Transcriber’s Notes:
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in the original text.
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in the original text.
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Illustrations have been moved so they do not break up paragraphs.
Deprecated spellings have been preserved.
Typographical and punctuation errors have been silently corrected.
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[Illustration: PLATE IX.]
THE LAWS OF CONTRAST OF COLOUR:
AND THEIR APPLICATION TO THE ARTS
OF
PAINTING, DECORATION OF BUILDINGS, MOSAIC WORK, TAPESTRY AND
CARPET WEAVING, CALICO-PRINTING, DRESS, PAPER-STAINING,
PRINTING, MILITARY CLOTHING,
Illumination, Landscape, and Flower Gardening, &c.
BY M. E. CHEVREUL,
DIRECTOR OF THE DYE WORKS OF THE GOBELINS,
ETC. ETC.
TRANSLATED FROM THE FRENCH BY
JOHN SPANTON.
_NEW EDITION_,
With Illustrations printed in Colours.
LONDON:
ROUTLEDGE, WARNE, AND ROUTLEDGE,
FARRINGDON STREET.
NEW YORK: 56, WALKER STREET.
1861.
CONTENTS.
PAGE
INTRODUCTION 1
PART THE FIRST.
SECTION I.—ON THE LAW OF SIMULTANEOUS CONTRAST OF COLOURS,
AND OF ITS DEMONSTRATION BY MEANS OF EXPERIMENT 4
CHAP. I.—Manner of observing the Phenomena
of the Simultaneous Contrast of Colours. Definition
of Simultaneous Contrast 4
CHAP. II.—The Law of the Simultaneous Contrast
of Colours, and the Formula which represents it 8
CHAP. III.—The Law of Simultaneous Contrast of Colours
demonstrated by the Juxtaposition of a certain Number
of Coloured Bodies 10
CHAP. IV.—On the Juxtaposition of Coloured
Surfaces with White 18
CHAP. V.—On the Juxtaposition of Coloured Bodies with Black 19
CHAP. VI.—On the Juxtaposition of Coloured Bodies with Grey 21
CHAP. VII.—On the Juxtaposition of Coloured Bodies belonging
to the Colours of the same Group of Coloured Rays 24
CHAP. VIII.—On the Application of the Law of Contrast to the
Hypothesis that Red, Yellow, and Blue are the only
Primary Colours; and that Orange, Green, Indigo, and Violet
are Secondary or Composite Colours 25
SECTION II.—ON THE DISTINCTION BETWEEN SIMULTANEOUS, SUCCESSIVE,
AND MIXED CONTRAST OF COLOURS, AND ON THE CONNEXION BETWEEN
THE EXPERIMENTS MADE BY THE AUTHOR, AND THOSE PREVIOUSLY
MADE BY OTHER OBSERVERS. DISTINCTION BETWEEN SIMULTANEOUS,
SUCCESSIVE, AND MIXED CONTRAST OF COLOURS 29
PART THE SECOND.
ON THE APPLICATION OF THE LAW OF SIMULTANEOUS CONTRAST
OF COLOURS 34
Introduction 34
Definition of the words Tones, Scales, and Hues 34
Of Diagrams designed to represent and define Colours
and their Modifications 36
Harmony of Colours 46
Assortments of Red, Orange, Yellow, Green, Blue,
and Violet with White, Black, and Grey 49
Colours with White 50
Colours with Black 54
Colours with Grey 58
FIRST DIVISION.—IMITATION OF COLOURED OBJECTS WITH COLOURED
MATERIALS IN A STATE OF INFINITE DIVISION 68
Introduction 68
Painting on the System of Chiaro-’scuro 69
Painting on the System of Flat Tints 81
SECTION III.—ON COLOURING IN PAINTING 82
CHAP. I.—On Colouring 82
Of Aërial Perspective 83
Of Colouring in respect to the Harmony of the Colours
of the various Objects composing the Picture 85
CHAP. II.—Utility of the Law of Simultaneous
Contrast of Colours in the Art of Colouring 87
Utility of this Law in order to imitate promptly and
surely the Modification of Light on the Model 89
Utility of the Law in order to Harmonize those Colours
of a Composition which are inherent to the Nature
of the Object represented 95
SECOND DIVISION.—IMITATION OF COLOURED OBJECTS BY MATERIALS
OF A DEFINITE SIZE, AS THREADS, &C. 102
CHAP. I.—On the Elements of Gobelins Tapestry 104
RULE I.—The Binary Mixture of Primary Colours 104
RULE II.—The Mixture of Complementary Colours 105
RULE III.—The Mixture of the Three Primary Colours in such
proportions that they do not become neutralized, because
one or the other of them is in excess 108
THIRD DIVISION.—COLOUR PRINTING 118
On Calico-Printing, and printing Paper-hangings 118
False Judgment of the Value of Recipes for Colouring
Compositions 119
CHAP. II.—On the Law of Simultaneous Contrast of
Colours in relation to Paper-hangings with Figures,
Landscapes, or large Flowers of varied Colours 121
On the Law of Simultaneous Contrast of Colours
relatively to the Borders of Paper-hangings 123
Printed or written Characters on Papers of different
Colours 136
On the Assortment of Colours for reading by diffused
Daylight 138
FOURTH DIVISION.—EMPLOYMENT OF COLOURS IN ARCHITECTURE 138
1. On the Employment of Colours in Egyptian Architecture 138
2. On the Employment of Colours in Greek Architecture 139
3. On the Employment of Colours in Gothic Architecture 141
Application to the Interior of Edifices 143
On the Assortment of Stuffs with the Wood of Seats 143
On the Selection of Frames for Pictures and Engravings 145
On the General Decoration of the Interiors of Churches 147
On the Decoration of Museums and Galleries 149
Decorations of the Interior of Houses 152
On the Assortment of Colours in Interiors, the Walls of
which are panelled or covered with Marble, Stucco,
or Painted Wood 163
FIFTH DIVISION.—CLOTHING 165
I. MEN’S CLOTHING 165
Of the Advantages of Contrast, considered with regard
to the apparent Cleanliness of Cloth for Clothing 165
II. FEMALE CLOTHING 167
Colours for the Dress of Women with White Skins 167
Of the Colours of the Hair and Head-dress 168
Of the Colours of the Complexion and the contiguous
Drapery 169
The Head-dress in relation to the Coloured Rays which it
may reflect upon the Skin 171
Fair-haired Type 175
Type with Black Hair 176
On the Assortment of Colours in the Dress of
Women with Copper-coloured Skins 177
On the Assortment of Colours in the Dress of
Women with Black or Olive Skins 177
APPLICATIONS TO HORTICULTURE.
On the Art of arranging ornamental Plants in Gardens, so
as to derive the greatest possible advantage from the
Colours of their Flowers 180
Assortments of Flowers where the Plants are apart 181
Assortments relating to the Harmonies of Contrast of Hues 182
Assortments as to Harmony of Analogy 182
On the Art of assorting Ligneous Plants in Gardens, so as
to derive the best possible advantage from the Colour
of their Foliage 184
On the Distribution and Planting of Trees, &c., in Masses 185
Chap. I. Of Lines of Plants 187
Of the Lines of Plants called Screens 188
Of Lines of Plants considered as Elements of Masses 188
Of Homogeneous Masses 189
Of Heterogeneous or Varied Masses 190
Isolated 190
Contrast of Colours 194
Repetition 194
Symmetry 196
General Harmony 196
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 197
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 or Purity of their Colours, and of the Equality
of the Distance of their Tones if these bodies belong to
the same scale 205
On the Comparison of two Samples of the same Colour 206
Influence of a Surrounding Colour upon one Colour
when compared with another 206
On the Effect of Contrast upon the Browns and the
Lights of most of the Scales of Wood and Silk employed
in Tapestry and Carpets 208
Means afforded by Contrast for ascertaining whether
the Tones of a Scale of Colour are equidistant 209
Of the Binary Associations of Colours, critically
considered 210
Of the Complex Association of Colours, reviewed
critically 214
Of the Arts which address the Eye by employing
Coloured Materials of a certain size, considered
relativelyto the Physical Condition of these Materials,
and to the Peculiarity of the Art employing them 218
Tapestries, Carpets, Mosaics, and Coloured Glass
Windows, corresponding to Paintings in Chiaro-’scuro 219
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 225
ON THE COLOURS OF MILITARY UNIFORMS 227
INDEX 235
LIST OF ILLUSTRATIONS.
ENGRAVED AND PRINTED IN COLOURS BY EDMUND EVANS.
In referring to the illustrations, it will be necessary to cover
with white paper all but the example immediately under notice.
NOTE.—In Plates 8, 9, and 10, the examples are in rows
of 13 circles arranged lengthwise.
PLATE PAGE
1. DIAGRAMS, VARIOUS 4
2. EXPERIMENTAL DEMONSTRATIONS OF CONTRAST
OF COLOUR 7
3.} MODIFICATIONS WHICH THE PRINCIPAL COLOURS
4.} INDUCE IN CONTIGUOUS COLOURS 17
5.}
6. SIMPLE AND COMPOUND COLOURS 26
7. CHROMATIC DIAGRAM 36
8. ASSORTMENTS OF COLOURED CIRCLES:—
COLOURS WITH WHITE 51
9. DO. DO. BLACK 54
10. DO. DO. GREY 58
11. ELEMENTS OF GOBELINS TAPESTRY:—
THE BINARY MIXTURE OF PRIMARY COLOURS 104
12. DO. THE MIXTURE OF COMPLEMENTARY COLOURS 105
13. BLACK ORNAMENTS ON VARIOUS COLOURED GROUNDS 120
14. GREY DO. DO. DO. 123
15. METALLIC GILT ORNAMENTS ON DO. 124
16. BORDER OF BLUE FLOWERS ON DO. 130
17. BORDER OF ROSES AND LEAVES ON DO. 131
PREFACE TO THE THIRD EDITION.
The present edition has been entirely revised; some obscurities cleared
up, and a chapter on Military Clothing added. The application of
Chevreul’s reasoning will doubtless tend to a rational view of this
much debated question. It affords much satisfaction to all concerned
in the diffusion of the principles enunciated in this work, to observe
that they are being generally applied in this country, thus realizing
the hopes originally expressed by the translator.
TRANSLATOR’S PREFACE.
Colour, a universal source of enjoyment, so essential an element
of decorative art, has not been hitherto the subject of such
investigations as to place its powers, harmonies, and discordances
among matters of scientific certainty. A few traditionary dogmas have
been the only guide of ordinary workmen, while success in design, as
well as in the higher regions of art, has been dependent upon that rare
union of faculties vaguely denoted by the indefinite, unsatisfactory
term, “taste.”
The arrangement of colours in manufactures of English design—since the
decline of mediæval art—has commonly been condemned as notoriously
arbitrary, destitute of any reference to principle, and deficient
in that satisfying richness and beauty which result from harmonious
combinations. Although often overcharged with colour, and of costly
elaboration, our manufactures have too often proved that the
designer—in ignorance of a true, infallible standard—has mistaken
gaudiness for splendour, and capricious strangeness for improvement;
and, for want of a better claim to popular favour, has constantly
sought it by “leaning on novelty, his fickle, frail support.”
The established preference of French designs was shown, by the Great
Exhibition of 1851, to be, in the main, well-founded; and one of the
leading causes of the perfect success of some objects was found in
the fact, that they had been designed and executed in accordance with
a well-defined set of principles, extensively taught in France to
designers, workmen, and others. These principles it is the purpose of
this book to set forth, to illustrate, and to apply to every art of
which the choice and arrangement of colours is an element.
The author, M. Chevreul, before the publication of this work, had
gained high reputation by his researches in organic chemistry. In his
“Considerations sur l’Analyse Organique,” he enunciated principles
which, carried into practice in his “Recherches sur les Corps Gras
d’origine animal,” opened the path which has been rendered illustrious
by Liebig and others. But, being appointed Director of the Dye Works of
the Gobelins, he was compelled to abandon these researches—the field in
which, “having sown, he had, as it were, only to reap,”—that he might
fully investigate the principles involved in the assortment of colours.
M. Chevreul’s earnest attention to this inquiry was continued during
ten years, with ample opportunities for investigation. For twenty-five
years he has been in the habit of lecturing to workmen, artists, &c.
The undisputed superiority of those French manufactures in which these
instructions have been fully carried out, has evinced his success and
rewarded his exertions.
Aware of the important influence of such knowledge, the Chamber of
Commerce of Lyons solicited and obtained from the French Government
permission for M. Chevreul to lecture there to the artisans especially,
to whom printed copies of the lectures were afterwards gratuitously
distributed.
As the present Work contains the substance of these instructions, we
may hope that our own industrious countrymen may not long be without a
similar advantage.
The value of this book has been universally recognised, and it
has already been translated into several languages, although but
recently into our own. A recent critic has said, with equal truth and
eloquence,—“Rarely has a subject of inquiry, so fraught with beautiful
and ready applications, been presented to us. To be familiar with this
book is to possess a new sense. Every object in art and nature speaks a
new and exciting language. Colour becomes music to the eye. We become
impatient of any violent infringement of the principles of harmony,
and seek every opportunity of putting our newly-acquired knowledge
into practice. The minuteness of investigation, and the copiousness of
illustration which characterize this volume are truly remarkable; the
most untutored mind cannot fail to understand it, if steady attention
be given. As a preparation for a course of scientific study, it is
invaluable, for it is an excellent example of the Baconian method of
investigation.”
EXTRACTS FROM THE AUTHOR’S PREFACE.
In seeking to discover the causes of the complaint made of the quality
of certain colours prepared in the dyeing laboratory of the Gobelins,
I was at once convinced, that, although the complaints concerning
the instability of the light blues, greys, and browns, might be well
founded, there were others, especially those of a want of vigour in
the blacks employed for the shadows of blue and violet draperies,
which were not so; for, having procured black-dyed wools from the most
celebrated dye works in France and other countries, and having found
that they were not superior to those of the Gobelins, I saw that the
want of vigour alleged against the blacks was owing to the colours
contiguous to them, and that the matter was involved in the phenomena
of _the contrast of colours_.
It was thus demonstrated to me that I had two absolutely distinct
subjects to investigate, in order to fulfil my duties as Director of
the Dye Works; the first being the contrast of colours, considered
in the most general manner, both in relation to science and to its
applications: the second—the chemistry of dyeing. These are the two
centres around which have converged all my researches during the last
ten years.
In fact, numerous observations made during several months, on the view
of coloured objects, which were verified by my pupils and others, much
accustomed in their profession to judge of colours and to appreciate
the least differences between them, have been collected and described
as well-known facts. Upon reflecting on the mutual relations of these
facts, and in seeking the principle of which they were the results,
I was led to the discovery of that which I have named the “Law of
Simultaneous Contrast of Colours.” Thus this work is the fruit of the
method _à posteriori_: facts are observed, defined, described, then
generalized in a simple expression, which has all the characters of
a law of nature. This law, once demonstrated, becomes a means, _à
priori_, of assorting coloured objects so as to obtain their best
possible effect, according to the taste of the person who arranges
them; it becomes also a means of estimating whether the eyes are well
organized for seeing and judging of colours; and whether painters have
copied exactly the colours of known objects.
In reviewing the Law of Contrast with regard to its application,
and in submitting to experiment all the laws which appear to me to
result from it, I have been led to extend it to the arts of tapestry,
to the various sorts of painting and printing, to illuminating,
horticulture, &c. But, in order to anticipate the judgments of some
readers, upon the value of the opinions I have advanced (2nd part,
2nd division) respecting the Gobelins and Beauvais tapestry and the
Savonnerie carpets, I must state, that, being an entire stranger to
the inspection and direction of the works which are executed in the
Royal manufactories, as well as to the choice of models, my views and
opinions should be regarded only as those of an individual who has had
frequent occasion to see and examine various artistic productions, on
the preparation of which he could exercise no influence, the duties
which attach me to the Gobelins being exclusively those of Director of
its Dye Works.
