ON THE USE AND MODIFICATION OF COLOUR IN DECORATION
Just as the aims of the painter of pictures are quite divergent from
those of the decorator, so is the use of colour in the representation of
natural objects and of natural phenomena divergent from that of the
latter’s in his employment of tints in coloured decoration. The painter
of pictures is at liberty to use unlimited tints and shades of one
colour, or of any number of colours, to represent the facts or effects
of nature in realistic or in imaginative art, that is to say, he can
make the greatest possible use of gradation both in colour and in light
and shade, but the decorator is limited in the matter of colour
gradation, and still more limited in the matter of light and shade, to
the use of a few tints of closely related tones, and, as a rule, he must
use them in a series of flat tints, with little or no light and shade,
and which may or may not be separated from each other by contours or
outlines of neutral or different colours.
The aim of the decorator is to beautify surfaces by the use of colour,
so he selects or creates his tints and shades, which may be of extremely
rich and deeply saturated hues, heightened perhaps with the addition of
silver or gold, or he may use schemes of sober tints of broken colours;
but the aim of the picture painter is to respect the colouring of nature
and to produce another kind of beauty, which if not always strictly
imitative of natural forms and facts in colour and drawing, must at
least show that its foundations are laid on the solid ground of nature.
Colour is therefore used by the artist-painter in a limited sense, in so
far as it is imitative of any particular scene or natural effect which
he may desire to record, but the choice of the decorator is unlimited,
for he can always invent his own colour schemes. And as the latter is
justified in disregarding shadows and gradation in the rendering of his
decorative forms, even when they are derived from nature, he is equally
free to use any colour in an arbitrary way on such forms instead of
their natural or local colour, provided that it does not interfere with
the harmony and balance of his colour scheme. The old Gothic glass
painters, for example, who produced some of the finest coloured glass,
did not hesitate to colour the feet or the hands of their figures a
vivid green, a crimson, or a brilliant blue, though the other flesh
portions of the same figure would be in the natural colour, if they
found it necessary to have any of those colours in such parts of the
design where the feet or hands happened to be. Although we should not
agree with this arbitrary colour treatment of natural forms, it only
emphasises the fact that the old designers looked upon their figure
compositions as simply units or integral parts of the general colour
scheme, and nothing more or less than legitimate decoration.
The decorator may design his ornamental forms on the bases of natural
ones, and may, by colouring them in tints suggested by nature, produce a
beautiful decorative work, which indeed has often been done. Still, he
is free to frankly disregard the natural or local colour of such forms
if the latter does not suit his purpose, and may use any other colours
that will enable him to produce the best effect and most satisfactory
decoration. In any case there should be no attempt to imitate either the
colouring or forms of nature in a realistic sense, however much he may
make use of suggestions from natural forms and objects. If purely
natural forms, such as those of birds, animals, or the human figure are
introduced into decoration, they should be firmly outlined in some
neutral colour in order to show that they are only intended as portions
of the decorative scheme and not in the sense of realistic
representations. Accurate representations of natural forms and
photographic realism should be avoided in decoration. If the Byzantine
mosaicists had drawn, or could have drawn, their figures better, they
might have produced worse decoration, and might have failed to express
the essentials of decorative art.
The greater part of modern polychrome decoration, not only on buildings
but on nearly every description of handmade objects or manufactured
goods that have pretensions to artistic claims, is only misapplied
painting which has usurped the place of true decoration. This kind of
semi-pictorial work came into vogue about the beginning of the
seventeenth century in Italy and France, and gradually spread and
developed in other European countries, so to-day there is still a great
demand for this kind of art which is neither genuine decoration nor
painting. Interior surfaces of buildings, textile hangings, carpets, all
kinds of pottery, and almost every kind of object that presents a
surface for decoration is treated with naturalistic transcripts of
flowers, birds, animals, the human figure, as well as copies of
landscapes and architectural views, all represented in a pictorial
manner with more or less merit, but all misapplied work. Such
meretricious merchandise is welcomed and purchased by a very large
section of the public, who are unable to distinguish between true and
false decoration.
