It is true, that there are individuals whose powers of visio_The science of beauty, as developed in nature and applied in art

perfect, in so far as regards the appreciation of light, shade, and

configuration, but who are totally incapable of perceiving effects

produced by the intermediate phenomenon of colour, every object appearing

to them either white, black, or neutral gray; others, who are equally

blind as to the effect of one of the three primary colours, but see the

other two perfectly, either singly or combined; while there are many

who, having the full physical power of perceiving all the varieties of

the phenomenon, and who are even capable of making nice distinctions

amongst a variety of various colours, are yet incapable of appreciating

the æsthetic quality of harmony which exists in their proper combination.

It is the same with respect to the effects of sounds upon the ear—some

have organs so constituted, that notes above or below a certain pitch

are to them inaudible; while others, with physical powers otherwise

perfect, are incapable of appreciating either melody or harmony in

musical composition. But perceptions so imperfectly constituted are,

by the goodness of the Creator, of very rare occurrence; therefore all

attempts at improvement in the science of æsthetics must be suited to the

capacities of the generality of mankind, amongst whom the perception of

colour exists in a variety as great as that by which their countenances

are distinguished. Artists now and then appear who have this intuitive

perception in such perfection, that they are capable of transferring to

their works the most beautiful harmonies and most delicate gradations of

colours, in a manner that no acquired knowledge could have enabled them

to impart. To those who possess such a gift, as well as to those to whom

the ordinary powers of perception are denied, it would be equally useless

to offer an explanation of the various modes in which the harmony of

colour develops itself, or to attempt a definition of the many various

colours, hues, tints, and shades, arising out of the simple elements of

this phenomenon. But to those whose powers lie between these extremes,

being neither above nor below cultivation, such an explanation and

definition must form a step towards the improvement of that inherent

principle which constitutes the basis of æsthetical science.

Although the variety and harmony of colour which nature is continually

presenting to our view, are apparent to all whose visual organs are in a

natural state, and thus to the generality of mankind; yet a knowledge of

the simplicity by which this variety and beauty are produced, is, after

ages of philosophic research and experimental inquiry, only beginning to

be properly understood.

Light may be considered as an active, and darkness a passive principle in

the economy of Nature, and colour an intermediate phenomenon arising from

their joint influence; and it is in the ratios in which these primary

principles act upon each other, by which I here intend to explain the

science of beauty as evolved in colour. It has been usual to consider

colour as an inherent quality in light, and to suppose that coloured

bodies absorb certain classes of its rays, and reflect or transmit the

remainder; but it appears to me that colour is more probably the result

of certain modes in which the opposite principles of motion and rest,

or force and resistance, operate in the production, refraction, and

reflection of light, and that each colour is mutually related, although

in different degrees, to these active and passive principles.

White and black are the representatives of light and darkness, or

activity and rest, and are therefore calculated as pigments to reduce

colours and hues to tints and shades.

Having, however, fully illustrated the nature of tints and shades in

a former work,[22] I shall here confine myself to colours in their

full intensity—shewing the various modifications which their union

with each other produce, along with the harmonic relations which these

modifications bear to the primaries, and to each other in respect to

warmth and coolness of tone, as well as to light and shade.

The primary colours are red, yellow, and blue. Of these, yellow is

most allied to light, and blue to shade, while red is neutral in these

respects, being equally allied to both. In respect to tone, that of red

is warm, and that of blue cool, while the tone of yellow is neutral. The

ratios of their relations to each other in these respects will appear in

the harmonic scales to which, for the first time, I am about to subject

colours, and to systematise their various simple and compound relations,

which are as follow:—

From the binary union of the primary colours, the secondary colours arise—

Orange colour, from the union of yellow and red.

Green, from the union of yellow and blue.

Purple, from the union of red and blue.

From the binary union of the secondary colours, the primary hues arise—

Yellow-hue, from the union of orange and green.

Red-hue, from the union of orange and purple.

Blue-hue, from the union of purple and green.

From the binary union of the primary hues, the secondary hues arise—

Orange-hue, from the union of yellow-hue and red-hue.

Green-hue, from the union of yellow-hue and blue-hue.

Purple-hue, from the union of red-hue and blue-hue.