THE LAWS OF
Harmony and Contrast of Colours.
INTRODUCTION.
1. A ray of solar light is composed of an indeterminate number of
variously coloured rays, which are distributed into groups, termed _red
rays, orange rays, yellow rays, green rays, blue rays, indigo rays,
violet rays_.
2. But all the rays comprised in the same group, the red for example,
are not identical in colour; on the contrary, they may be considered
as differing more or less among themselves, although we recognise the
impression they produce separately, as comprised in that which we
ascribe to red light.
3. When light is reflected by an opaque white body, it is not modified
in proportion to the variously coloured rays which constitute white
light; but, 1. _If the body is not polished_, every point of its
surface is to be considered as dispersing the white light which falls
upon it, in all directions, into the surrounding space; so that the
point becomes visible to an eye placed in the direction of one of its
rays. We may easily conceive that the image of the body, in a given
position, is composed of the sum of the physical points, which send to
the eye so placed, a portion of the light which each point radiates. 2.
_If the body is polished_, as, for example, the surface of a mirror,
a portion of the light is irregularly reflected, as in the preceding
case; while another portion is regularly reflected, giving to the
mirror the property of presenting to an eye, suitably placed, the image
of the body which sends its light to the reflector. One consequence
of this distinction is, that if we regard two plane surfaces which
reflect white light, and differ from each other only in polish, it will
happen that where the unpolished surface is visible, all its parts
will be equally, or almost equally, illuminated; while the eye, when
in a position to receive only the light which it reflects irregularly,
will receive very little light from the polished surface; but it will
receive much more light when in a position to receive that which is
regularly reflected.
4. If the light which falls on a body is completely absorbed by that
body, so that it disappears from sight, as in falling into a perfectly
dark cavity, then the body appears to us black; and it becomes visible
only because it is contiguous to surfaces which reflect or transmit
light. We know of no bodies which are perfectly black, and it is only
because they reflect a little white light that we judge they have
relief, like other material objects.
5. When light is reflected by an opaque coloured body, there is always
a reflection of white light, and a reflection of coloured light; the
latter is owing to the fact that the body absorbs or extinguishes
within itself some of the coloured rays, and reflects the others.
It is evident that the _absorbed_ coloured rays are of a different
colour from the _reflected_ coloured rays; and farther, that if these
be reunited with the former, white light will be reproduced. It is
evident, also, that unpolished opaque bodies reflect irregularly white
light, and the coloured light which makes them appear coloured; and
that those which are polished reflect irregularly a portion only of
these two lights, while they reflect regularly the other portion.
6. It thus appears, by what has been said concerning the physical
composition of solar light, that if the whole of the coloured light
which is absorbed by a coloured body were reunited with the whole of
the light which it reflects, white light would result. Now, it is
this property of two variously coloured lights, taken in a certain
proportion, to reproduce white light, that we express by the words
_coloured lights complementary to each other_, or _complementary
colours_. It is in this sense that we say,
Red is complementary to Green, and _vice versâ_.
Orange ” ” Blue, ” ”
Greenish-Yellow ” Violet, ” ”
Indigo ” ” Orange-Yellow, ”
7. It must not be supposed that a red body, a yellow body, &c.
reflects, besides white light, only the red rays or yellow rays, &c.,
each of these bodies reflects also every sort of coloured rays; but,
the rays which cause us to judge it to be red or yellow, &c., being
more numerous than the others, produce more effect than they; yet, the
latter have an undoubted influence in modifying the action of red and
yellow rays upon the organ of sight. This explains the innumerable
diversities of colour observable among various red bodies, various
yellow bodies, &c. It is difficult not to admit that among these
diversely coloured rays reflected by bodies, there are a certain number
which, complementary to each other, must reproduce white light upon
reaching the retina.
PART THE FIRST.
SECTION THE FIRST.
OF THE LAW OF SIMULTANEOUS CONTRAST OF COLOURS, AND
OF ITS DEMONSTRATION BY MEANS OF EXPERIMENT.
CHAPTER I.
_Manner of observing the Phenomena of the Simultaneous
Contrast of Colours._—_Definition of Simultaneous
Contrast._
8. If we look at the same time at two stripes of unequal tints of the
same colour, or at two stripes of equal tints of different colours,
in juxtaposition, that is to say, contiguous by one of their edges,
the eye will perceive, if the stripes be not too wide, certain
modifications; in the first case affecting the intensity of the two
tints, in the second, the optical composition of the two colours
so placed. Now as these modifications cause the colours to appear,
when looked at together, more different than they really are, I have
given to them the name of the _simultaneous contrast of colours_. The
modification which affects the intensity of colour, I term _contrast of
tone_; and the modification which affects the optical composition of
the contiguous colours, I term _contrast of colour_.
The twofold phenomena of contrast of colour and contrast of tone may be
readily shown by the following.
_Experimental Demonstration of Contrast of Tone._
Plate A Aʹ.
9. Let the two halves of a sheet of unglazed paper, about twenty inches
square, be coloured clear grey, by a mixture of chalk and black; fix
them, in any way, upon a piece of unbleached linen, placed across a
window, at the distance of twelve inches asunder. Take two halves of
another piece of similar paper B Bʹ, but of a darker grey, and coloured
with the same substances. Fix A next to B and place Bʹ twelve inches
from B. (See Fig. 1.)
[Illustration: PLATE I.]
Upon looking at the four half-sheets for a few seconds, it will be
seen that A contiguous to B will be lighter than Aʹ, while B will seem
darker than Bʹ.
10. It is easy to demonstrate that the modification is not equally
intense over the whole of the surfaces A Aʹ and B Bʹ, but that it
becomes gradually feebler from the line of contact. This may be proved
by placing a card, so cut, that O and P may each present three grey
stripes, as shown in Fig. 2, Plate 1. The stripes 1 1 are more modified
than the stripes 2 2, and these are more so than the stripes 3 3.
However, in order that this modification may be effected, it is not
absolutely necessary that O and P should touch; for if the stripes 1 1
be covered, the stripes 2 2, 3 3 will be modified.
11. The following experiment, which is simply the result of the two
preceding (9 and 10), is well suited to demonstrate the extent of
contrast of tone. Upon a sheet of cardboard divided into ten stripes,
each about a quarter of an inch broad, lay a uniform tint of Indian
ink. As soon as it is dry, lay a second tint on all the stripes except
the first. As soon as the second is dry, lay a third on all the stripes
except the first and second, and so on of all the rest, so as to
have ten flat tints, gradually increasing in depth from the first to
the last. (See Fig. 3.) If ten strips of paper of the same grey, but
each of a different tone, be laid upon a cardboard, in the preceding
gradation, it will serve the same purpose.
Upon looking at the cardboard, it will be seen that the strips, instead
of presenting flat tints, will each appear of a tone diminishing in
intensity from the edge _a a_ to the edge _b b_. In the stripe 1, the
contrast is produced simply by the contiguity of the edge _b b_ with
the edge _a a_ of the stripe 2; in the stripe 10, it is simply by the
contiguity of the edge _a a_ with the edge _b b_ of the stripe 9.
But in each of the intermediate stripes 2, 3, 4, 5, 6, 7, 8, 9, the
contrast is produced by a double cause; partly by the contiguity of the
edge _a a_ with the edge _b b_ of the stripe which precedes it, partly
by the contiguity of the edge _b b_ with the edge _a a_ of the darker
tint which follows it. The first cause tends to raise the tone of the
half of the intermediate stripe; while the second cause tends to lower
the tone of the other half of the same stripe.
In consequence of this contrast, the stripes seen from a proper
distance, resemble channels rather than flat surfaces. For, in the
stripes 2 and 3 for instance, the grey is weakened from the edge _a
a_ to the edge _b b_, presenting to the eye the same effect as if the
light fell upon a channelled surface; there is however this difference,
that in the real channelling the enlightened part would throw a
reflection upon the dark portion.
12. Contrast of tone occurs with colours so called as well as with
grey; thus to repeat the experiment (9), fig. 1, with the halves _o o_
of a sheet of paper of a light tint of a certain colour, and the two
halves _p p_ of a sheet of paper of a darker tint of the same colour,
it will be seen that _o_ contiguous to _p_ will be lighter than _oʹ_,
and _p_ darker than _pʹ_. In short, it may be demonstrated as has been
done (10) that the modification of colours in juxtaposition becomes
weaker in proportion to their distance from the line of contact; and in
order to observe this effect in bodies which are not contiguous, it is
only necessary to experiment as described in (10).
[Illustration: PLATE II.]
The colours experimented upon must be as nearly as possible of equal
intensity.
13. _Experimental Demonstration of Contrast of Colour._—If we arrange
as before, the two halves of an unglazed coloured sheet of paper, and
two halves of another sheet of a different colour, but as nearly as
possible of equal intensity, or rather of _tone_ (8), upon looking
at the four half-sheets _o oʹ, p pʹ_ for a few seconds, we shall see
that _o_ differs from _oʹ_ and _p_ from _pʹ_; consequently the two
half-sheets, _o p_, seem to undergo a reciprocal modification of tint,
which is rendered apparent by comparing their colours with those of
_oʹ_ and _pʹ_.
14. No 1. { Red inclines to Violet.
{ Orange ” Yellow.
2. { Red ” Violet.
{ Yellow ” Green.
3. { Red ” Yellow.
{ Blue ” Green.
4. { Red ” Yellow.
{ Indigo ” Blue.
5. { Red ” Yellow.
{ Violet ” Indigo.
6. { Orange ” Red.
{ Yellow ” Bright Green.
7. { Orange ” Bright Red.
{ Green ” Blue.
8. { Orange ” Yellow.
{ Indigo ” Blue.
9. { Orange ” Yellow.
{ Violet ” Indigo.
10. {Yellow ” Bright Orange.
{ Green ” Blue.
11. { Yellow ” Orange.
{ Blue ” Indigo.
12. { Green ” Yellow.
{ Blue ” Indigo.
13. { Green ” Yellow.
{ Indigo ” Violet.
14. { Green ” Yellow.
{ Violet ” Red.
15. { Blue ” Green.
{ Indigo ” Deep Violet.
16. { Blue ” Green.
{ Violet ” Red.
17. { Indigo ” Blue.
{ Violet ” Red.
15. It thus appears from the experiments described in this chapter that
two coloured surfaces in juxtaposition, viewed simultaneously, present
to the eye two modifications—one relative to the depth of tone of their
respective colours, and the other relative to the physical composition
of those colours.
CHAPTER II.
_The Law of the Simultaneous Contrast of Colours, and the Formula which
represents it._
16. After I had assured myself that the preceding phenomena were
constant for my sight when it was not fatigued, and that many persons,
accustomed to judge of colours, saw them as I did, I sought to reduce
them to an expression sufficiently general to render it possible
to predicate the effect which would be produced upon the organ of
vision by the juxtaposition of two given colours. All the phenomena
that I have observed seem to depend upon a very simple law, which in
its most general sense may be enunciated in these terms: When two
contiguous colours are seen at the same time, they appear as dissimilar
as possible, both with regard to their optical composition and their
depth of tone. Therefore there may be at once simultaneous contrast of
colour, properly so called, and simultaneous contrast of tone.
17. Now two colours in juxtaposition, _o_ and _p_, will differ from
each other in the greatest possible degree when the complementary of
_o_ is added to _p_, and the complementary of _p_ is added to _o_;
indeed by the juxtaposition of _o_ and _p_, the rays of the colour
_p_, which _o_ reflects when it is seen alone, and which are active in
that case, cease to be so when _o_ and _p_ are in juxtaposition. Now
under these circumstances, each of the two colours, losing what it has
analogous to the other, must be so much more different from it.
18. The following formulæ will illustrate this:—
Let us represent—
The colour of the stripe O by the colour _a plus_ white B,
” ” P ” _aʹ plus_ white Bʹ,
the complementary colour of _a_ by C,
” ” _aʹ_” _cʹ_,
the colours of the two stripes seen separately are—
Colour of O = _a_ + B; colour of P = _aʹ_ + Bʹ;
by juxtaposition they become—
Colour of O = _a_ + B + _cʹ_,
P = _aʹ_ + Bʹ + _c_.
We will now show that this expression amounts to taking away the rays
of _aʹ_ from the colour _a_ of O (15), and to taking away the rays of
the colour _a_ from _aʹ_ of P.
For let us suppose—
B reduced into two portions, white = _b_ + white = (_a_ʹ + _c_ʹ),
Bʹ reduced into two portions, white = _b_ʹ + white = (_a_ + _c_).
The colours of the two stripes seen separately are—
The colour of O = _a_ + _b_ + _a_ʹ + _c_ʹ, and the colour of
P = _a_ʹ + _b_ʹ + _a_ + _c_.
By juxtaposition they become—
The colour of O = _a_ + _b_ + _c_ʹ, and the colour of
P = _a_ʹ + _b_ʹ + _c_.
An expression which is evidently the same as the former, except for the
values of B and Bʹ.
19. I have said that simultaneous contrast may at the same time affect
the optical composition of colours, and the depth of their tone;
consequently, when colours are not of the same depth, that which is
deep appears deeper, and that which is light appears lighter; that is
to say, the former appears to lose white light, while the latter seems
to reflect more of it. Thus _there may be, in looking at two contiguous
colours, simultaneous contrast of colours and simultaneous contrast of
tone_.
CHAPTER III.
_The Law of Simultaneous Contrast of Colours demonstrated by the
Juxtaposition of a certain Number of Coloured Bodies._
20. Let us now apply the above formula to the seventeen observations
of Chapter I., and we shall see that the modifications of contiguous
colours are precisely those which would result from the addition to
each of them of the complementary of the contiguous colour (18). The
rank these colours occupy in Chapter I. may be readily noted, as I have
attached to each the number applied to it in that chapter. And for the
complementary of each colour see (6). (See Plate II.)
_Orange and Green_, 7.
21. Orange, the complementary of Blue, being added to Green,
makes it Bluer or less Yellow.
Green the complementary of Red being added to Orange
makes it Redder less Yellow.
_Orange and Indigo_, 8.
22. Orange, the complementary of Blue, being added to Indigo,
makes it Bluer or less Red.
Green the complementary of Red being added to Orange
makes it Redder less Yellow.
_Orange and Violet_, 9.
23. Orange, the complementary of Blue, being added to Violet,
makes it Blue or less Red.
Violet the complementary of Orange-yellow being added to
Orange makes it Yellower less Red.
_Green and Indigo_, 13.
24. Green, the complementary of Red, being added to Indigo,
makes it Redder or more Violet.
Indigo the complementary of Orange-yellow being added
to Green makes it Yellow.
_Green and Violet_, 14.
25. Green, the complementary of Red, being added to Violet,
makes it Redder.
Violet the complementary of Green-yellow being added to
Green makes it Yellower.
_Orange and Red_, 1.
26. Orange, the complementary of Blue, being added to Red,
makes it Violet or Crimson.
Red the complementary of Green being added to Orange
makes it Yellower.
_Violet and Red_, 5.
27. Violet, the complementary of Green-yellow, being added
to Red, makes it Orange-yellow.
Red the complementary of Green being added to Violet
makes it Indigo.
_Indigo and Red_, 4.
28. Indigo, the complementary of Orange-yellow, being added
to Red, makes it Orange.
Red the complementary of Green being added to Indigo
makes it Blue.
_Orange and Yellow_, 6.
