravings, _ib._;
of churches, 147;
of museums and galleries, 149;
of houses, 152 _et seq._;
when the walls are panelled, or covered with marble or stucco, 163.
J.
Juxtaposition of colours, 11, 211, 212;
of coloured surfaces with white, 18;
with black, 19;
with grey, 21;
of coloured bodies belonging to the same group of coloured rays, 24.
L.
Landscape, colours used in, 95;
in paper-hangings, 121-3.
Landscape gardening, 179.
(See HORTICULTURE.)
Light, different rays of, 1;
its combinations of colour, 55.
Light, modifications of, 69 _et seq._
Light, influence of on printed or written paper, 137;
contrast of tone in, 138.
Lights of wool and silk employed in tapestry and carpets,
effects of contrast on the, 208.
Lines of plants, their arrangement, 187, 188.
Luminous colours, 50;
their association with black, 64;
with grey, 65, 66.
M.
Marbles, in the interior of a building, assortment of colours for, 164.
Men’s clothing, colours of, 165, 166.
Mixed contrast of colours, 29-33, 88.
Mixtures, of the three primary colours, 108.
Modifications of coloured light, 69, 70 _et seq._;
of white light, 75 _et seq._
Mosaics, corresponding to paintings in chiaro-’scuro, 219, 222;
in flat tints, 224.
Museums, on the interior decoration of, 149, 151.
N.
Natural History, museums of, on the interior decoration of, 151.
Non-complementary colours, combination of, 210, 211.
O.
Opposition of colours, 67.
Orange complementary to blue, 3, 16, 17, 18, 20;
placed in juxtaposition with scarlet-red, 24;
complementary to green, 43;
to violet, 44;
effects of its predominance in a picture, 100.
Orange and black, effects of juxtaposition of, 20.
Orange and blue, mixture of for coloured threads, 106.
Orange and green, change by juxtaposition, 26.
Orange and green, assortments of with white, 52;
with black, 57;
with grey, 61.
Orange and grey, effects of juxtaposition of, 22.
Orange and indigo, change by juxtaposition, 26.
Orange and red, change by juxtaposition, 26.
Orange and violet, assortments of with white, 52;
with black, 57;
with grey, 61.
Orange and white, effects of their juxtaposition, 18.
Orange and yellow, change by juxtaposition, 27;
assortments of with white, 52;
with black, 57;
with grey, 61.
Orange draperies, 171.
Orange light, modifications produced by, 70.
Orange-yellow, complementary to indigo, 16, 17, 21.
P.
Painters, Ancient, of Italy, their excellences, 87.
Painting, Art of, 69;
two systems of—chiaro-’scuro and flat tints, _ib._;
on colouring in, 82;
of aërial perspective, 83;
harmony of the colours, 85, 95;
simultaneous contrast of colours in, 87;
modification of light, 89;
application of the law of contrast, 97-99;
distribution of colours, 101;
painters of interiors, _ib._;
imitation of coloured objects, 102
(see GOBELINS TAPESTRY);
difference of from tapestry, 111;
relations existing between the subjects of, and the
harmonies they admit of, 216;
in the flat tints, 217;
in chiaro-’scuro tapestries, carpets, mosaics, and coloured
glass windows, corresponding to, 219 _et seq._
Panelling in the interior of a building, assortment
of colour for, 163.
Paper, printed or written, influence of light on, 137;
contrast of tone, 138.
Paper-hangings, colours for printing, 118, 121;
designs for, 121;
simultaneous contrast of colours in relation to, 121, 123, 124;
borders, 123, 130-3;
black ground, 125;
various coloured grounds, 126 _et seq._;
metallic gilt ornaments, 126, 129;
printed or written characters, 136.
Park, definition of a, 187.
Picture Galleries, on the interior decoration of, 150.
Pictures in the interior of buildings, assortment
of colours for, 145;
assortment of, for the interior of a house, 162.
Plantations, arrangements of, 193;
lines of, _ib._
PLANTS, Ornamental, art of arranging according to
the colours of their flowers, 180, 181;
assortments of, according to the harmonies of contrast
and analogy, 182, 183;
according to their foliage, 184;
distribution of, 185;
lines of, 187, 188;
screens of, 188, 189;
masses of, 189, 190;
different names of, when employed to form a landscape, forest,
wood, park, grove, group, thicket, &c., 186, 187;
isolated ones, 190;
arrangement of into plantations, 193 _et seq._;
repetition of the same species, 194, 195;
variety of arrangement, 195;
symmetry of parts, and their general harmony, 196.
Portrait Painting, predominating colour in, 97;
hints respecting the colour of the drapery, 169-171;
results of dress and complexion applicable to, 178;
dissimulating a tint of the complexion, _ib._
Position, varied, effects of, 75.
Prepossessions, influence of, 225.
Primary Colours, 25, 36;
arrangements of, 63;
binary mixture of, 104;
mixture of, in such proportions that they do not become
neutralized, 108.
Printing in colours, 118;
of calico patterns and paper-hangings, 118, 121, 123;
of carpets, 161.
Pure colours, modifications of, 42, 45.
R.
Rays of solar light, 1.
Rays, Coloured, juxtaposition of coloured bodies with, 24.
Reading, on the assortment of colours for,
by diffused daylight, 138.
Red, complementary to green, 3, 15, 16, 18, 20;
placed in contact with orange-red, 24;
its arrangement with a binary colour, 63.
Red and black, effects of juxtaposition of, 20.
Red and blue, change of by juxtaposition, 27;
assortments of with white, 52;
with black, 56;
with grey, 60;
mixture of, for coloured threads, 105.