_Decoration in Monochrome._--The simplest form of coloured decoration is
monochromatic, that is, where one colour is used or where several tints
of any one colour are used. This kind of colour treatment is often very
satisfactory for the walls, ceilings, and woodwork of any ordinary room,
where the pictures on the walls, the carpet, hangings, furniture and
ornamental objects all combine to furnish the sharper and more
contrasting colour notes that may be required. In such monochromatic
decoration lighter and darker shades of the selected colour are used,
the lighter and less intense tints being spread over the larger spaces,
while the more intense and purer shades would be on the mouldings and on
the smaller subdivisions of the architecture. The choice of the
particular colour selected for any monochromatic scheme will in a
measure depend on the uses of the room as well as on the decorative
taste and feeling for colour. Monochromatic colouring may be enlivened
by the use of gold in narrow lines or in small quantities, such as in
the gilding of the fillets of door mouldings and cornices, etc.
_Use of gold in decoration._--Gold should not be used in large
quantities in any scheme of decoration, except in backgrounds where it
would be partially covered with ornamentation, or else it will be liable
to lose its precious quality, and so look vulgar and common. Where gold
is used in great quantities, such as we see in the gaudy gold and white
decoration of some state assembly-rooms, it completely loses its quality
of preciousness, and in proportion to the increase of the quantity used,
it becomes cheap-looking and appears more like brass than gold. If gold
must be used lavishly in the decoration of state rooms it ought to be
toned down with some transparent brown colour which would tend to make
it still richer, and would destroy the tinselly or brassy appearance
which large masses of gilding always present to the eye. Where gold was
used in backgrounds of figure or ornamental compositions by the Italian
artists, its natural glare was usually toned down either by having a
net-work of lines, or a fine tracery pattern, or sometimes a fine diaper
or checker pattern painted on it in black or dark brown. Also the
surface, previous to the gilding of it, was sometimes prepared with a
rough texture, in order to prevent it from having the objectionable
shine that is common to the gilding of smooth surfaces, and to enable
the spectator to see the real colour of the precious metal. Gold grounds
look better when the surface is slightly curved, for all gilded flat
surfaces, unless modified by one of the methods we have mentioned above,
will either appear glaringly bright or very dark according to the
position from which they are seen. It may also be mentioned that gold
has in common with white, or very pale colours, the effect of spreading,
so that thin lines, or delicate tracery patterns in gold, on a dark, or
moderately dark coloured ground, always appear to look broader than they
really are, this being due to the spreading effect of light which is
reflected to the eye by the brilliancy of gold, or white.
Coloured decoration on gold grounds ought to be outlined in black, or
some very dark colour, in order to prevent the gold from overpowering
the colour and making it look ineffective. When highly relieved
enrichments are gilt, the ground behind them may be “picked out” in
strong colour, such as vermilion, deep cobalt blue, or black in cases
where an effect of penetration is desired, but in proportion to the
lowness of the relief the background colouring may be lessened in
strength or intensity. It must be pointed out, however, that ornament in
very low relief, if gilded, will require a more strongly coloured
background than in the case of ornament that may be simply coloured, but
not gilt.
_The small interval, or concord of closely related tones._--It might be
suggested that the natural development, or sequence of purely
monochromatic colouring to a full and rich polychromy would be of that
kind of colour harmony which is known as _the small interval_, which, in
decoration, is expressed by the concord of closely related colour tones.
It may be also defined as a harmony of colour analogy, a kind of
gradation where colours and their tints are separated by a little
distance or interval from each other in the chromatic circle. The
colouring of natural objects and phenomena afford endless examples of
the small interval. The plumage of birds, wings of insects, foliage of
trees and plants, flowers, shells, some minerals, and the sunset sky may
be mentioned as some of the illustrations of this kind of harmonious
colour gradation, where the various tints and shades of closely related
colours are cunningly arranged by nature in delicate, yet decided
contrasts, not of hue, but of analogous tones. For example, a
green-blue may pass into a violet-blue, by a gradual series of separated
tints, but the latter colour must be kept at the shade of violet just
before it is overcome by red, and the former must not be overpowered by
yellow. The colour of a peacock’s neck-plumage affords a good
illustration of this kind of green-blue to violet-blue colouring by
gradation of shades. A similar gradation is where an orange-red passes
gradually into a crimson-red, but neither yellow in the first-named
colour nor blue in the crimson must be permitted to overcome them. The
decorator being concerned with the use of broken colours--that is, pure
colours modified by mixture of black, white or grey--for the covering of
large spaces such as walls, ceilings and woodwork panels, can therefore
adopt the principle of the small interval in architectural colouring
with advantage and success, by using any group of closely related
colours for his scheme; and further, if he desires to intensify or
enliven the latter, he can do so by the use of small quantities of other
contrasting colours introduced in the cornice, frieze or mouldings, or
in lines, bands and other forms of painted ornamentation, and, if
necessary, the whole of the decoration might be heightened by gilding.