29. Orange, the complementary of Blue, being added to Yellow,
makes it Greener.
Yellow the complementary of Indigo being added to Orange
makes it Redder.
_Green and Yellow_, 10.
30. Green, the complementary of Red, being added to Yellow,
makes it Orange.
Yellow the complementary of Indigo-violet being added
to Green makes it Blue.
_Green and Blue_, 12.
31. Green, the complementary of Red, being added to Blue,
makes it Indigo.
Blue the complementary of Orange being added to Green
makes it Yellower.
_Violet and Blue_, 16.
32. Violet, the complementary of Greenish-yellow, being added
to Blue, makes it Greenish.
Blue the complementary of Orange being added to Violet
makes it Redder.
_Indigo and Blue_, 15.
33. Indigo, the complementary of Orange-yellow, being added
to Blue, makes it Green.
Blue the complementary of Orange being added to Indigo
makes it Violet.
_Red and Yellow_, 2.
34. Red, the complementary of Green, being added to Yellow,
makes it Green.
Yellow the complementary of Indigo-violet being added
to Red makes it Violet.
_Red and Blue_, 3.
35. Red, the complementary of Green, being added to Blue,
makes it Green.
Blue the complementary of Orange being added to Red
makes it Orange.
_Yellow and Blue_, 11.
36. Orange-yellow, the complementary of Indigo-violet,
being added to Blue, makes it Indigo.
Blue the complementary of Orange being added to Yellow
makes it Orange.
_Indigo and Violet_, 17.
37. Indigo, the complementary of Orange-yellow, being added
to Violet, makes it Red.
Violet the complementary of Greenish-yellow being added
to Indigo makes it Bluer.
38. It is evident that, all other things being equal, the modifications
of contiguous colours will be so much the more marked, as the
complementary colour C or Cʹ, which is added to each of them, differs
more from them; for the complementary Cʹ which is added to the colour
O, is identical with it, as the complementary C is identical with
the colour P to which it is added; and the modifications of O and P
will simply augment the intensity of their colours. But are there yet
any two bodies known which present to the observer two pure colours
perfectly complementary to each other? Certainly not; all those which
are coloured by reflection reflect (7), besides white light, a great
number of rays of various colours. We cannot instance a _red_ body and
a _green_ body, or an _orange_ and a _blue_, or an _orange-yellow_ and
an _indigo_, or a greenish-yellow and a _violet_, which reflect pure
or mixed colours, absolutely complementary to each other. So that the
juxtaposition of these colours produces only a simple _augmentation of
their intensity_. Hence, although it is less easy to verify the law of
contrast with respect to red and green, or orange and blue, &c., than
with respect to those which are the object of the seventeen experiments
just described (15), yet, upon applying it to the former, it will be
seen that their colours acquire a most remarkable brilliancy, strength,
and purity. This result, perfectly conformable to the law, may be
easily understood: for example, an orange-coloured object reflects blue
rays, as a blue object reflects orange rays (7). Hence, when a blue
stripe is put in contact with an orange stripe, although it is admitted
that the first appears to the eye to receive blue from the orange of
the second, as this appears to receive orange from the blue of the
blue stripe; or what is the same thing, that the blue stripe appears
to destroy the effect of the blue rays of the second stripe, as these
appear to destroy the effect of the orange rays of the blue stripe—it
is evident that the two colours so contrasted must purify each other,
and become more intense. But the blue may incline to green or violet,
and the orange to yellow or red; that is to say, the modification may
not only affect the intensity of the colour, but also its physical
composition. However, if this latter effect take place, it is always
much more feeble than the first. Besides, if you look several times
at the same coloured stripes, you will see that the blue which at
first had appeared to you greenish will afterwards appear inclining to
violet; and that the orange, which had appeared at first yellowish,
will incline to red; so that the phenomena of modification, as it
affects the physical composition of colour, will not have the constancy
of those which are the subject of the preceding seventeen observations
(15). I now proceed to state the observations I have made on colours
which are most nearly complementary to each other.
_Red and Green._
39. _Red,[1] the complementary of Green, placed by
the side of Green, increases its intensity._
_Green, the complementary of Red, placed by the side
of Red, increases its intensity._
[1] In the original French Edition there is evidently a confusion of
terms in this and the two following articles (39, 40, 41, 42). The Red
is there represented as placed in juxtaposition with _red_, and green
with _green_, and so on with the other instances; orange and blue;
orange-yellow and indigo; greenish-yellow and violet; instead of being
made by contrast with their respective complementaries to intensify
each other.
Such is the theoretical result, the experimental result entirely
agrees with it. When we place a green, inclining more to yellow than
to blue, side by side with, 1st, a slightly orange-red, 2nd, a slightly
crimson-red, and 3rd, an intermediate red, and repeat our observations
several times on each of these assemblages of colour, we shall observe
different results; that is to say, in one case the red will appear more
orange and the green yellower, and in another the red will appear more
violet and the green bluer. We shall find also that the change may be
attributed as much to a difference in the intensity of the light upon
the colours as to fatigue of the eye.
When we place a green, inclining rather to blue than to yellow, side by
side with, 1st, a slightly orange-red, 2nd, a slightly crimson-red, and
3rd, an intermediate red, the results are the same as with the first
green, but with this difference,—that in the assemblage of bluish-green
and of slightly crimson-red, observed several times, the green and
the red appear almost constantly yellower than they are separately. A
result very easily understood.
_Orange and Blue._
40. _Blue, the complementary of Orange, placed by the
side of Orange, increases its intensity._
_Orange, the complementary of Blue, placed by the
side of Blue, increases its intensity._
Upon repeating these observations with a deep blue and an orange which
is not too red, the two colours appear commonly to become redder.
_Orange-Yellow and Indigo._
41. _Orange-yellow, the complementary of Indigo,
placed by the side of Indigo, increases its intensity._
_Indigo, the complementary of Orange-yellow,
placed by the side of Orange-yellow, increases its intensity._
[Illustration: PLATE III.]
_Greenish-Yellow and Violet._
42. _Greenish-yellow, the complementary of Violet,
placed by the side of Violet, increases its intensity._
_Violet, the complementary of Greenish-yellow, placed
by the side of Greenish-yellow, increases its intensity._
The result of observation is almost always in conformity with this law.
43. According to the law of the simultaneous contrast of colours, and
the insensible gradation of modification, beginning at the contiguous
edges of the colours in juxtaposition (11), we may show, by means of
coloured circular spaces, the modifications which the principal colours
induce in those which are contiguous to them.
Place wafers, circular pieces of paper, or any other convenient
material about an inch and a half in diameter, coloured red, green,
orange, blue, greenish-yellow, violet, indigo, and orange-yellow, each
separately upon a sheet of white paper; then tint the white paper
around the circle with its complementary colour, gradually softening it
off from the coloured circle, when it will be found that
The Red circle tends to colour the surrounding space
with its complementary Green.
Green ” ” Red.
Orange ” ” Blue.
Blue ” ” Orange.
Greenish-yellow ” Violet.
Violet ” ” Greenish-yellow.
Indigo ” ” Orange-yellow.
Orange-yellow ” Indigo.
These figures are designed to exhibit the effects of contrast to those
persons who, not having studied physical laws, are, notwithstanding,
desirous of understanding these effects.
CHAPTER IV.
_On the Juxtaposition of Coloured Surfaces with White._
44. When white bodies are viewed simultaneously with coloured bodies
contiguous to them, they are sensibly modified. I confess that the
modification is too feeble to be determined with absolute certainty
while we are ignorant of the law of contrast; but, understanding that,
and knowing the modifications that white undergoes in connexion with
certain colours, we shall not fail to recognise this modification in
special cases, provided the colours opposed to the white be not too
deep.
_Red and White._
45. Green, complementary to Red, being added to White, the Red appears
more brilliant and deeper.
_Orange and White._
46. Blue, complementary to Orange, being added to White, the Orange
appears more brilliant and deeper.
_Greenish-Yellow and White._
47. Violet, complementary to Greenish-yellow, being added to White, the
Yellow appears more brilliant and deeper.
_Green and White._
48. Red, complementary to Green, being added to White, the Green
appears more brilliant and deeper.
_Blue and White._
49. Orange, complementary to Blue, being added to White, the Blue
appears more brilliant and deeper.
[Illustration: PLATE IV.]
_Indigo and White._
50. Yellowish-orange, complementary to Indigo, being added to White,
the Indigo appears more brilliant and deeper.
_Violet and White._
51. Yellowish-green, complementary to Violet, being added to White, the
Violet appears more brilliant and deeper.
_Black and White._
52. Black and white, which may be considered in some respects
complementary to each other, become, conformably to the law of contrast
of tone, more different than when seen separately. This results from
the effect of the white light, which is reflected by the black (4),
being more or less destroyed by the light of the white stripe. By an
analogous action, the white heightens the tone of the colours to which
it is contiguous.
CHAPTER V.
_On the Juxtaposition of Coloured Bodies with Black._
(See Plate 9, Page 54.)
53. A black surface being deeper than that which is contiguous to it,
the contrast of tone tends to deepen it still more, while it tends
to lower the tone of the contiguous colour; as on the other hand
white, placed in juxtaposition with it, would heighten it. So much for
contrast of tone.
54. Black surfaces reflect a small quantity of white light (4), and
this falling upon the retina simultaneously with the coloured light of
a contiguous body, it is evident that the black surface must appear
tinted with the complementary of the coloured light; but it will be a
weak tint, since it is displayed upon a ground which has but a feeble
power of reflecting light. So much for the contrast of colour.
55. The lowering of the tone of the colour contiguous to the black
is constantly observed; but a very remarkable fact is the weakening
of the black itself, when the contiguous colour is deep, and of a
nature to give a luminous complementary, as orange, orange-yellow,
greenish-yellow, &c.
_Red and Black._
56. Green (the complementary of Red), when placed by the side of Black,
makes it appear Reddish. The Red looks clearer, partaking less of
Orange.
_Orange and Black._
57. A Blue (the complementary of Orange), when placed by the side of
Black, causes it to appear less brilliant, or somewhat rusty, while
Orange by the side of Black appears more brilliant in colour.
_Greenish-Yellow and Black._
58. Greenish-yellow (the complementary of Violet), when placed by the
side of Black, gives it a Violet tint, whilst the Greenish-yellow
becomes clearer and more Green; but there are some kinds of Yellow
which are weakened by the side of Black.
_Green and Black._
59. Red (the complementary of Green), when placed by the side of Black,
causes the Black to appear more Violet or Reddish; whilst Green by the
side of Black becomes slightly Yellower.
[Illustration: PLATE V.]
_Blue and Black._
60. Orange (the complementary of Blue), when placed by the side of
Black, causes it to appear brighter, while the Blue becomes clearer and
somewhat Greener.
_Indigo and Black._
61. Orange-yellow (the complementary of Indigo), placed by the side
of Black, causes it to look much brighter. The Indigo also appears
brighter.
_Violet and Black._
62. Violet (the complementary of Greenish-yellow), when placed by the
side of Black, lightens it up; whilst the Violet becomes more brilliant
and clear, and somewhat Reddish.
CHAPTER VI.
_On the Juxtaposition of Coloured Bodies with Grey._
(See Plate 10, Page 58.)
63. As the brilliancy of the light reflected by white bodies is one
of the principal causes which render the sight insensible to the
modifications produced in white by the juxtaposition of coloured
bodies; and, on the other hand, as the feeble light reflected from
black bodies is unfavourable to our perception of the modifications
which they sustain from the proximity of coloured bodies, especially
when the complementary of the colour of these bodies is but slightly
luminous, it may be conceived that grey bodies, judiciously selected
with regard to their depth of tone, would, by contiguity to coloured
bodies, exhibit the phenomena of contrast of colour in a more striking
manner than either black or white bodies would.
_Red and Grey._
64. Grey appears Greenish by receiving the influence of its
complementary Red.
The Red appears purer, less Orange perhaps.
_Orange and Grey._
65. Grey appears Bluer by receiving the influence of its complementary
Orange.
The Orange appears purer, more brilliant, Yellower perhaps.
_Yellow and Grey._
66. Grey appears to incline to Violet by receiving the influence of its
complementary Yellow.
The Yellow appears more brilliant, and yet less Green.
_Green and Grey._
67. Grey appears to incline to Red by receiving the influence of its
complementary Green.
The Green appears more brilliant, Yellower perhaps.
_Blue and Grey._
68. Grey appears to incline to Orange by receiving the influence of its
complementary Blue.
The Blue appears more brilliant, Greener perhaps.
_Indigo and Grey._
69. Grey appears to incline to Orange by receiving the influence of its
complementary Blue.
The Blue appears more brilliant, Greener perhaps.
_Violet and Grey._
70. Grey appears Yellowish by receiving the influence of its
complementary Violet.
Violet appears fresher, less dull.
70_a_. The grey, which was the subject of the above experiments, was
as free as possible from every colouring matter foreign to black; it
belonged to the scale of normal black (see Part II., 164)—that is
to say, it resulted from a mixture of the purest possible black and
white materials. By juxtaposition with white, it appeared deeper, and
the white appeared more pure; while by juxtaposition with black, it
appeared lighter and more rusty, and the black appeared deeper.
70_b_. One result of the complementaries of colours in juxtaposition
with grey being more perceptible than when these colours are juxtaposed
with white or black, is, that if instead of a _normal grey_, we
juxtapose a _grey, tinted_ either with _red, orange, yellow_, &c.,
these tints will be greatly heightened by the complementaries added
to them. For example, a bluish grey will receive a very perceptible
increase of blue from its proximity to orange, and a yellowish-grey
will take a perceptible green tint from the same proximity.
NOTE.—_The chemical nature of coloured substances has
no influence upon the phenomena of simultaneous contrast._
71. The chemical nature of coloured bodies in juxtaposition has no
influence upon the modifications of their colours. Whatever may happen
to be the chemical composition of the coloured bodies, provided they be
identical to the sight, they yield the same results. I need only cite
the following examples:—Indigo, Prussian blue, cobalt, ultramarine,
as nearly alike as possible, gave the same sort of modification;
orange prepared from red lead, annotto, or a mixture of woad and
madder, caused the same modification of the colours to which they were
adjacent.
CHAPTER VII.
_On the Juxtaposition of Coloured Bodies belonging to the Colours of
the same Group of Coloured Rays._
72. Whenever there is a great difference between two contiguous
colours, the difference becomes still more appreciable by putting the
same colour successively in juxtaposition with the various colours
belonging to the same group. For example, _orange and red_.
Orange being placed beside scarlet-red, pure red and crimson-red, it
will be seen that the red acquires a purple and the orange a yellow
tint.
Violet being placed beside scarlet-red, pure red and crimson-red,
gives analogous results: the violet always appears bluer, and the red
yellower or less purple.
73. These observations explain why we obtain results in accordance with
the formula, even when such coloured substances are used as are far
from exhibiting pure colours, namely, stained papers or stuffs.
74. The juxtaposition of coloured stripes is a means of demonstrating
the difficulty of determining the types of pure colours by common
pigments; at least, if we do not take into consideration the law of
simultaneous contrast. For instance—
1. Place red in contact with orange-red; the first will
appear purple and the second yellower, as above; but
if the first red be placed beside purplish-red, the
latter will appear bluish, and the former more yellow
or orange; so that the same red will be purple in one
case and orange in the other
2. Place yellow beside orange-yellow, the former will
appear greenish and the latter redder; but if you put
the first yellow beside a greenish-yellow, the last
will appear greener, and the yellow more orange; so
that the same yellow will incline to green in one case,
and to orange in the other.
3. Place blue beside greenish-blue, the former will
incline to violet, and the second will appear yellower.