Each hue owes its characteristic distinction to the proportionate

predominance or subordination of one or other of the three primary

colours in its composition.

It follows, that in every hue of _red_, yellow and blue are subordinate;

in every hue of _yellow_, red and blue are subordinate; and in every

hue of _blue_, red and yellow are subordinate. In like manner, in every

hue of _green_, red is subordinate; in every hue of _orange_, blue is

subordinate; and in every hue of _purple_, yellow is subordinate.

By the union of two primary colours, in the production of a secondary

colour, the nature of both primaries is altered; and as there are only

three primary or simple colours in the scale, the two that are united

harmonically in a compound colour, form the natural contrast to the

remaining simple colour.

Notwithstanding all the variety that extends beyond the six positive

colours, it may be said that there are only three proper contrasts of

colour in nature, and that all others are simply modifications of these.

Pure red is the most perfect contrast to pure green; because it is

characterised amongst the primary colours by warmth of tone, while

amongst the secondary colours green is distinguished by coolness of tone,

both being equally related to the primary elements of light and shade.

Pure yellow is the most perfect contrast to pure purple; because it is

characterised amongst the primary colours as most allied to light, whilst

pure purple is characterised amongst the secondaries as most allied to

shade, both being equally neutral as to tone.

Pure blue is the most perfect contrast to pure orange; because it is

characterised amongst the primary colours as not only the most allied

to shade, but as being the coolest in tone, whilst pure orange is

characterised amongst the secondaries as being the most allied to light

and the warmest in tone. The same principle operates throughout all the

modifications of these primary and secondary colours.

Such is the simple nature of contrast upon which the beauty of colouring

mainly depends.

It being now established as a scientific fact, that the effect of

light upon the eye is the result of an ethereal action, similar to the

atmospheric action by which the effect of sound is produced upon the

ear; also, that the various colours which light assumes are the effect

of certain modifications in this ethereal action;—just as the various

sounds, which constitute the scale of musical notes, are known to be the

effect of certain modifications in the atmospheric action by which sounds

in general are produced:

Therefore, as harmony may thus be impressed upon the mind through

either of these two art senses—hearing and seeing—the principles which

govern the modifications in the ethereal action of light, so as to

produce through the eye the effect of harmony, cannot be supposed to

differ from those principles which we know govern the modifications of

the atmospheric action of sound, in producing through the ear a like

effect. I shall therefore endeavour to illustrate the science of beauty

as evolved in colours, by forming scales of their various modifications

agreeably to the same Pythagorean system of numerical ratio from which

the harmonic elements of beauty in sounds were originally evolved, and by

which I have endeavoured in this, as in previous works, to systematise

the harmonic beauty of forms.

[Illustration]

It will be observed, that with a view to avoid complexity as much as

possible, I have, in the arrangement of the above series of scales, not

only confined myself to the merely elementary parts of the Pythagorean

system, but have left out the harmonic modifications upon (¹⁄₁₁)

and (¹⁄₁₃), in order that the arithmetical progression might not be

interrupted.[23]

The above elementary process will, I trust, be found sufficient to

explain the progress, by harmonic union, of a primary colour to a

toned gray, and how the simple and compound colours naturally arrange

themselves into the elements of five scales, the parts of which continue

from primary to secondary colour; from secondary colour to primary hue;

from primary hue to secondary hue; from secondary hue to primary-toned

gray; and from primary-toned gray to secondary-toned gray in the simple

ratio of 2:1; thereby producing a series of the most beautiful and

perfect contrasts.

The natural arrangement of the primary colours upon the solar spectrum is

red, yellow, blue, and I have therefore adopted the same arrangement on

the present occasion. Red being, consequently, the first tonic, and blue

the second, the divisions express the numerical ratios which the colours

bear to one another, in respect to that colourific power for which red

is pre-eminent. Thus, yellow is to red, as 2:3; blue to yellow, as 3:4;

purple to orange, as 5:6; and green to purple, as 6:7.

The following series of completed scales are arranged upon the

foregoing principle, with the natural connecting links of red-orange,

yellow-orange, yellow-green, and blue-green, introduced in their proper

places.