_Coloured decoration on coloured grounds._--The use of coloured grounds,
and especially those of contrasting colours, postulates the more complex
forms of polychromatic decoration, where a good number of widely
separated tints and shades of various colours are employed in any one
scheme.
In polychromatic schemes of colouring there are certain laws which must
be respected, regarding the relation of one colour to another, their
modification of tint or shade, as affected by their position, and the
strength or weakness of the light which illuminates them, however much
may be left to the good taste and feeling for colour which the decorator
may possess. All these essentials have to be considered, for it is not
so much a question of rich and glowing colour schemes, or sober, quiet
and subdued arrangements, but to obtain a harmonious colour finish in
either. The decorator must aim for, and if possible obtain, a proper
balance of colour, not so much for the achievement of uniformity, as for
that of unity and repose. In order to obtain unity he must therefore see
that even in the most complex polychromy a perfect balance of the
colours is the first consideration, and of the utmost importance. In
decoration we have both colour and form, but colour in decorative art is
the more important of the two. A certain balance is looked for in
ornamental or pictorial fillings of panels, for example, or even in the
secondary ornamentation of painted bands, stiles, and other minor
surfaces, but the repetition of exactly similar forms on such surfaces
is by no means essential, but on the contrary produces monotony. In the
matter of colour the case is reversed, for it is very important that
there should be a decided repetition of
[Illustration:
_To face p. 52_] [_Victoria and Albert Museum._
PLATE 12. FROM THE CARTOON OF THE MOSAIC IN ST. PAUL’S CATHEDRAL.
(Melchizedek Blessing Abraham. By Sir W. B. Richmond, K.C.B., R.A.)]
colour, even to the point of symmetry, in architectural colouring, if
the balance is to be maintained. There must be “echoes” or “recalls” of
the same, or very similar, tints and shades in ceilings, walls,
woodwork, and other parts of interior colouring if the qualities of good
decoration, such as breadth, repose, and rhythm are to be secured. The
rhythm of colour in decoration is of far more importance than that of
the ornamental forms.
These laws and principles apply to all kinds of architectural decoration
and their colour schemes, but if possible with more force to the richer
and more complex polychromy, where pure and intense colours are employed
with others of lesser intensity, together with gold, silver, white and
black.
_Contours, or outlines._--Coloured ornament or pictorial decoration on
coloured grounds ought to be outlined, especially so if the ornament or
decoration does not differ much in colour from that of the ground. Even
colours that greatly contrast with each other ought to be outlined to
prevent them from having the appearance of mixing with each other, for
most colours will not show their true value unless they are outlined
with a neutral one such as black, white or gold, or with some lighter or
darker colour than their own. The general rule is, that if the
superimposed ornament is of a lighter colour than the ground, provided
that it is not excessively light, it should be outlined with a still
lighter colour, but if darker than the ground, the outline should be
still darker.
Certain ornamental compositions, such as arabesques that are painted in
light and shade on a coloured or gold ground, may not require decided
contours. The absence of outlines on such ornament is not so detrimental
to them as it would be to decoration that is painted in flat tints,
because such arabesques or tracery are sufficiently relieved by their
light and shade treatment, and are usually painted in dark and intense
colours, if the background is white or light in tint, and on
dark-coloured grounds they are generally executed in lighter and
brighter colours on the dark ground.
Light or pale-coloured grounds are made to appear deeper in hue by
painting a fine tracery of a similar but deeper and purer colour on
them, or by “powdering” small patterns or spots of such colour on these
light surfaces, and a deeply-coloured ground may have its colour
considerably lightened by superimposing on it a fine tracery pattern in
white. Also, a fine pattern painted in two distinct colours, or a series
of small dots in two colours, evenly distributed on a brightly-coloured
ground, will change the colour scheme by causing another, and a new
colour to appear, when the work is viewed from a distance. All these
changes and effects are produced in an optical sense, for the new
colours are those which are due to the mixtures of the painted ones on
the retina of the eye, as they are not the inherent colours of the
decoration. Though these optical colours are not, as a rule, purposely
sought for, yet a consideration of them is valuable to the decorator.