Put the same blue beside a violet-blue, the former will
incline to green, and the second will appear redder;
so that the same blue will be violet in one case and
greenish in the other.
75. Hence we see that the colours which painters term simple—red,
yellow, and blue—pass insensibly by juxtaposition into the condition
of compound colours, since the same red is purple or orange; the same
yellow is orange or green; and the same blue is green or violet.
CHAPTER VIII.
_On the Application of the Law of Contrast to the
Hypothesis that Red, Yellow, and Blue are the only
Primary Colours; and that Orange, Green, Indigo,
and Violet are Secondary or Composite Colours._
76. The experiments to which I have just applied the principle of
the modification which colours undergo by juxtaposition, and the
explanation consequent upon the manner in which white light has been
considered, are also clearly explained in the language of painters
and dyers, who admit of only three primary colours—red, yellow, and
blue. As there are persons who, while they hold this opinion, desire,
notwithstanding, to give a reason for the phenomena resulting from the
juxtaposition of colours, I will explain them in accordance with this
language; and, for greater clearness, I make five groups of juxtaposed
colours, beginning with those which include the observations to which
the preceding law is most easily applied. I shall presume that orange
is composed of red and yellow, green of yellow and blue, indigo and
violet of red and blue.
FIRST GROUP.—_Two Secondary Colours having a Simple Colour as a Common
Element._
It is very easy to verify the law when we look at two colours which
form part of the group: we see that by their reciprocal influence they
lose more or less of the colour which is common to them. It is evident
that they become more unlike each other in proportion to this loss.
1. _Orange and Green._—These colours having the element yellow in
common, lose it by juxtaposition. _The orange appears redder, and the
green bluer._
2. _Orange and Indigo._—These colours having the element red in common,
lose it by juxtaposition. _The orange appears yellower, and the indigo
greener._
3. _Orange and Violet._—Like the preceding.
4. _Green and Indigo._—These colours having the element blue in common,
lose it by juxtaposition. _The orange appears yellower, and the indigo
bluer._
5. _Green and Violet._—Like the preceding.
SECOND GROUP.—_A Compound Colour, and a Simple Colour, which is found
in the Compound._
Plate 6.
1. _Orange and Red._—The orange loses red, and appears yellower; the
red becomes bluer, to differ as much as possible from the orange.
[Illustration: PLATE VI.]
2. _Violet and Red._—The violet loses red, and appears bluer; the red
becomes yellower, to differ as much as possible from the violet.
3. _Indigo and Red._—Like the preceding.
4. _Orange and Yellow._—The orange loses yellow, and appears redder;
the yellow becomes bluer, to differ as much as possible from the orange.
5. _Green and Yellow._—The green loses yellow, and appears bluer; the
yellow becomes redder, to differ more from the green.
6. _Green and Blue._—The green loses blue, and appears yellower; the
blue becomes redder, to differ as much as possible from the green.
7 _Violet and Blue._—The violet loses blue, and appears redder; the
blue must become yellower to differ as much as possible from the violet.
8. _Indigo and Blue._—Like the two preceding.
THIRD GROUP.—_Two Simple Colours._ (See 6, 7.)
1. _Red and Yellow._—Red in losing yellow appears bluer; and the yellow
losing red appears bluer; or, in other words, the red inclines to
purple, and the yellow to green.
2. _Red and Blue._—The red in losing blue appears yellower; and the
blue losing red appears yellower; or, in other words, the red inclines
to orange, and the blue to green.
3. _Yellow and Blue._—The yellow in losing blue appears redder; and the
blue losing yellow appears more violet; or, in other words, the yellow
inclines to orange, and the blue to violet.
FOURTH GROUP.—_Two Compound Colours consisting of the same Simple
Colours._
_Indigo and Violet._—As indigo differs from violet only in containing
more blue in proportion to red, it follows that the difference will
be greatest when the indigo loses red and inclines to greenish blue,
while the violet, by gaining red, inclines toward that colour. It is
clear that, if the violet lost red, or if the indigo acquired it, the
two colours would approximate; but, as they differ from each other, the
first effect ensues.
We may further explain the preceding phenomena by considering indigo
relatively to violet, as blue; then it will lose its blue, which is
common to both colours, and incline to green; while the violet, also
losing its blue, will appear redder.
FIFTH GROUP.—_A Compound Colour, and a Simple Colour, which is not
found in the Compound._
1. _Orange and Blue._ 2. _Green and Orange._ 3. _Violet and Greenish
Yellow._
Upon the hypothesis that orange, green, and violet are compound
colours, and that red, blue, and yellow are simple, it follows
that in opposing them in the order in which they are reciprocally
complementary, and supposing also that the colours so juxtaposed are
entirely free from any foreign colour, there appears no reason for the
compound colour losing one of its elements rather than another, or for
the simple colour being unlike one of the elementary colours rather
than another. For instance, in the juxtaposition of green and red, we
see no reason why green should pass into blue rather than into yellow,
or why the red should incline to blue rather than to yellow.
SECTION II.
ON THE DISTINCTION BETWEEN SIMULTANEOUS, SUCCESSIVE,
AND MIXED CONTRAST OF COLOURS, AND ON THE CONNEXION
BETWEEN THE EXPERIMENTS MADE BY THE AUTHOR, AND THOSE
PREVIOUSLY MADE BY OTHER OBSERVERS. DISTINCTION BETWEEN
SIMULTANEOUS, SUCCESSIVE, AND MIXED CONTRAST OF COLOURS.
77. Before speaking of the relation of my experiments to those made by
others on the contrast of colours, we must distinguish three classes
of contrast. The _first_ includes those relating to the contrast which
I term _simultaneous_; the _second_ to that which I term _successive_;
and the _third_ to that which I term _mixed_.
78. _Simultaneous contrast of colours_ includes that phenomena of
modification which objects variously coloured seem to undergo in
physical composition, and in the depth of tone of their respective
colours, when seen at the same time.
79. _Successive contrast of colours_ includes the phenomena observed
when the eyes having looked for some time at one or more coloured
objects, perceive, after having ceased to look at them, images of those
objects, presenting the colour complementary to that of the actual
object.
80. This distinction also facilitates the understanding of the
phenomena which maybe called _mixed contrast_; for, the retina having
seen a certain colour for some time, has an aptitude to see for a
further time the complementary of that colour, as well as any new
colour presented by an external object; the sensation perceived being
the result of this new colour, and the complementary of the first.
For want of this distinction, one of the branches of optics most
fertile in applications, has not been treated with the clearness and
precision which are necessary to show its importance to those who have
not experimented upon it.
81. The following is a simple mode of observing _mixed
contrast_:—Having closed one eye, the right for example, look steadily
with the left at a sheet of paper of a colour A; when this colour seems
to become dull, look immediately at a sheet of paper of the colour B,
the eye then has the impression produced by the mixture of this colour
B with the complementary (C) of the colour A.
82. To be convinced of this mixed sensation, it is only necessary to
shut the left eye, and to look at the colour B with the right eye; when
the sensation perceived is not only that of the colour B, but it may
appear modified in the contrary way to that of the mixed sensation C +
B, or what is the same, it appears to be rather A + B.
83. Upon shutting the right eye, and looking again at the colour B with
the left eye, and that many times in succession, different sensations
are successively perceived, but more and more feebly, until at length
the left eye returns to its normal state.
84. I advise any person who thinks that one of his eyes is more able
to perceive colours than the other, to look at a sheet of paper
alternately with the right and left eye; if the sensations of each are
identical, he may conclude that he has deceived himself. And even if
the sensations be different, the experiment should be repeated several
times, successively, for the difference observed in a single experiment
might be occasioned by one of the eyes having been previously modified
or fatigued.
85. This practice appears to me especially useful to painters. I now
give some examples of mixed contrast.
86. The left eye, having looked for some time at red, has an aptitude
to see afterwards green, the complementary of red. If then it be
attracted by yellow, it perceives a sensation resulting from the
mixture of green and yellow. The left eye being shut, and the right
eye, which has not been modified by the sight of red, being opened, it
sees yellow, and it is possible that this yellow may appear more orange
than it is really.
87. _If the left eye_ | _and had_ | _the latter would_
_had first seen_ | _afterwards seen_ | _have seemed_
Yellow Red Violet.
88. Red Blue Greenish.
89. Blue Red Orange-red.
90. Yellow Blue Blue-violet.
91. Blue Yellow Orange-yellow.
92. Red Orange Yellow.
93. Orange Red Red-violet.
94. Red Violet Deep blue.
95. Violet Red Orange-red.
96. Yellow Orange Red.
97. Orange Yellow Greenish-yellow.
98. Yellow Green Bluish-green.
99. Green Yellow Orange-yellow.
100. Blue Green Yellow-green.
101. Green Blue Blue-violet.
102. Blue Violet Reddish-violet.
103. Violet Blue Greenish-blue.
104. Orange Green Bluish-green.
105. Green Orange Reddish-orange.
106. Orange Violet Bluish-violet.
107. Violet Orange Yellowish-orange.
108. Green Violet Red-violet.
109. Violet Green Yellow-green.
110. Red Green Bluer.
111. Green Red Tinted-violet.
112. Yellow Violet A little bluer.
113. Violet Yellow Greenish.
114. Blue Orange Yellower.
115. Orange Blue More violet.
116. I should observe that all these colours, at least to my eyes, did
not undergo equally intense or equally continuous modifications. For
instance, the modification produced by the successive view of yellow
and violet, or of violet and yellow, is stronger and more durable than
that produced by the successive view of blue and orange, and still
more than that of orange and blue. The modification produced by the
successive view of red and green, of green and red, is but slight, and
not enduring.
I may also add that the depth of tone exercises some influence on the
modification; for, if after looking at orange, we look at dark-blue,
the latter will appear greenish rather than violet, a result contrary
to that afforded by a light blue.
117. I have thought it the more necessary to mention under a special
name the phenomenon which I call _mixed contrast_, as it explains
certain facts remarked by dealers in coloured fabrics, as well as
the inconvenience felt by painters, who, wishing to produce an exact
imitation of their models, look at them so long as to be unable to
perceive their tones and modifications. I will mention two facts which
have been communicated to me by manufacturers, referring the reader to
Part II. for the application of the study of mixed contrast to painting.
118. First Fact. When a purchaser has looked a long time at a yellow
cloth, and he is then shown an orange, orange-red, or scarlet one, he
finds it dull, and judges it to be a dark or crimson-red; because the
retina affected by the yellow has a tendency to see violet; and hence
all the yellow of the orange colour disappears, and the eye sees it as
a red, or a red inclining to violet.
119. Second Fact. If there be presented to a purchaser, one after
another, fourteen pieces of a red fabric, he judges the six or seven
last pieces to be less beautiful than the first, although they may
be all identical. What is the reason of this false judgment? It is,
that the eyes which have seen six or eight red pieces in succession,
are in the same condition as if they had looked steadily for the
same length of time at a single red stuff,—having a tendency to see
the complementary of red, that is green. This tendency necessarily
enfeebles the brilliancy of the red of the last pieces. The dealer,
therefore, that he may not be a sufferer from the fatigued eyes of
his customer, after showing him a few red pieces, should present some
green ones, to restore the eyes to their normal state. If the view of
the green were sufficiently prolonged to pass the normal state, the
eyes would acquire a tendency to see red, and then the pieces seen last
would appear more beautiful than the rest.
PART THE SECOND.
ON THE APPLICATION OF THE LAW OF SIMULTANEOUS CONTRAST OF COLOURS.
INTRODUCTION.
120. Before entering into the details of these applications, I think
it necessary to offer some considerations which will enable me to
establish some propositions or principles, to which I shall have
frequent occasion to refer. I propose to give—
121. 1. Definitions of several expressions applicable to colours and
their modifications. 2. The means of representing and defining colours
and their modifications by the aid of diagrams. 3. A classification of
the harmonies of colours. 4. A view of some arrangements of the primary
colours with white, black, and grey.
SECTION I.
_Definition of the words Tones, Scales, and Hues._
122. The words _Tones_ and _Hues_ recur continually, both in common
language and in that of artists; yet they are not so well defined as to
be free from ambiguity, or to be well understood.
123. The word TONE of a colour will be employed exclusively to
designate the various modifications which that colour, in its greatest
intensity, is capable of receiving from white, which _lowers_ its tone,
or of black, which _heightens_ it.
124. The word SCALE will be applied to the assemblage of tones of the
same colour, thus modified. The pure colour is the normal tone of
the scale, if the normal tone does not belong to a broken or reduced
scale—_i.e._, to a scale, of which all the tones are made dull with
black (149).
125. The word HUE will be applied exclusively to the modifications
which a colour receives from the addition of a small quantity of
another. We shall speak, for example, of the _tones_ of the blue
scale, the _tones_ of the red scale, &c. We say the _hues_ of blue
to designate all the scales whose colours, still remaining blue,
yet differ from pure blue; each hue comprehending the tones which
constitute a scale more or less allied to the blue scale.
126. I have defined the tones of a colour to be the various
modifications, which that colour at its maximum of intensity is capable
of receiving from black and white; it must be observed that the
condition “maximum of intensity for receiving black,” is absolutely
essential to this definition; for if black be added to a tone below the
maximum, it would pass into another scale. Artists distinguish colours
as _pure, broken, reduced, grey_, or _dull_.
127. Pure colours are those termed _simple_, red, yellow, blue, and
those which result from their binary compounds, orange, green, violet,
and their _hues_. (150.) _Broken_ colours are the pure colours mixed
with black, from the tone of the lightest to the deepest. According to
these definitions, it is evident that in all the scales of simple and
binary colours, the tones which are above the pure colour are _broken_
tones.
128. Artists, and especially painters and dyers, admit that the
mixture of three primary colours, in a certain proportion, gives
black; hence, when these three colours are so mixed that two
predominate, black will result, formed from the union of the whole of
the colour, which is in small quantity, within suitable proportions of
the two predominant colours. For example, if blue be mixed with red
and yellow, a little black is produced, which reduces or _breaks_ the
orange.
129. We must remember that the _primary colours_ of painters are not
those of the prismatic spectrum, but substances employed by them, as
red, yellow, and blue colours.
SECTION II.
_Of Diagrams designed to Represent and Define Colours and their
Modifications._
130. Various contrivances have been proposed under the titles
of Tables, Scales, Colour-Circles, Chromatometers, &c., for
representing either by numbers or a rational nomenclature, colours
and their modifications. They are generally founded on these three
propositions:—1. There are three primary colours. 2. Equal portions of
these colours being mixed, produce pure secondary colours. 3. Equal
portions of the three primary colours produce black.
131. But we know of no substance which exhibits pure colour; that
is, which reflects only one kind of coloured rays, whether pure red,
pure yellow, or pure blue. And since it is impossible to procure pure
colouring matters, how can it be said that orange, green, and violet
are composed of two simple colours mixed in equal proportions? Or that
black consists of a mixture of equal parts of three simple colours?
[Illustration: PLATE VII.]
These chromatic tables, &c., point out mixtures which do not produce
the results deducible from the principles on which they are said to be
based.
132. But most of the blue, red, and yellow colours with which we are
acquainted, give, by their binary compounds, violet, green, and orange
inferior in brilliancy to the natural violet, green and orange colours
of objects. This result would be explained by admitting that colours
mixed two by two, reflect at least two kinds of coloured rays; and that
where there is any mixture of colours which reflect separately red,
yellow, and blue, there is produced a certain amount of black which
reduces the brilliancy of the mixture.
133. Conformably with this view, the violet, green, and orange colours
which result from a mixture of coloured matters, are most brilliant
when the respective colours of these materials approach each other.