The appropriate terminology of musical notes has been adopted, and the

scales are composed as follows:—

Scale I. consists of primary and secondary colours;

Scale II. of secondary colours and primary hues;

Scale III. of primary and secondary hues;

Scale IV. of secondary hues and primary-toned grays; and

Scale V. of primary and secondary-toned grays;

All the parts in each of these scales, from the first tonic to the

second, relate to the same parts of the scale below them in the simple

ratio of 2:1; and serially to the first tonic in the following ratios:—

8:9, 4:5, 3:4, 2:3, 3:5, 4:7, 8:15, 1:2.

_First Series of Scales._

----+------+-------+-------+-------+-------+-------+------+-------+-------

----+------+-------+-------+-------+-------+-------+------+-------+-------

I. |(¹⁄₂) |(⁴⁄₉) |(²⁄₅) |(³⁄₈) |(¹⁄₃) |(³⁄₁₀) |(²⁄₇) |(⁴⁄₁₅) |(¹⁄₄)

----+------+-------+-------+-------+-------+-------+------+-------+-------

II. |(¹⁄₄) |(²⁄₉) |(¹⁄₅) |(³⁄₁₆) |(¹⁄₆) |(³⁄₂₀) |(¹⁄₇) |(²⁄₁₅) |(¹⁄₈)

| |green |hue. |purple |hue. |purple |hue. |orange |

| |hue. | |hue. | |hue. | |hue. |

----+------+-------+-------+-------+-------+-------+------+-------+-------

III.|(¹⁄₈) |(¹⁄₉) |(¹⁄₁₀) |(³⁄₃₂) |(¹⁄₁₂) |(³⁄₄₀) |(¹⁄₁₄)|(¹⁄₁₅) |(¹⁄₁₆)

|hue. |orange |hue. |orange |hue. |green |hue. |green |hue.

| |hue. | |hue. | |hue. | |hue. |

----+------+-------+-------+-------+-------+-------+------+-------+-------

IV. |(¹⁄₁₆)|(¹⁄₁₈) |(¹⁄₂₀) |(³⁄₆₄) |(¹⁄₂₄) |(³⁄₈₀) |(¹⁄₂₈)|(¹⁄₃₀) |(¹⁄₃₂)

----+------+-------+-------+-------+-------+-------+------+-------+-------

V. |(¹⁄₃₂)|(¹⁄₃₆) |(¹⁄₄₀) |(³⁄₁₂₈)|(¹⁄₄₈) |(³⁄₁₆₀)|(¹⁄₅₆)|(¹⁄₆₀) |(¹⁄₆₄)

----+------+-------+-------+-------+-------+-------+------+-------+-------

To the scales of chromatic power I add another series of scales, in

which yellow, being the first tonic, and blue the second, the numerical

divisions express the ratios which the colours in each scale bear to one

another in respect to light and shade. Thus red is to yellow, in respect

to light, as 2:3; blue to red, as 3:4; green to orange, as 5:6, and

purple to green, as 6:7.

These scales may therefore be termed scales for the colour-blind,

because, in comparing colours, those whose sight is thus defective,

naturally compare the ratios of the light and shade of which different

colours are primarily constituted.

[Illustration]

The following is a series of five complete scales of the harmonic parts

into which the light and shade in colours may be divided in each scale

according to the above arrangement:—

_Second Series of Scales._

----+-------+-------+-------+-------+------+-------+-------+-------+------

----+-------+-------+-------+-------+------+-------+-------+-------+------

I. |(¹⁄₂) |(⁴⁄₉) |(²⁄₅) |(³⁄₈) |(¹⁄₃) |(³⁄₁₀) |(²⁄₇) |(⁴⁄₁₅) |(¹⁄₄)

----+-------+-------+-------+-------+------+-------+-------+-------+------

II. |(¹⁄₄) |(²⁄₉) |(¹⁄₅) |(³⁄₁₆) |(¹⁄₆) |(³⁄₂₀) |(¹⁄₇) |(²⁄₁₅) |(¹⁄₈)

| |hue. | |hue. | |hue. | |hue. |

----+-------+-------+-------+-------+------+-------+-------+-------+------

III.|(¹⁄₈) |(¹⁄₉) |(¹⁄₁₀) |(³⁄₃₂) |(¹⁄₁₂)|(³⁄₄₀) |(¹⁄₁₄) |(¹⁄₁₅) |(¹⁄₁₆)

|hue. |orange |hue. |orange |hue. |purple |hue. |purple |hue.

