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.