For example, a mixture of blue and red inclines more to violet than
a mixture of blue and yellow inclines to green, and that of red and
yellow inclines still more to orange.
134. In order to represent all the modifications that I have called
_tones_ and _hues_ of colours, as well as the relations which exist
between those that are complementary to each other, I have devised
the following diagram (Plate 7). From a centre, _c_, I describe two
circumferences, _y_ Y. I divide each of these by means of three rays,
_c a_, _c b_, _c d_, into arcs of 120 degrees each. I divide the
portion of each ray comprised between the two circles _y_ Y into twenty
parts, which represent as many tones of the colours red, yellow, and
blue.
135. In each of the scales of these three colours there is one tone,
which, when pure, represents the colour of the scale to which it
relates. I therefore call it the _normal tone of that scale_. If we
represent a unit of surface _s_, entirely covered by the pigment
which reflects the normal colour, and if we suppose that this
colouring matter is equally distributed over the surface _a_ 1, we
shall represent the tones superior to the normal tone by the unit of
surface covered with 1 of the normal colour, plus the quantities of
black increasing with the number of tones; and we shall represent the
inferior tones by the unit of surface covered with a fraction of the
quantity 1, constituting the normal tone, mixed with (——) quantities of
black, as the tone has a less elevated number. If the tone 15 of the
red scale be the normal tone, the normal tone of the yellow scale will
have a lower number, while the normal tone of the blue scale will have
a higher number. This depends upon the unequal lightness of the colours.
136. If each arc of 120° be divided into two of 60° and if radii
pass through the points of division, beginning at _y_, there will be
represented twenty tones of the orange, green, and violet scales, the
colours at the extremities of each diameter being complementary to one
another. Each arc of 60° might be divided into arcs of 30°, and thus
would be obtained radii representing twenty tones of scales, which I
shall call orange-red, orange-yellow, greenish-yellow, greenish-blue,
bluish-violet, and violet-red.
137. By dividing each arc into five, for example, by means of five
radii, which I divide into twenty parts each, beginning at the
circumference _y_, I shall obtain sixty new scales.
138. Beginning with red, I designate them as follows:—
_a_ Red _e_ Yellow _i_ Blue
1 Red 1 Yellow 1 Blue
2 Red 2 Yellow 2 Blue
3 Red 3 Yellow 3 Blue
4 Red 4 Yellow 4 Blue
5 Red 5 Yellow 5 Blue
139. _b_ Red-orange _f_ Yellow-green _k_ Blue-violet
1 Red-orange 1 Yellow-green 1 Blue-violet
2 Red-orange 2 Yellow-green 2 Blue-violet
3 Red-orange 3 Yellow-green 3 Blue-violet
4 Red-orange 4 Yellow-green 4 Blue-violet
5 Red-orange 5 Yellow-green 5 Blue-violet
140. _c_ Orange _g_ Green _l_ Violet
1 Orange 1 Green 1 Violet
2 Orange 2 Green 2 Violet
3 Orange 3 Green 3 Violet
4 Orange 4 Green 4 Violet
5 Orange 5 Green 5 Violet
141. _d_ Orange-yellow _h_ Green-blue _m_ Violet-red
1 Orange-yellow 1 Green-blue 1 Violet-red
2 Orange-yellow 2 Green-blue 2 Violet-red
3 Orange-yellow 3 Green-blue 3 Violet-red
4 Orange-yellow 4 Green-blue 4 Violet-red
5 Orange-yellow 5 Green-blue 5 Violet-red
I attach no importance to this nomenclature; I employ it only as the
simplest to distinguish the seventy-two scales just described. The
number may be increased indefinitely, by inserting as many as we choose
between the above.
142. Let us now represent the gradations of each colour in the scales
of the circle by the addition to it of black, progressively increasing
till it becomes pure black. Imagine a quadrant whose radius is equal
to that of the circle, and arranged so as to turn upon an axis
perpendicular to the plane of the circle. Divide this quadrant, 1st, by
concentric arcs _y yʹ_, which coincide with the circles denoted by the
same letters; 2nd, by ten radii, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Divide
each of these radii into twenty parts, representing twenty tones,
corresponding to the tones of the scales represented on the circle.
143. I suppose that the tenth radius comprises the gradations of
normal black, covering the half-circle described by the movement of
the quadrant upon its axis; this black mixed in decreasing quantities,
with increasing quantities of white, gives the twenty tones of normal
grey, and ends by being lost in the white situated above the tone 1. I
suppose, further, that the normal tone of each of the scales taken upon
each of the radii of the quadrant 1, 2, 3, 4, 5, 6, 7, 8, 9, is formed
of the mixture of black with the colour of any of the scales that the
circle contains, and in such a proportion that the normal tone 15 of
that scale is represented by the unit of surface covered with 1, or
¹⁰/₁₀ of red.
144. The tone 15 of the scale of the
1st Radius = ⁹/₁₀ of Red + ¹/₁₀ of Black.
2nd ” = ⁸/₁₀ ” + ²/₁₀ ”
3rd ” = ⁷/₁₀ ” + ³/₁₀ ”
4th ” = ⁶/₁₀ ” + ⁴/₁₀ ”
5th ” = ⁵/₁₀ ” + ⁵/₁₀ ”
6th ” = ⁴/₁₀ ” + ⁶/₁₀ ”
7th ” = ³/₁₀ ” + ⁷/₁₀ ”
8th ” = ²/₁₀ ” + ⁸/₁₀ ”
9th ” = ¹/₁₀ ” + ⁹/₁₀ ”
These proportions relate to the effect of the mixtures upon the eye,
and not to the material quantity of the red and black substances.
145. We see then—1. That each of these _tones_, 15, composed of colour
and black, reduced by white and deepened by black, gives a scale of
twenty tones, so much the more broken as they are nearer the scale of
normal black. 2. That the quadrant by its movement upon the axis of
the circle, represents the scales of every colour except red, broken
by black. These broken scales are equidistant, and are formed of
equidistant tones. 3. That all the colours are thus contained in a
circle, whose plan comprehends the pure colours; the central space,
black; and the intermediate space the pure colours, broken by the
various proportions of black.
146. The diagram, as just described, thus represents the lowering
of pure colours by white, and their gradation by black; their
modifications by their mutual mixtures, the modification of hues,
and the modification of breaking. We will presently inquire into the
possibility of realizing it by means of coloured materials.
147. We have presumed—1. That the normal tone of each of the scales
is as pure as possible. 2. That the tones bearing the same number in
all the scales,—both those of the pure colours and those of the broken
colours,—are, to the sight, of equal depth. 3. That if three tones,
of the same number, be taken in three consecutive scales, the tone of
the intermediate scale is the mean between the colours of the extreme
scales. It is thus easy to explain the modifications of a pure colour
commencing with its normal tone.
148. These modifications are so produced that—1. _The Pure Colour never
leaves its Scale._—The modification is in the direction of the radius
of the circle—proceeding from the normal tone towards the centre,
it gains white; while proceeding from the normal tone towards the
circumference, it gains black.
149. 2. _The Pure Colour leaves its Scale by the addition of Black._—In
this case the various scales comprised in the quadrant perpendicular
to the circle, begin at the normal tone of one of the pure scales
of the circle with which the quadrant coincides. This normal tone,
resulting from a quantity of colour represented by unity, covering a
unit of surface _s_, the normal tones of the quadrant result from the
mixture of black and a fraction of unity of the colour. These mixtures
constitute broken colours, each covering a unit of surface _s_, and are
of the same depth as the normal tone of the pure colour. The fraction
of the quantity of colour is, in the broken normal tones, so much less,
as the scales, to which these tones belong, approximate to the vertical
axis of the semicircle.
Besides, each normal tone of the scales of the quadrant is modified,
like the normal tones of the scales of the circle, by increasing
quantities of white towards the centre, and of increasing quantities of
black towards the circumference.
150. 3. _A Pure Colour is modified by the addition of another Pure
Colour._—In this case hues are formed so much more resembling each
other, as the quantities of the second colour are smaller. These
modifications are made circularly, so that the tones retain their
numbers. Thus admitting, with painters and dyers, that there are only
three primary colours, and that by combining these two by two, we
obtain all the pure complex colours; and by combining them in threes,
all the broken colours; we find that it is possible to represent by
this hypothesis, all the modifications of colours.
151. Another advantage of this construction is that of giving to all
artists who may make applications of the law of simple contrast, the
complementaries of all the pure colours; since the colours of the
circular plan which are found at the extremities of the same diameter
are complementary to each other. For example, not only are red and
green, blue and orange, yellow and violet on the same diameter, but
it is so with orange-red and bluish-green, and yellowish-green and
violet-red; of red No. 1 and of green No. 1; so that all the colours
opposed to each other are mutually complementary.
152. The complementary of a colour contiguous to another being once
known, it is easy, according to the principles of combination, to
determine the modification that the second must receive from the
first; since this modification is the result of the mixture of the
complementary with the contiguous colour. In fact, if there is no
difficulty when the result is that of the non-complementary mixture
with a simple colour, red, yellow, and blue, with a binary colour,
orange, green, violet (using the language of painters, 76), there is no
greater difficulty when the result is that of the mixture of two binary
colours. For, the complementary being much less intense than the colour
with which it is mixed, the result will be found by subtracting from
the last binary colour the portion of its simple colour, which with the
complementary forms white, or in other words, neutralises it.
153. _Examples._—1. Orange being added as a complementary to green,
neutralises a portion of its blue, and consequently makes it appear
less blue or more yellow.
2. Orange being added as complementary to violet, neutralises a portion
of its blue, and consequently makes it appear less blue or more red.
3. Green being added as complementary to violet, neutralises a portion
of its red, and consequently makes it appear less red or more blue.
154. These three examples are easily explained by subtracting from the
binary colour a portion of its simple colour which is identical with
that contiguous to it. Thus:—
1. Blue subtracted from Green, makes it appear more Yellow.
2. Blue ” ” Violet ” ” Red.
3. Red ” ” Violet ” ” Blue.
155. To put the diagram into practice we must adopt invariable types
of colour, either in the solar spectrum, or in polarized light, or
coloured rings, or colours developed in a constant manner, by any
process whatever; then imitate them with the utmost fidelity, by means
of colouring matters which should be applied to the circular plan of
our chromatic diagram.
These types must be sufficiently numerous to reproduce the principal
colours, in order that a practised eye may without difficulty insert
all the tones of the same scale and all the hues of which types are
wanting. In fact the diagram thus established, should present terms so
near that the various colours of the natural bodies might be referred
to them.
156. 1. _That it represents all the Modifications resulting from the
Mixture of Colours._—Thus any colour lowered by white and deepened with
black may, retaining its place in the scale, give rise to an infinite
variety of tones; infinite, inasmuch as an unlimited number may be
inserted from tone 1 to tone 20.
157. 2. Pure colours, by their mutual modifications, may produce an
infinite variety of hues; for between two adjacent hues we may insert
as many as we desire.
158. 3. The normal tone of a pure colour represented by a quantity
equal to 1, covering the unit of surface, is the commencement of the
normal tones and scales proceeding towards black; these normal tones
being represented by black and a quantity of colour less than unity,
constituting the mixtures which cover a unit of surface s, and colour
it of a tone which has the same number as the normal tone of the pure
scale to which it relates. It is understood that in proceeding from
this tone to the corresponding tone of normal black, we may insert an
unlimited number of mixtures of colour and black.
159. The modifications of colours, thus indicated by the diagram,
render it extremely easy to understand the definitions given above
(123) of the words, scales, tones, hues, pure and broken colours.
160. 2. _It affords the means of knowing the complementaries of every
colour, since the names written at the two extremities of any one
diameter indicate the colours complementary to each other._
161. EXAMPLES.—_a._ Suppose it be required to know the mutual influence
of _blue and yellow_; at one extremity of a diameter we read the word
_blue_, and at its opposite end, the word _orange_; showing that blue
tends to give orange to yellow. Again, at the end of another diameter
we read the word yellow, and at its opposite, the word violet; by which
we see that yellow tends to give violet to blue.
162. _b._ Suppose _green and blue_ be contiguous; at one extremity
of a diameter we read the word green, and at its opposite end, red;
showing that green tending to give red to blue, must render it more
violet. Again, at one end of a diameter we read the word blue, and at
its opposite end, orange. But what arises from the mixture of green and
orange? The orange will tend to neutralize its complementary, blue, in
the green; and as it is always too feeble to neutralize all the blue,
its influence will be limited to neutralizing a portion of it; whence
it results that green, contiguous to blue, will appear more yellow than
it really is.
163. _c._ Let _green and yellow_ be contiguous, we shall see in like
manner that the green, by imparting red to the yellow, will render it
orange; and that violet, the complementary of yellow, by neutralizing
some yellow in the green, will make the green appear bluer, or less
yellow.
164. 3. _A third advantage of this diagram, which distinguishes it from
other chromatic diagrams, is, that it affords the preceding advantages,
without being coloured._
165. 4. _A fourth advantage is that of its manifesting to all artists
who use coloured materials of a definite size, especially the workers
of tapestry, carpets and the like, the relation of number which must
exist between the tones of the various scales which they work together._
SECTION III.
_Harmony of Colours._
166. The eye has an undoubted pleasure in seeing colours, independently
of the design and every other quality of the object which displays
them. A suitable example to demonstrate this, is the wainscoting of an
apartment in one or more flat tints which only attract the eyes and
affect them more or less agreeably, as the colours are well or badly
chosen.
167. First Case. _Agreeable Colour._—Every one, whose eyes are
well organized, derives pleasure from looking at the coloured rays
transmitted through a coloured glass, whether it be red, orange,
yellow, green, blue, or violet.
168. Second Case. _Different Tones of the same Scale of Colour._—The
simultaneous view of the series of tones of the same scale, which
commences with white and ends with dark brown, gives undoubtedly
an agreeable sensation, especially if the tones have equal and
sufficiently numerous intervals; for example, from eighteen to thirty.
169. Third Case. _View of Different Colours, belonging to adjacent
Scales, assorted conformably to Contrast._—The simultaneous view of
different colours, belonging to scales more or less allied to each
other, may be agreeable; but the assortment of scales producing this
effect is very difficult to obtain, because the more nearly the scales
approach, the more frequently it happens that one of the colours
injures that which is adjacent to it, and even both are reciprocally
injurious. The painter may, however, take advantage of this harmony,
by sacrificing one of the colours, which he subdues, to make the other
more brilliant.
170. Fourth Case. _View of very different Colours, belonging to very
distant Scales, arranged conformably to Contrast._—The simultaneous
view of complementary colours, or of binary assemblages of colours,
which, without being complementary, are yet very different, is also an
undoubtedly agreeable sensation.
171. Fifth Case. _View of various Colours, assorted more or less
according to the Law of Contrast_, being seen through a glass of a
colour not deep enough to allow all the colours peculiar to the glass
to be visible, afford a spectacle which is not without its charm, and
which is placed between that produced by the tones of the same scale,
and that which is produced by various colours; for it is evident, that
if the glass were of a deeper colour, it would cause objects to be seen
of the colour peculiar to it.
172. Hence we infer that there are six distinct harmonies of colour,
comprised in two species.
FIRST SPECIES—HARMONIES OF ANALOGY.—1. _The harmony of scale_,
produced by the simultaneous view of different tones of the same
scale, more or less approximating. 2. _The harmony of hues_, produced
by the simultaneous view of tones of the same, or nearly of the
same depth, belonging to neighbouring scales. 3. _The harmony of a
dominant coloured light_, produced by the simultaneous view of various
colours assorted according to the law of contrast, but one of them
predominating, as would result from the view of these colours through a
slightly-coloured glass.