| |hue. | |hue. | |hue. | |hue. |

----+-------+-------+-------+-------+------+-------+-------+-------+------

IV. |(¹⁄₁₆) |(¹⁄₁₈) |(¹⁄₂₀) |(³⁄₆₄) |(¹⁄₂₄)|(³⁄₈₀) |(¹⁄₂₈) |(¹⁄₃₀) |(¹⁄₃₂)

----+-------+-------+-------+-------+------+-------+-------+-------+------

V. |(¹⁄₃₂) |(¹⁄₃₆) |(¹⁄₄₀) |(³⁄₁₂₈)|(¹⁄₄₈)|(³⁄₁₆₀)|(¹⁄₅₆) |(¹⁄₆₀) |(¹⁄₆₄)

----+-------+-------+-------+-------+------+-------+-------+-------+------

Should I be correct in arranging colours upon scales identical with those

upon which musical notes have been arranged, and in assuming that colours

have the same ratios to each other, in respect to their harmonic power

upon the eye, which musical notes have in respect to their harmonic power

upon the ear, the colourist may yet be enabled to impart harmonic beauty

to his works with as much certainty and ease, as the musician imparts the

same quality to his compositions: for the colourist has no more right to

trust exclusively to his eye in the arrangement of colours, than the

musician has to trust exclusively to his ear in the arrangement of sounds.

We find, in comparing the dominant parts in the first and second scales

of the second series, that they are equal as to light and shade, so that

their relative powers of contrast depend entirely upon colour. Hence it

is that red and green are the two colours, the difference between which

the colour-blind are least able to appreciate. Professor George Wilson,

in his excellent work, “Researches on Colour-Blindness,” mentions the

case of an engraver, which proves the power of the eye in being able to

appreciate these original constituents of colour, irrespective of the

intermediate phenomenon of tone. This engraver, instead of expressing

regret on account of his being colour-blind, observed to the professor,

“My defective vision is, to a certain extent, a useful and valuable

quality. Thus, an engraver has two negatives to deal with, _i.e._, white

and black. Now, when I look at a picture, I see it only in white and

black, or light and shade, or, as artists term it, the effect. I find

at times many of my brother engravers in doubt how to translate certain

colours of pictures, which to me are matters of decided certainty and

ease. Thus to me it is valuable.”

The colour-blind are therefore as incapable of receiving pleasure from

the harmonious union of various colours, as those who, to use a common

term, have no ear for music, are of being gratified by the “melody of

sweet sounds.”

The generality of mankind are, however, capable of appreciating the

harmony of colour which, like that of both sound and form, arises from

the simultaneous exhibition of opposite principles having a ratio to each

other. These principles are in continual operation throughout nature,

and from them we often derive pleasure without being conscious of the

cause. All who are not colour-blind must have felt themselves struck

with the harmonic beauty of a cloudless sky, although in it there is no

configuration, and at first sight apparently but one colour. Now, as

we know that there can be no more impression of harmony made upon the

mind by looking upon a single colour, than there could be by listening

to a single continued musical note, however sweet its tone, we are apt

at first to imagine that the organ of vision has, in some measure,

conveyed a false impression to the mind. But it has not done so; for

light, when reflected from the atmosphere, produces those cool tones of

blue, gray, and purple, which seem to clothe the distant mountains; but,

when transmitted through the same atmosphere, it produces those numerous

warm tints, the most intense of which give the gorgeous effects which

so often accompany the setting sun. We have, therefore, in the upper

part of a clear sky, where the atmosphere may be said to be illuminated

principally by reflection from the surface of the earth, a comparatively

cool tone of blue, the result of reflection, which gradually blends into

the warm tints, the result of transmission through the same atmosphere.

Such a composition of harmonious colouring is to the eye what the voice

of the soft breath of summer amongst the trees, the hum of insects on

a sultry day, or the simple harmony of the Æolian harp, is to the ear.