Red and green, assortments of with white, 51;
with black, 55;
with grey, 59;
mixture of, for coloured threads, 106.
Red and grey, effects of the juxtaposition of, 21.
Red and violet, assortments of with white, 52;
with black, 56;
with grey, 61.
Red and white, effects of their juxtaposition, 18.
Red and yellow, change by juxtaposition, 27;
assortments of with white, 52;
with black, 56;
with grey, 60;
mixture of for coloured threads, 104.
Reflection, laws of, 75.
Rose-red draperies, 169.
S.
Savonnerie carpets, 102, 222.
Scales of colours, definition of, 34;
chromatic, 36 _et seq._;
their different tones, 47;
harmony of, 48;
harmony of contrast of, _ib._;
of wool and silk employed in tapestry and carpet, 208.
School of painters, 226.
Screen of plants, 187, 188.
Sculpture Galleries, on the interior decoration of, 150.
Seats in the interior of buildings, assortment of colours for, 143.
Secondary colours, 25, 26.
Shrubs, small masses of, designated a bed, 187.
Sight of colours, 198, 200.
Silk employed in tapestry and carpets, effect of contrast upon
the browns and lights of, 208.
Simple colours, pass by juxtaposition into compound colours, 25.
Simultaneous contrast of colours, 4, 8, 9, 10, 29;
application of the law of, 34;
in painting, 87;
in calico-printing, 119, 121;
principles of, 205.
Skin, the coloured rays which may reflect upon the, 171.
Skins, copper-coloured, black, or olive, assortment of dress
suited for each, 177.
Sofas, colour of, for harmonizing with the interior of a house, 157.
Solar light, rays of, 1.
Sombre colours, 50;
proportion of to luminous ones, 66.
Spotty, use of the term, 101.
Stained glass windows, 113 _et seq._, 147.
(See GLASS.)
Stripes, Coloured, juxtaposition of, 24.
Stuffs, Coloured, modifications of, 78, 79;
in the interior of buildings, assortment of colours for, 143.
Successive contrast of colours, 29.
Sun, modifications produced by the light of the, 73.
T.
Tapestries, 102;
of the Gobelins and of Beauvais, 102, 104;
qualities which they must possess, 111;
difference of from the Beauvais, 113;
principle of contrast in the production of, 109;
difference of, from painting, 111;
requisites for assimilating it to painting, 112;
patterns for, _ib._;
effect of contrast on the browns and lights of, 208;
principles involved in the colours of, 219;
with human figures, 219, 224;
for furniture, 220, 224;
critical remarks on, 221;
corresponding to paintings in chiaro-’scuro, 219;
in flat tints, 224.
Ternary assortments of colours, 50, 51, 59.
Ternary combinations of colours complementary with black, 55;
not complementary, 56.
Textile fabrics, colour printing on, 118.
Thickets of trees, different kinds of, 187.
Threads, coloured to make mixtures of, 102, 104 _et seq._;
red and yellow, _ib._;
red and blue, 105;
yellow and blue, _ib._;
mixture of complementary colours, 105.
Tint of the complexion, how to dissimulate it in
portrait painting, 178, 179.
Tone, contrast of, 4;
experimental demonstrations, 7;
the height of to be considered, 66;
contrast of on written or printed paper, 138.
Tones, definition of, 34;
of the same scale of colour, 47;
of the scales of wool and silk, judging their equidistance, 209.
Trees, assortment of in gardens according to the colour of
their foliage, 184;
distribution and planting of, in masses, 185;
different terms applied to groups of, when employed to form
a landscape, 186, 187;
harmony between masses of, 192.
V.
Vandyke, masterpieces of, 99.
Violet, complementary to greenish-yellow, 16, 17, 18, 20;
placed in juxtaposition with scarlet-red, 24.
Violet and black, effects of juxtaposition of, 21;
combinations of, 55.
Violet and blue, change by juxtaposition, 27.
Violet and grey, effects of juxtaposition of, 22.
Violet and red, change by juxtaposition, 26.
Violet and white, effects of their juxtaposition, 19.
Violet draperies, 170.
Violet light, modifications produced by, 72.
W.
Wainscoting for the interior of buildings, 151;
colour of, 155, 156.
White, juxtaposition of coloured surfaces with, 18;
modifications of, 19;
assortments of different colours with, 50, 63;
ternary assortments of colours not complementary with white, 51.
White draperies, 171.
White light, various modifications of, 75 _et seq._
Windows, of coloured glass, 113 _et seq._, 219, 223;
in churches, 147, 149;
of white glass, 148, 149.
Women’s clothing, colours of, 167;
assortment of colours in, according to complexion, 177.
Wood, in the interior of a building, assortments of
colours for, 164.
Wood, definition of a, 186.
Wool, employed in tapestry and carpets, effect of contrast
upon the browns and lights of, 208.
Y.
Yellow, placed beside orange-yellow, 24;
its arrangement with a binary colour, 63.
Yellow and blue, changed by juxtaposition, 27;
assortments of with white, 53;
with black, 57;
with grey, 62;
mixture for coloured threads, 105.
Yellow and green, assortments of with white, 53;
with black, 57;
with grey, 61.
Yellow and grey, effects of juxtaposition of, 22.
Yellow and violet, assortments of with white, 51;
with black, 56;
mixture of, for coloured threads, 107.
Yellow draperies, 170.
Yellow light, modifications produced by, 71.
Yellowish-green, complementary to violet, 19.
Yellowish-orange, complementary to indigo, 19.
THE END.
LONDON:
SAVILL AND EDWARDS, PRINTERS,
CHANDOS STREET,
COVENT GARDEN.