173. SECOND SPECIES—HARMONIES OF CONTRAST.—1. _The harmony of contrast
of scale_, produced by the simultaneous view of two very distant tones
of the same scale. 2. _The harmony of contrast of hues_, produced by
the simultaneous view of tones of different depths, belonging, to
neighbouring scales. 3. _The harmony of contrast of colours_, produced
by the simultaneous view of colours, belonging to very distant scales,
assorted according to the law of contrast. The difference in the depth
of the adjacent tones may further augment the contrast of colours.
SECTION IV.
_Assortments of Red, Orange, Yellow, Green, Blue, Violet
with White, Black, and Grey._
174. It will not be useless to the object of this work to introduce
some observations relative to the degree of beauty of certain
arrangements of the primitive colours with black, white, and grey. But
I cannot too strongly insist upon the fact, that they are not given
as a rigorous deduction from scientific rules, for they are only the
expression of my particular taste; yet I hope that many classes of
artists, especially dressmakers, decorators of all kinds, designers of
patterns for woven fabrics, paper-hangings, &c., will find advantage in
consulting them.
175. The _ground_, as well as the interval between the colours, having
influence upon their effect, all my observations were made with white,
black, grey, and coloured circles, ⁴/₁₀ of an inch in diameter,
separated by intervals of ⁴/₁₀ of an inch; thirteen circles arranged in
a straight line forming a series.
176. The series designed to show the effect of white were on a ground
of normal grey; those to show the effect of black and of grey were upon
a white ground, slightly tinged with grey. It is necessary to remark
that the _coloured_ circles placed apart, were upon black grounds,
which must have exercised some influence.
177. The colours which have been under my notice are red, orange,
yellow, green, blue, violet. Their differences in regard to brilliancy
are so great as to admit of their being divided into two groups, one
comprising red, orange, yellow, and bright green, the other blue and
violet, which, with the same depth of tone, have not the brilliancy of
the former. I shall call the first group _luminous colours_, and the
second _sombre colours_. But the deep and broken tones of the _luminous
scales_ may in many cases be assimilated to the sombre group, as the
light tones of blue and violet may sometimes be employed as _luminous_
colours.
ARTICLE I.
_Colours with White._
Plate 8.
A. _Binary Assortments._
178. All the primary colours gain by their juxtaposition with white,
but the binary arrangements which result from them are not equally
agreeable; and it is to be remarked that the depth of tone of a colour
has a great influence upon the effect of its assortment with white.
The binary assortments in the order of their greatest beauty, are as
follows:—_light blue_ and white, _rose_ and white, _deep yellow_ and
white, _bright green_ and white, _violet_ and white, _orange_ and white.
Dark blue and dark red produce, with white, too strong a contrast of
tone to allow of their assortment being as agreeable as that of their
light tones. On the contrary, yellow being a light colour, we must take
the normal or deepest tone of yellow to produce its most beautiful
effect. Dark green and violet contrast too much in tone with white for
their combination to be as agreeable as those which are made with the
light tones of these colours. The objection which can be made to the
combination of orange and white is that of too much brilliancy; yet I
should not be surprised to find that many persons preferred it to that
of violet and white.
B. _Tertiary Assortments of Colours complementary to each other with
White._
179. It is to me impossible to establish an order of beauty among
binary combinations of primary complementary colours. I shall
therefore only describe the effect of white interposed between the
binary complementary assortments, or between each of the complementary
colours.
[Illustration: PLATE VIII.]
180. 1. _Red and Green_ are of all complementary colours the most
equal in depth; for red, as regards its brilliancy, is midway between
yellow and blue; and in green these two extremes are united. 2. The
arrangement, white, red, green, white, &c., is not decidedly superior
to the preceding, at least when the colours are not deep. 3. The
arrangement white, red, white, green, white, &c., seems to me inferior
to the preceding.
181. 1. _Blue and Orange_ are more opposed to each other than red and
green, because the least brilliant colour blue, is separated, while
the most brilliant are combined in orange. 2. The arrangement, _white,
orange, blue, white_, &c., is agreeable. 3. The arrangement, _white,
orange, white, blue, white_ &c., is also agreeable.
182. 1. _Yellow and Violet_ form an arrangement which, as regards
depth of tone, is most distinct, since the least intense or lightest
colour, the yellow, is separated from the others. Because of this
great contrast of tone, the deep, but pure, greenish-yellow combines
better with light violet, than light yellow and deep violet. 2. The
arrangement, _white, yellow, violet, white_, &c., appears to me
inferior to the preceding arrangement (1). 3. The arrangement, _white,
yellow, white, violet, white_, &c., seems to me inferior to 2.
C. _Ternary Assortments of Colours not complementary with White._
183. 1. Red and orange do not accord well. 2. The arrangement, _white,
red, orange, white_, &c., is scarcely preferable. 3. The arrangement,
_white, red, white, orange, white_, &c., is not so bad as the
preceding, because white being favourable to all the colours, its
interposition between the colours which injure each other, can only
produce an advantageous effect.
184. _Red and Yellow_ accord pretty well, especially if the red is
purple-red rather than scarlet, and the yellow rather greenish than
orange. 2, The arrangement, white, red, yellow, white, is preferable to
the preceding. 3. The arrangement _white, red, white, yellow, white_,
is still better.
185. 1. _Red and Blue_ accord passably, especially if the red incline
rather to scarlet than to crimson. Deep tones are preferable to
light ones. 2. The arrangement _white, red, blue, white_, &c., is
preferable to 1. 3. The arrangement _white, red, white, blue, white_,
is preferable to the second.
186. 1. _Red and Violet_ do not accord well, yet they are found in some
natural productions, as the sweet pea. 2. The arrangement _white, red,
violet, white_, is not so bad as the preceding. 3. The arrangement
_white, red, white, violet, white_, is preferable.
187. 1. _Orange and Yellow_ accord incomparably better than red
and orange. 2. The arrangement _white, orange, yellow, white_, is
agreeable. 3. The arrangement _white, orange, white, yellow, white_, is
not so good as 2, and perhaps 1, because there is too much white.
188. 1. _Orange and Green_ do not accord well. 2. The arrangement
_white, orange, green, white_, is preferable to 1. 3. The arrangement
_white, orange, white, green, white_, is perhaps preferable to 2.
189. 1. _Orange and Violet_ accord passably, yet not so well as orange
and green; the contrast, in the latter case, is greater than in the
arrangement orange and violet. 2. The arrangement _white, orange,
violet, white_, &c., is preferable to the preceding. 3. The arrangement
_white, orange, white, violet, white_, &c., is preferable to 2.
190. 1. _Yellow and Green_ form an agreeable combination. 2. The
arrangement _white, yellow, green, white_, &c., is still more
agreeable. 3. The arrangement _white, yellow, white, green, white_,
&c., is inferior to the preceding, and perhaps to the first. The
inferiority of 3 seems to me to be caused by too much light for the
_green_.
191. 1. _Yellow and Blue._ The arrangement of _yellow_ and _blue_
is more agreeable than that of _yellow_ and _green_, but it is less
lively. 2. The arrangement _white, yellow, blue, white_, &c., is
perhaps preferable to the preceding. 3. The arrangement _white, yellow,
white, blue_, &c., is perhaps inferior to the preceding.
192. 1. _Green and Blue_ produce an indifferent effect, but better
when the colours are deep. 2. The arrangement _white, green, blue,
white_, &c., is preferable. 3. The arrangement _white, green, white,
blue, white_, &c., has a still better effect, because the light is more
equally distributed.
193. 1. _Green and Violet_, especially when light, form a combination
preferable to the preceding, _green_ and _blue_. 2. The arrangement
_white, green, violet, white_, &c., is not decidedly superior to the
preceding. 3. The arrangement, _white, green, white, violet, white_,
&c., is not decidedly superior to it.
194. 1. _Blue and Violet_ accord badly. 2. The arrangement, _white,
blue, violet, white_, &c. is scarcely preferable to the preceding (1).
3. The arrangement _white, blue, white, violet, white_, &c., is not so
bad as the preceding (2).
ARTICLE II.
_Colours and Black._
Plate 9. (Frontispiece.)
195. I do not know whether the use of black for mourning, prevents
the use of it, in numberless cases, where it would produce excellent
effects; it may be combined most advantageously, not only with sombre
colours to produce the harmony of analogy, but also with light and
brilliant colours to produce the harmony of contrast.
196. Chinese artists appear to have made excellent use of it, for I
have often seen furniture, painting, ornaments, &c., where it has
been most judiciously employed. I recommend those artists for whom
this paragraph is particularly designed, to attend to the following
observations, not doubting that many will be profitable to them.
A. _Binary Combinations._
197. No combination of primary colours with black is disagreeable, but
there exists among these a generic difference of harmony, which is not
shown, at least to nearly the same degree, in the binary combinations
of white with the same colours. In fact the brilliancy of white is
so predominant, that whatever may be the difference of lightness or
brilliancy observed between the various associated colours, there will
always be the harmony of contrast, according to what has been said
(44-52) of the influence of white in raising the tone and augmenting
the intensity of the colour adjacent to it.
198. If the binary combinations of black be examined in this point of
view, it will be seen that the deep tones of all the scales, and even
of the blue and violet scales (which are not, properly speaking, deep),
form with it harmonies of analogy and not of contrast. So likewise do
the unbroken tones of the _red, orange, yellow-green_ scales, and the
very light tones of the violet and blue scale. We may add, according to
what has been said (55), that the combinations of _black_ with sombre
colours, such as _blue_ and _violet_, whose complementaries, orange and
_greenish-yellow_, are luminous, may diminish the contrast of tone if
the colours be juxtaposed with _black_ or one not far from it, and in
this case the _black_ loses much of its vigour.
199. _Blue_ and _Black, Violet_ and _Black_, make combinations which
may be employed successfully when only dark colours are required. The
first is superior to the second.
200. Light combinations which exhibit the harmonies of contrast, appear
to me in the order of beauty thus:—
_Red_ or _Rose_ and _Black_, _Orange_ and _Black, Yellow_ and _Black_,
lastly, _Bright Green_ and _Black_. As to yellow, I repeat that it must
be brilliant and intense, inasmuch as black tends to impoverish its
tone.
B.—_Ternary Combinations of Colours mutually Complementary with Black._
201. 1. _Red, Green_, &c. 2. _Black, Red, Green, Black_, &c. This
arrangement being quite different from the former, it is difficult to
decide respecting their comparative beauty. 3. _Black, Red, Black,
Green, Black_, &c., appear to me inferior to the preceding, because
there is too much black.
202. 1. _Blue, Orange_, &c. 2. _Black, Blue, Orange, Black_. I prefer
the first to the second; the proportion of dark colour being too strong
relatively to the _orange_. 3. _Black, Blue, Black, Orange, Black_, &c.
This pleases me less than the first.
The effect of _black_ with _blue_ and _orange_ is inferior to that of
_white_.
203. 1. _Yellow, Violet_, &c. 2. _Black, Yellow, Violet_, &c. 3.
_Black, Yellow, Black, Violet, Black_, &c. The second is superior to
the third, because the proportion of sombre colours with the _yellow_
is too strong in the latter. The first appears to me superior to the
second.
C.—_Ternary Combinations of Colours not Complementary with Black._
204. 1. _Red, Orange_, &c. 2. _Black, Red, Orange, Black_, &c. 3.
_Black, Red, Black, Orange, Black_, &c. As orange and red injure each
other, there is an advantage in separating them by black. The third
arrangement is preferable to the second; and both are preferable to
those in which _black_ is replaced by _white_.
205. 1. _Red, Yellow_, &c. 2. _Black, Red, Yellow, Black_. 3. _Black,
Red, Black, Yellow, Black_, &c. The two last arrangements appear
to me superior to the first, and many persons would prefer them to
the arrangement in which _white_ replaces _black_. I cannot too
strongly recommend the arrangement 2 and 3 to artists, for whom these
observations are especially designed.
206. 1. _Red, Blue_, &c. 2. _Black, Red, Blue, Black_. 3. _Black, Red,
Black, Blue, Black_, &c. No. 2 is preferable to No. 3, because there
are too many sombre colours in the latter, and because these differ too
much from the _red_. The effect of _black_ upon the binary arrangement,
_red_ and _blue_, is inferior to that of _white_.
207. 1. _Red, Violet_, &c. 2. _Black, Red, Violet, Black_, &c. 3.
_Black, Red, Black, Violet, Black_, &c. The _red_ and _violet_ injure
each other, it is therefore advantageous to separate them by _black_;
but the latter does not produce so good an effect as _white_. It is
difficult to say whether No. 3 is preferable to 2; because, if there be
in the latter _red_ near _violet_, this defect is more than compensated
in 3, by the predominance of sombre colours over the _red_.
208. 1. _Orange-Yellow_, &c. 2. _Black, Orange-Yellow_, &c. 3. _Black,
Orange, Black, Yellow, Black_, &c. The _orange_ and _yellow_ being
very luminous, the _black_ allies itself to them very well in the
arrangement 2 and 3; and if the arrangement, _white, orange, yellow,
white_, be preferred to No. 2, I think that in the arrangement 3, the
_black_ produces a superior effect to the _white_.
209. 1. _Orange, Green_, &c. 2. _Black, Orange, Green_, &c. 3. _Black,
Orange, Black, Green, Black_, &c. _Black_ combines well with _orange_,
and with _bright green_. In like manner it combines well with _orange_
and _yellow_. If, in the arrangement 2, _white_ be preferred to _black_,
I think it cannot be in 3. I recommend to artists the combination of
_black_ with the binary arrangements _orange_ and _yellow, orange_ and
_green_.
210. 1. _Orange, Violet_, &c. 2. _Black, Orange, Violet, Black_, &c. 3.
_Black, Orange, Black, Violet, Black_, &c. _Black_ does not combine so
well as _white_ with _orange_ and _violet_, because the proportion of
dark colours relatively to _orange_, a very vivid colour, is too great.
211. 1. _Yellow, Bright Green_, &c. 2. _Black, Yellow, Green, Black_,
&c. 3. _Black, Yellow, Black, Green, Black_, &c. _Yellow_ and _light
green_ being luminous colours, _black_ combines very well with them;
and if in the arrangement 2 the effect of _white_ be preferred to that
of _black_, I think that it cannot be in the arrangement 3.
212. 1. _Yellow, Blue_, &c. 2. _Black, Yellow, Blue, Black_, &c. 3.
_Black, Yellow, Black, Blue, Black_, &c. If the arrangement 2 be
preferable to 3, I think it inferior to 1. The _black_ does not appear
to combine so well as the white in the group _yellow_ and _blue_.
213. 1. _Green, Blue_, &c. 2. _Black, Green, Blue, Black_, &c. 3.
_Black, Green, Black, Blue, Black_, &c. Although _green_ and _blue_
do not well accord, yet the combination with _black_ is not decidedly
advantageous. Because of the augmentation of the proportion of sombre
colours, the _white_ has a superior effect to the _black_.
214. 1. _Green, Violet_, &c. 2. _Black, Green, Violet, Black_. 3.
_Black, Green, Black, Violet, Black_, &c. If the _black_ unite better
with _green_ and _violet_ than with _green_ and _blue_, yet these
ternary combinations are inferior to the binary combinations; and
inferior to the ternary combination where it is replaced by _white_.
215. 1. _Blue, Violet_, &c. 2. _Black, Blue, Violet, Black_, &c. 3.
_Black, Blue, Black, Violet, Black_, &c.