To such a composition of chromatic harmony must also be referred the

universal concurrence of mankind in appreciating the peculiar beauty of

white marble statuary. That the principal constituent of beauty in such

works ought to be harmony of form, no one will deny; but this is not the

only element, as appears from the fact, that a cast in plaster of Paris,

of a fine white marble statue, although identical in form, is far less

beautiful than the original. Now this undoubtedly must be the consequence

of its having been changed from a semi-translucent substance, which,

like the atmosphere, can transmit as well as reflect light, to an opaque

substance, which can only reflect it. Thus the opposite principles of

chromatic warmth and coolness are equally balanced in white marble—the

one being the natural result of the partial transmission of light, and

the other that of its reflection.

As a series of coloured illustrations would be beyond the scope of this

_résumé_, I may refer those who wish to prosecute the inquiry, with the

assistance of such a series, to my published works upon the subject.[24]

THE SCIENCE OF BEAUTY, APPLIED TO THE FORMS AND PROPORTIONS OF ANCIENT

GRECIAN VASES AND ORNAMENTS.

In examining the remains of the ornamental works of the ancient Greek

artists, it appears highly probable that the harmony of their proportions

and melody of their contour are equally the result of a systematised

application of the same harmonic law. This probability not being fully

elucidated in any of my former works, I will require to go into some

detail on the present occasion. I take for my first illustration an

unexceptionable example, viz.:—

_The Portland Vase._

Although this beautiful specimen of ancient art was found about the

middle of the sixteenth century, inclosed in a marble sarcophagus within

a sepulchral chamber under the Monte del Grano, near Rome, and although

the date of its production is unknown, yet its being a work of ancient

Grecian art is undoubted; and the exquisite beauty of its form has been

universally acknowledged, both during the time it remained in the palace

of the Barberini family at Rome, and since it was added to the treasures

of the British Museum. The forms and proportions of this gem of art

appear to me to yield an obedience to the great harmonic law of nature,

similar to that which I have instanced in the proportions and contour of

the best specimens of ancient Grecian architecture.

[Sidenote: Plate XII.]

Let the line A B (Plate XII.) represent the full height of the vase.

Through A draw A _a_, and through B draw B _b_ indefinitely, A _a_ making

an angle of (¹⁄₂), and B _b_ an angle of (¹⁄₃), with the vertical.

Through the point C, where A _a_ and B _b_ intersect one another, draw

D C E vertical. Through A C and B respectively, draw A D, C F, and B

E horizontal. Draw similar lines on the other side of A B, and the

rectilinear portion of the diagram is complete.

The curvilinear contour may be thus added:—

Take a cut-out ellipse of (¹⁄₄), whose greater axis is equal to the line

A B, and

_1st._ Place it upon the diagram, so that its circumference may be

tangential to the lines C E and C F, and its greater axis _m n_ may make

an angle of (¹⁄₅) with the vertical, and trace its circumference.

_2d._ Place it with its circumference tangential to that of the first at

the point m, while its greater axis (of which _o p_ is a part) is in the

horizontal, and trace the portion of its circumference _q o r_.

_3d._ Place it with its circumference tangential to that of the above at

_v_, while its greater axis (of which _u v_ is a part) makes an angle of

(³⁄₁₀) with the vertical, and trace the portion of its circumference _s v

t_.

Thus the curvilinear contour of the body and neck are harmonically

determined.

The curve of the handle may be determined by the same ellipse placed so

that its greater axis (of which _i k_ is a part) makes an angle of (¹⁄₆)

with the vertical.

Make similar tracings on the other side of A B, and the diagram is

complete. The inscribing rectangle D G E K is that of (²⁄₅).

The outline resulting from this diagram, not only is in perfect agreement

with my recollection of the form, but with the measurements of the

original given in the “Penny Cyclopædia;” of the accuracy of which there

can be no doubt. They are stated thus:—“It is about ten inches in height,

and beautifully curved from the top downwards; the diameter at the top

being about three inches and a-half; at the neck or smallest part, two

inches; at the largest (mid-height), seven inches; and at the bottom,

five inches.”

The science of beauty, as developed in nature and applied in art · 第 5 / 9 段

It is true, that there are individuals whose powers of vision are