Much of the beauty of certain kinds of decoration is due to them; for
example, that of the strongly coloured Moorish schemes, where red and
gold, which supplies the yellow, combine to produce an optical orange
colour, and where blue and gold mingle to produce a violet, when seen at
some distance away. In the same way when white is introduced into these
colour arrangements, as in the outlining of the patterns, or in numerous
small touches, paler tints of the new colours are optically produced.
Other illustrations of new colours that are produced in an optical sense
may be noticed in the old glass of the Romanesque and early Gothic
periods, where the magnificent purple and violet hues are more than
often obtained by the juxtaposition of deeply saturated reds and
crimsons with intense and rich blues, that notwithstanding their
separation by the leading of the stained glass, which acts as black
outlines, mingle together and produce rich purples and violets when seen
at a distance. It has been noticed that even the negative shades of
greys, which are made from mixtures of black and white, if surrounded
by, or in juxtaposition with, warm shades of yellowish-red, or red
ochres, will appear as refined tones of blue when seen from a distance,
as in the case of ceiling decoration.
There are certain colours which “carry” or “read” well at a distance,
and others which, however brilliant they may be near at hand, become
obscured or indefinite when they are viewed from afar. For example, deep
reds, dark blues and greens, intense purples and violets, all become
either much darker, or are changed into dirty browns when seen far off,
though they may all appear very brilliant when seen near to. Such
colours have all low degrees of luminosity, and therefore do not reflect
sufficient white light to enable them to carry well. It follows from
this that if they were made lighter by the addition of white their
carrying powers would be considerably increased, though at a loss of
their intensity. The colours that carry, or tell at a distance, in
addition to the pale shades of the above-mentioned ones, are the yellows
and red ochres, white, buff, emerald green, and cerulean blue.
_Coloured surfaces under artificial light._--We have already mentioned
that it is only very rarely that the decorator is asked to arrange his
colour schemes for rooms that are only used when artificially lighted,
and also if his colouring has been planned to be seen in daylight, it
will almost invariably look well under artificial light, provided that
the room is well lighted. It may, however, be of some advantage to
consider some of the more important changes and modifications of colour
when viewed by artificial light. Such light would be in ordinary cases
that of gas or electric
[Illustration:
_PLATE XIII_
UNDER =A= ARE CERTAIN COLOURS AS VIEWED IN DAYLIGHT. UNDER =B= ARE SIMILAR
COLOURS WHICH ILLUSTRATE THE TENDENCY OF CHANGE OF HUE WHEN THE FORMER
ARE SEEN IN ARTIFICIAL LIGHT]
lighting, and although the latter is not so deficient in violet and
bluish rays as the former, still it has a considerable amount of yellow
rays, though not so much of orange-yellow as gaslight. All kinds of
artificial light impart some of their yellow to all colours, and while
this kind of illumination improves the brilliancy of yellow and
yellowish-reds, or of such colours as lie closely to yellow in the
chromatic circle, it dulls and saddens blues, bluish-greens, and
violet-blues, or in other words, the colours that are more distantly
removed from the orange-yellow in the chromatic circle. Blues and
bluish-greens suffer most change in artificial light, as they become
degraded to duller and greyer shades. Greens become bluish-greens,
yellow-greens are not much changed, bluish-greens become more yellowish.
Indigo blue changes to greenish grey. Violet becomes purple, and purple
much redder. Yellow becomes paler in artificial light, but, on the
contrary, orange becomes redder, and all bright reds from vermilion to
carmine become still brighter in hue. Brilliant blues, like cobalt and
ultramarine, appear more purplish in gaslight. If we wish, therefore, to
obtain a tint of blue that will look blue by gaslight, it must appear as
a slightly greenish shade of blue by daylight, and must not be dark in
tone. On Plate 13 there are shown a few colours on the left of the
diagram, at A, and the approximate changes in these colours, at B, when
seen in artificial light.