216. Although _blue_ and _violet_ are colours which do not accord well,
and although there is an advantage in separating them, yet it must
be remembered that _black_ in isolating them, does not relieve their
sombre colour, but, on the other hand, the harmony of the arrangements
of 2 and 3 is more agreeable as a harmony of analogy than the harmony
of contrast presented by _white_ with the same colours. Thus there
are cases in which the assemblage of _black, blue_, and _violet_, may
be advantageous, when it is desired to produce diversified, but not
striking effects.
ARTICLE III.
_Colours with Grey_.
Plate 10.
[Illustration: PLATE X.]
217. All the primary colours gain purity and brilliancy by the
proximity of grey; yet the effects are far from being like or even
analogous to those which result from the proximity of the same colours
with white. This will not create surprise, if it be remembered that
while white preserves the character of each colour and exalts it by
contrast, it can never be taken for a colour properly so called; grey,
on the contrary, may be; it happens that the latter makes with the most
sombre colours, as blue, violet, and deep tones in general, assortments
which belong to the harmonies of analogy; while, with colours naturally
brilliant, such as red, orange, yellow, and the light tones of green,
they form analogies of contrast. But, although white contrasts more
with sombre colours than with those that are naturally luminous, there
is not observed between white and those two kinds of colours the
difference observable between grey and the same colours. This result
confirms what I have said of the binary combinations of black. (203.)
A.—_Binary Combinations._
218. _Grey and Blue, Grey and Violet_, form arrangements of which the
harmony of analogy is agreeable, yet less so than that of _black_ with
the same colours.
219. _Grey and Orange, Grey and Yellow_, _Grey and Bright Green_, form
equally agreeable arrangements of harmony of contrast; perhaps they are
less so than those in which _grey_ is replaced by _black_.
220. _Grey and Rose_ are a little dull and inferior to _Black and
Rose_. All the binary arrangements of _grey_, except, perhaps, that of
_orange_, are inferior to those of _white_.
B.—_Ternary Combinations of Complementary Colours with Grey_.
221. _Red_, _Green_, _&c_.—1. _Red, Green_, &c. 2. _Grey, Red, Green,
Grey_, &c. 3. _Grey, Red, Grey, Green, Grey_, &c. If it be doubtful
whether the binary assortment of _grey, red, and green_, be favourable,
it cannot be called injurious. The third assortment is, perhaps,
inferior to that in which the grey is replaced by _black_.
222. _Blue and Orange._—1. _Blue, Orange_, &c. 2. _Grey, Blue, Orange,
Grey_. 3. _Grey, Blue, Grey, Orange, Grey_, &c. I prefer the first
arrangement to the two others.
223. _Yellow and Violet._—1. _Yellow, Violet_, &c. 2. _Grey, Yellow,
Violet, Grey_, &c. 3. _Grey, Yellow, Grey, Violet, Grey_, &c. Although
the arrangements 2 and 3 are lighter than the arrangements in which
_grey_ is replaced by _black_, yet the binary arrangement appears to me
preferable to the ternary.
C.—_Ternary Assortments of Colours not Complementary to each other with
Grey._
224. _Red and Orange._—1. _Red, Orange_, &c. 2. _Grey, Red, Orange,
Grey_, &c. 3. _Grey, Red, Grey, Orange, Grey_, &c. The arrangements
2 and 3 are preferable to the binary. The third is preferable to the
second. In short, the grey produces, with _red_ and _orange_, a better
effect than _white_, but the effect is inferior to that of _black_.
225. _Red and Yellow._—1. _Red, Yellow_, &c. 2. _Grey, Red, Yellow,
Green_, &c. 3. _Grey, Red, Grey, Yellow, Grey_, &c. Although the grey
combines well with the _red_ and the _yellow_, it has not so decidedly
advantageous an effect as _black_ in the binary arrangement.
226. _Red and Blue._—1. _Red, Blue_, &c. 2. _Grey, Red, Blue, Grey_,
&c. 3. _Grey, Red, Grey, Blue, Grey_, &c. The arrangement 2 is
preferable to 3. I dare not say to 1. The effect of grey is inferior to
that of _white_.
227. _Red and Violet._—1. _Red, Violet_, &c. 2. _Grey, Red, Violet,
Grey_, &c. 3. _Grey, Red, Grey, Violet, Grey_, &c. The assortment 3
appears to me superior to 2, and the second to the first; but it is
difficult to say whether _grey_ is superior to _black_. I am certain it
is superior to _white_.
228. _Orange and Yellow._—1. _Orange, Yellow_, &c. 2. _Grey, Orange,
Yellow, Grey_, &c. 3. _Grey, Orange, Grey, Yellow, Grey_, &c. The
assortment 3 appears to me preferable to 2; the harmony of contrast is
less intense than with _black_. The assortment 3 is, perhaps, superior
to the assortment of _white, orange, white, yellow, white_.
229. _Orange and Green._—1. _Orange, Green_, &c. 2. _Grey, Orange,
Green, Grey_, &c. 3. _Grey, Orange, Grey, Green, Grey_, &c. Grey
combines well with _orange_ and _green_, but it does not contrast so
agreeably as _black_ or _white_.
230. _Orange and Violet._—1. _Orange, Violet_, &c. 2. _Grey, Orange,
Violet, Grey_, &c. 3. _Grey, Orange, Grey, Violet, Grey_, &c. The
binary assortment appears to me preferable to the other two. The
assortment 2 is preferable to 3. If the _grey_ is a little dull with
_orange_ and _violet_, it has not the same disadvantage as _black_, in
causing too great a predominance of sombre colour.
231. _Yellow and Green._—1. _Yellow, Green_, &c. 2. _Grey, Yellow,
Green, Grey_, &c. 3. _Grey, Yellow, Grey, Green, Grey_, &c. _Grey_
combines well with _yellow_ and _green_, but the assortments 2 and 3
are a little dull, and inferior to those in which _black_ replaces
_grey_.
232. _Yellow and Blue._—1. _Yellow, Blue_, &c. 2. _Grey, Yellow,
Blue, Grey_, &c. 3. _Grey, Yellow, Grey, Blue, Grey_, &c. The two
assortments, two and three, are inferior to the first. The _grey_
is heavy to _yellow_ and _blue_; its effect is inferior to that of
_white_, and perhaps also to that of _black_.
233. _Green and Blue._—1. _Green, Blue_, &c. 2. _Grey, Green, Blue,
Grey_, &c. 3. _Grey, Green, Grey, Blue, Grey_, &c. _Grey_, in its
combination with _green_ and _blue_, has not the same objection as
_black_, but it has an inferior effect to _white_.
234. _Green and Violet._—1. _Green, Violet_, &c. 2. _Grey, Green,
Violet, Grey_, &c. 3. _Grey, Green, Grey, Violet, Grey_, &c. _Grey_ is
not employed advantageously with _green_ and _violet_, it is inferior
to _white_ in the ternary arrangements, and perhaps I should also give
preference to _black_.
235. _Blue and Violet._—1. _Blue, Violet_, &c. 2. _Grey, Blue, Violet,
Grey_, &c. 3. _Grey, Blue, Grey, Violet, Grey_, &c. The remarks made
(218) in the assortment of _black_ with _blue_ and _violet_ are
applicable to the arrangement with grey, taking into account the
difference of tone which exists between _grey_ and _black_.
_Recapitulation._
236. I will now give a summary of the observations which appear
the most striking on reading the foregoing paragraphs, premising,
however, that I do not pretend to establish laws fixed upon scientific
principles, but to state general propositions which express my own
peculiar taste.
237. 1st. _In the harmony of contrast the complementary arrangement is
superior to every other._
The tones must be as nearly as possible of the same depth to produce
the finest effect. The complementary arrangement in which white
associates most advantageously, is that of blue and orange, and that of
yellow and violet is the least advantageous.
238. 2nd. _The Primaries, Red, Yellow, and Blue associated in pairs
assort better together, as a harmony of contrast, than an arrangement
formed of one of these primaries, and of a binary colour in
juxtaposition with it, having the same primary as one of its elements._
_Examples._
Red and Yellow accord better than Red and Orange.
Red and Blue ” ” Red and Violet.
Yellow and Red ” ” Yellow and Orange.
Yellow and Blue ” ” Yellow and Green.
Blue and Red ” ” Blue and Violet.
Blue and Yellow ” ” Blue and Green.
239. 3rd. _The arrangement of Red, Yellow, or Blue with a binary colour
containing the former, contrasts the better, as the simple colour is
essentially more luminous than the binary._
Whence it follows, that in this arrangement, it is an advantage for the
red, yellow, or blue to be of lower tone than the binary colour.
_Examples._
Red and Violet accord better than Blue and Violet.
Yellow and Orange ” ” Red and Orange.
Yellow and Green ” ” Blue and Green.
240. 4th. _When two colours accord badly together, it is always
advantageous to separate them by White._
In this case it is more advantageous to place each colour next to
white, than in an assortment where the two colours are together beside
white.
241. 5th. _Black never produces a bad effect when it is associated
with two luminous colours. It is therefore often preferable to White,
especially in an assortment where it separates the colours from each
other._
_Examples._
1. Red and Orange.
Black is preferable to white in the arrangements 2 and 3 of these two
colours. 2. Red and Yellow. 3. Orange and Yellow. 4. Orange and Green.
5. Yellow and Green.
Black, with all these binary assortments, produces harmony of contrast.
242. 6th. _Black in combination with sombre colours, such as blue and
violet, and with broken tones of luminous colours, produces harmony of
analogy, which, in many instances, may have a good effect._
The harmony of analogy of black, associated with blue and violet, is
preferable to the harmony of contrast of the assortment white, blue,
violet, white, &c., the latter being too crude.
243. 7th. _Black does not accord so well with two colours, one of
which is luminous, the other sombre, as when it is associated with two
luminous colours. In the first instance the combination is so much the
less agreeable as the luminous colour is more brilliant._
With all the following assortments Black is inferior to White. 1. Red
and Blue. 2. Red and Violet. 3. Orange and Blue. 4. Orange and Violet.
5. Yellow and Blue. 6. Green and Blue. 7. Green and Violet.
With the assortment yellow and violet, if it is not inferior to white,
it produces only a mediocre effect.
244. 8th. _Although Grey never produces exactly a bad effect in
its association with two luminous colours, yet in most cases its
assortments are dull, and it is inferior to Black and White_.
Among the assortments of two luminous colours, there are scarcely
any besides those of red and orange with which grey associates more
happily than white. But it is inferior to it, as also to black, in the
arrangements red and green, red and yellow, orange and yellow, orange
and green, yellow and green. It is also inferior to white, with yellow
and blue.
245. 9th. _Grey, in combining with sombre colours, such as Blue and
Violet, and with broken tones of luminous colours, produces harmonies
of analogy, which have not the vigour of those with black; although
the colours do not combine well together, it has the advantage of
separating them from each other._
246. 10th. _When Grey is associated with two colours, one of which is
luminous the other sombre, it will perhaps be more advantageous than
White, if this produces too strong a contrast of tone; on the other
hand, it may be more advantageous than Black, if that increases too
much the proportion of sombre colours._
_Examples._
Grey associates better than Black with—
1. Orange and Violet. 2. Green and Blue. 3. Green and Violet.
247. 11th. If, when two colours accord badly, there is in principle an
advantage in separating them by White, Black, or Grey, it is important
to the effect to take into consideration—1. The height of tone of the
colours. 2. The proportion of sombre to luminous colours, including, in
the first, the broken brown tone of the brilliant scales, and in the
luminous colours, the light tones of the Blue and Violet scales.
Consider the height of tone of the colours.
248. The effect of white with red and orange is inferior as their tones
become higher, especially in the assortment white, red, orange, white,
&c.; the effects of the white being too crude. On the contrary, black
unites very well with the normal tones of the same colours, that is
to say, the highest tones without any mixture of black. Although grey
does not associate so well as black with red and orange, it has the
advantage of producing a less crude effect than white.
Consider the proportion of sombre to luminous colours.
249. Whenever colours differ very much, either in tone or in
brilliancy, from the black or white with which we wish to associate
them, that arrangement where each of the two colours is separated from
the other by black or white, is preferable to that in which the black
or the white separate each pair of colours. Thus the assortment white,
blue, white, violet, white, &c., is preferable to the assortment white,
blue, violet, white, &c., because the separation of the brilliant from
the sombre is more equal in the first than in the second. I should
add that this is somewhat more symmetrical as to the position of the
two colours, and the principle of symmetry influences our judgment of
things more than is generally recognised. It is also in conformity with
the above, that the assortment black, red, black, orange, black, &c.,
is preferable to the assortment black, red, orange, black, &c.
250. Some remarks appear to me also necessary to prevent false
deductions from the above propositions. In the preceding examples, the
colours, including white, black, and grey, are supposed to occupy an
equal extent of surface, and to be placed at equal distances apart, for
without these conditions the results will be different; for example, I
have preferred the assortment white, red, white, yellow, white, to the
assortment white, red, yellow, white. There are some cases in which the
latter is preferable to the former, as in the arrangement of flowers
in gardens, especially yellow and rose flowers, which present less
coloured surface than the white flowers with which they are associated.
251. I have spoken of the good effects of black and green separated,
and I may add that green designs upon a black ground are also
agreeable; but it does not follow that black lace upon a green stuff
will have a good effect, at least on the optical quality of black, for
this acquires a rusty tint, which resembles a faded colour.
252. The more colours are opposed, the easier it is to assort them;
because they do not experience by their mutual juxtaposition, any
modification which renders them disagreeable, as generally happens
to colours which are very nearly alike. Must we then conclude that
with two colours which have in this case been indicated to an artist
to be employed, with some liberty to modify them, he should endeavour
to increase the effect of contrast rather than that of analogy?
Certainly not; for frequently the latter is preferable to the former.
For example:—Take orange-red and a pure red, instead of increasing the
yellow in the orange-red, or of giving a violet hue to the red, it
sometimes will be preferable to incline towards the harmony of scale or
of hue, by endeavouring to make the orange one of the light tones of a
scale whose red will be brown.
253. In conformity with this manner of observing, when we would avoid
the bad effect of two adjacent colours by white, black, or grey, we
must see whether, instead of a harmony of contrast, it may not be
better to obtain the harmony of analogy.
254. Finally, when we bring into combination not normal grey, but a
coloured grey, we are always sure of obtaining an effective harmony of
contrast by taking a grey coloured with a complementary of that opposed
to it. Thus an orange-grey or carmelite-brown or maroon has a good
effect with light blue.
FIRST DIVISION.—IMITATION OF COLOURED OBJECTS WITH COLOURED MATERIALS
IN A STATE OF INFINITE DIVISION.
INTRODUCTION.
255. Coloured materials, such as Prussian blue, chrome-yellow,
vermilion, &c., are infinitely divided, so to speak, either when ground
pure, or mixed with a white material, in a gummy or oily liquid.
The reproduction of the images of coloured objects with these pigments
is called the _Art of Painting_.
256. There are two systems of Painting—the one consists in representing
as accurately as possible upon a flat surface an object in relief in
such a way that the image makes an impression upon the eye of the
spectator similar to that which the object itself would produce. This
is termed the _Art of Chiaro-’scuro_.
257. There is a means of imitating coloured objects much simpler in
its facility of execution than the preceding. It consists in tracing
the outline of the different parts of the model, and in colouring
them uniformly with their peculiar colours. There is no relief, no
projection; it is the plane image of the object, since all the parts
receive a uniform tint: this system of imitating is _Painting in Flat
Tints_.
PAINTING ON THE SYSTEM OF CHIARO-’SCURO.
258. Are the modifications perceived in a single coloured object,
for example, in a blue or red stuff, &c., indeterminable, when these
draperies are seen as draperies of a vestment or furniture, with
more or less distinct folds, or are they determinable, in given
circumstances? This is a question of which I am about to attempt a
solution.
259. Firstly, let us distinguish three circumstances in which
modifications of colours may be observed:—
1. Modifications produced by coloured lights falling upon the model.
2. Modifications produced by two different lights—as, for example, the
light of the sun and diffused daylight—each illuminating different
parts of the same object.
3. Modifications produced by diffused daylight.
260. We will suppose that in the two first cases the lighted surfaces
are plane, and that all their superficial parts are homogeneous, and in
the same conditions, except that of light. In the third case, we shall
consider the position of the spectator viewing an object lighted by
diffused daylight, the surface of which is not so disposed as to act
equally in all its parts upon the light which it reflects to the eye of
the spectator.
261. Modifications produced by coloured lights.
Red rays falling on Black make it appear Purple-black.
” White ” Red.
” Red ” Redder.
” Orange ” Redder.
” Yellow ” Orange.
” Deep Green ” Red-black.
” Light Green ” Reddish-grey.
” Light Blue ” Violet.
” Violet ” Purple.
262. Modifications produced by Orange light.
Orange rays falling on—
Black make it appear Maroon, or Carmelite-brown.
White ” Orange.
Orange ” More vivid.
Red ” Scarlet.
Yellow ” Yellow-orange.
Light Green ” Yellow-green.
Deep Green ” Rusty-green.
Light Blue ” Orange-grey.
Deep Blue ” Grey, slightly Orange-grey.
Indigo Blue ” Orange-maroon.
Violet ” Red-maroon.
263. Modifications produced by Yellow light.
Yellow rays falling on—
Black make it appear Yellow-olive.
White ” Light Yellow.
Yellow ” Orange-yellow.
Red ” Orange.
Orange ” Yellower.
Green ” Greenish-yellow.
Light Blue ” Yellow-green.
Deep Blue ” Green-slate.
Indigo ” Orange-yellow.
Violet ” Yellow-maroon.
264. Modifications produced by Green light.
Green rays falling on—
Black make it appear Greenish-brown.
White ” Green.
Green ” More intense and brilliant.
Red ” Brown.
Orange ” Faint Yellow, a little Green.
Green ” Greener, according to its depth.
Indigo ” Dull Green.
Violet ” Bluish-green Brown.
265. Modifications produced by Blue light.
Blue rays falling on Black make it appear Blue-black.
Black ” White ” Blue.
” ” Blue ” More vivid.
” ” Red ” Violet.
{ Brown, having a
” ” Orange ” { pale tint of Violet.
Blue ” Yellow ” Green.
” ” Green ” Blue-green.
” ” Indigo ” Dark-blue Indigo.
” ” Violet ” Dark-blue Violet.
266. Modifications produced by Violet light.
{Very faint
Violet rays falling on Black make it appear {Violet-black.
” ” White ” Violet.
” ” Violet ” Deeper Violet.
{Red-violet
” ” Red ” {Purple.
” ” Orange ” Light Red.
{Brown, with a
” ” Yellow ” {very slight tint
{of Red.
” ” Green ” Light Purple.
{Fine Blue
” ” Blue ” {Violet.
{Deep Blue
” ” Indigo ” {Violet.
267. It is understood that to represent the preceding phenomena
exactly, we must take into account the facility with which coloured
light penetrates every kind of glass, the more or less intense colour
of the stuff, and the kind of scale to which the coloured stuff and
that of the transmitted coloured light respectively belong.
268. These observations were made by partially exposing coloured stuffs
to the sun’s rays transmitted through coloured glasses. The portion of
stuff not exposed to these rays, was lighted by the direct light of the
sun. The portion of stuff which received the action of the coloured
rays being exposed to diffused daylight, reflected also rays of that
light which it would have reflected in case it had been protected from
the influence of the rays transmitted to it through coloured glasses.
269. II. Modifications produced by two lights of different intensity.
270. 1. The modification by the light of the sun falling upon one part
of the surface of a coloured body, while the other part is enlightened
by diffused daylight.
2. The modification produced when two parts of the same object are
unequally illuminated by diffused daylight.
_An object lighted partly by the sun, and partly by diffused daylight._
271. To observe this kind of modification properly, let us expose to
the sun a square piece of stuff A B, two and a half inches broad (Plate
I., fig 4) and place in the middle a piece of black wire _f, fʹ_; then
put parallel to this, and in the middle between A and B, two wires
_e, eʹ_ and _g, gʹ_, of about three-tenths of an inch in width. The
extremity _gʹ_ is fixed upon a perpendicular plane, so high, that all
the part B _f, fʹ_ may be in shadow.
272. 1. _If the stuff is red_, the lighted portion A is more orange or
less blue than the part B, which is in shade; and the portion _a_ is
more orange than the portion _aʹ_, as the portion _b_ is bluer than the
portion _bʹ_.
273. 2. _If the stuff is orange_, A is more orange or less grey than
B; and the portion _a_ is deeper, more vivid than _aʹ_, as _b_ is more
grey and duller than _bʹ_.
274. 3. _If the stuff is yellow_, A is more vivid, more orange than B;
_a_ is more so than _aʹ_, as _b_ is duller than _bʹ_.
275. 4. _If the stuff is green_, A is less blue or more yellow than B;
and _a_ is of a yellower green than _aʹ_, as _b_ is bluer than _bʹ_.
276. 5. _If the stuff is blue_, A is less violet and more green than
B; and _a_ is greener than _aʹ_, as _b_ is more violet or less green
than _bʹ_.
277. 6. _If the stuff is indigo_, A is redder or less blue than B; and
_a_ is redder than _aʹ_, as _b_ is deeper or bluer than _bʹ_.
278. 7. If the stuff is violet, A is less blue than B; and _a_ is
redder than _aʹ_ as _b_ is bluer than _bʹ_.
279. 2nd. Two contiguous parts of the same object unequally illuminated
by the same light, when viewed simultaneously, differ from each other,
not only in depth of tone, but also in optical composition of colour.
Place half-a-sheet of coloured paper (Plate I., fig. 5) upon the
partition _b_, of a chamber receiving diffused daylight by a window
_f_: place another half-sheet upon the partition _a_, in such a manner
that it will be lighted directly by the diffused light, while the other
is only indirectly lighted by reflection from the walls, floor, and
ceiling: the diffused light thus reflected being only white light, then
stand at _c_, so as to see both half-sheets at once. I shall designate
that which is upon the partition _a_, and most lighted, by A, and the
other, which is upon the partition _b_, and less lighted, by B.
These letters in the plate indicate the respective positions of the
half-sheets.
280. The inference from these observations is, that the colour of the
same body varies, not only in intensity of tone, but also of hue,
according as it is lighted directly by the sun, by diffused daylight,
or by diffused reflected light. This result must never be overlooked
whenever we define the colours of material objects.
3rd. _Modifications produced by diffused daylight reflected by a
surface all the parts of which are not in the same position relatively
to the eye of the spectator._
281. Distant bodies are rendered perceptible to the eye only in
proportion as they radiate or reflect, or transmit the light which acts
upon the retina.
According to the laws of reflection, it happens that those portions of
a surface which are in relief, or hollow, must reflect the light in
such a manner, that the eye of the spectator, in a given position, will
see these parts very variously lighted, in respect to the intensity of
reflected light, so that the parts of this surface will be, relatively
to the eye, in the same condition as the homogeneous parts of a plane
surface, which are illuminated by lights of unequal intensity.
There will be this difference, however, that the parts of the surface
of a body which appears to us hollow, and especially in relief, being
but feebly varied in the greater number of contiguous parts, there
will be generally a gradual diminution of the effects observed in
the case in which we have studied the modifications of two plane
homogeneous surfaces, lighted by diffused lights of unequal intensity.
The sphere presents a remarkable example of the manner in which light
is distributed over a convex surface, relatively to the eye of an
observer, who views it from a given position.
282. I shall not occupy myself with this gradation of white light, from
parts illuminated to those which do not appear so. I regard only the
principal modifications, and take for examples the cases where they are
as evident as possible. These modifications can be reduced to the four
following:—
_First modification_, produced by the maximum of white light which the
surface of a coloured body is capable of reflecting.
283. Other things being equal, the more highly the surface of a body
is polished, the more it will reflect white and coloured light. If we
observe the surface of a stick of sealing-wax, suitably placed, we
shall perceive a white stripe parallel to the axis of the cylinder,
produced by so large a quantity of colourless reflected light that the
red light reflected from this stripe is not appreciable by the eye.
Thus the white light reflected by a coloured body may be of sufficient
intensity to render the colour of the body in some of its parts
imperceptible.
_Second modification_, produced by those parts of a coloured surface
which send to the eye, in proportion to the coloured light, less white
light than the other parts differently lighted, or differently placed
in relation to the spectator.
284. When the eye sees certain parts of the surface of a polished or
uniformly coloured object which reflects to it proportionally to the
coloured light less of white light than the other parts, the first
parts will appear in most cases of a more intense tone of colour than
the second. We will cite the following:—
_Example 1._—A cylinder of red sealing-wax presents, proceeding from
the white stripe mentioned above, a red colour deeper in proportion as
less white light reaches the eye. Thus, in a certain position where the
white stripe appears to be in the middle of the cylinder, the part most
lighted will appear coloured, reflecting a red inclining to scarlet,
while that which is the least lighted reflects a red inclining to
crimson.
_Example 2._—If the eye is directed into a gold vase of sufficient
depth, the gold does not appear yellow as on the exterior surface, but
of a red-orange; because less white light, in proportion to coloured
light, reaches the eye in the first case than in the second. It is for
this reason that the concave parts of gold ornaments appear redder than
the convex.
_Example 3._—The spiral thread of a piece of twisted silk or wool held
perpendicularly before the eye, appears in the part opposite to the
light, of a much more decided colour than on the rest of the surface.
_Example 4._—The folds of bright draperies present the same
modification to an eye properly placed; the effect is particularly
remarkable in yellow silk stuffs, and in sky-blue; for we can easily
understand that it is less marked when the stuffs are less bright and
of dark colours.
_Example 5._—There are some stuffs which appear to be of two tones
of the same scale of colour, and sometimes also of two tones of two
contiguous scales, although the weft and the warp of these stuffs are
of the same tone and the same colour. The cause of this appearance
is very simple; the threads which, parallel to each other, form the
designs, are in a different direction to the threads which constitute
the ground of the stuff. Hence, whatever may be the position of the
spectator with regard to the stuff, the threads of the design will
always reflect coloured and white light in a different proportion to
that reflected by the threads of the ground, and, according to the
position of a spectator, the design will appear to be lighter or darker
than the ground.
_Third modification._—The colour complementary to that of a coloured
object developed in one of its parts, in consequence of simultaneous
contrast.
285. A natural consequence of the law of simultaneous contrast
in general, and of the effect of a colour upon grey and black in
particular, is, that since the same object presents some parts more or
less dark, contiguous to some parts where we see the colour peculiar to
the object, the first parts will appear tinted with the complementary
to this colour. But to observe this effect, it is necessary that the
grey part should reflect to the eye white light, and little or none of
the coloured light which the object naturally reflects.
_Fourth modification_, in a single coloured stuff.
286. For example, if the eye is directed towards a window which admits
daylight, and a person clothed in a new blue coat, dyed with indigo
or Prussian blue, be at the window, the eye will see one part of the
coat will appear different from the other part, because the nap of the
cloth is disposed in a contrary direction; one being of a fine blue,
while the other is of an orange-grey, by the effect of contrast of the
blue part with a part that reflects very little white light to the eye,
without, or almost without, blue light.
287. But as the pile of the nap loses its regular position by wear,
the cloth becoming dull and soiled, the coloured light is reflected
irregularly from all points; and the effect is either absolutely
destroyed or much weakened.
If the garment be of a deep green, the grey part will appear reddish;
if it be of a violet, maroon, or claret, the grey part will appear
yellow.
288. The complementary is only developed upon cloths of dark and sombre
colours; thus red, scarlet, orange, yellow, and light blue garments
do not exhibit it, because they have always too much of the essential
colour which is reflected. The modification occurs only when one of the
parts is more strongly illuminated than the other by diffused light
(279).
289. There is also one circumstance where the fourth modification will
appear evident; it is when we look at a series of light tones—blues,
rose, &c. (belonging to the same scale)—of a skein of silk or wool,
placed upon an easel, that one-half of the same skein presents to the
eye the threads disposed in a contrary direction to those of the other
half. The half of the skein which does not reflect coloured light to
the eye, appears tinted with the complementary of the other half which
does reflect it.
290. Fourth modification in a stuff presenting a dark and a light tone
belonging to the same scale.
If we place in juxtaposition a dark tone and a light tone of the
same scale, well assorted, the light tone will appear of the colour
complementary to the scale to which it belongs. This modification is
too important to allow me to pass it over hastily.
291. When we look for several seconds on a fabric dyed with a coloured
ground, and on which therefore patterns intended to be white, but
which, owing to the imperfection of the process employed, have received
a light tone of the colour of the ground, the patterns will appear
of the colour complementary to the latter. Thus, upon a ground of
yellow-chromate of lead, they will appear violet; upon a ground of
orange-chrome, they will appear blue; upon a green ground, rose, &c. To
dispel the illusion, and to recognise the true tint of the pattern, it
is only necessary to cover the ground with a white paper so perforated
as to leave visible only the pattern coloured like the ground. The
influence of a dark tone upon a feeble tone is such, that not only
is the latter neutralized, but the place it occupies upon the cloth
appears also tinted with its complementary colour.
292. From the preceding observations it follows that there may be a
printed cotton, the design of which, although coloured, will appear to
most eyes white, and not of the complementary of the ground. For those
eyes which see it thus, the perception of the phenomenon of contrast
will correct the imperfection of the art of the calico-printer.
293. In the Lectures upon Contrast, which I delivered in 1836, at the
Gobelins, I remarked, that in applying paper (cut for the purpose)
upon the lights of a blue drapery of the Virgin in a tapestry
representing the Holy Family, after Raphael, they appeared of a light
blue, although, when they were seen surrounded with darker tones, they
appeared of an orange tint.
294. We can conceive without difficulty that if the modification is
not manifested with monochromous objects of vivid colours, as yellow,
scarlet, &c., it is because that part of the surface of these objects
which reflects the least light to the eye, always reflects enough of
its peculiar colour to neutralize the complementary which the coloured
light of the illuminated portion tends to develop. I believe that this
effect tends to enfeeble the coloured light of the shaded part.
295. Although, in this chapter, I do not propose to treat of the
modifications shown by coloured stuffs with white designs; yet, as it
is a case so connected with the preceding considerations, I cannot
avoid mentioning them in this place.
296. If we observe a sky-blue silk with white flowers, the weft of
which is in an opposite direction to the weft of the blue ground, we
shall see the flowers white, if they are placed in the most favourable
manner to receive the white light reflected by them; while, in the
contrary position, we shall see these flowers absolutely orange. There
is still much white light reflected, but it is not sufficiently vivid
to neutralize the development of the complementary of the ground.
PAINTING ON THE SYSTEM OF FLAT TINTS.
297. In painting by flat tints, the colours are neither shaded, blended
together, nor modified by the coloured rays coming from the surrounding
parts of the picture.
In pictures which belong to this kind of painting, the representation
of the model is reduced to the observance of linear perspective, to the
employment of vivid colours in the nearer parts, and of pale and grey
colours in the more distant.
If the choice of contiguous colours has been made conformably to the
law of simultaneous contrast, the effect of the colour will be greater
than if it had been painted on the system of chiaro-’scuro.
298. In every instance where painting is an accessory, and not
a principal feature, painting in flat tints is in every respect
preferable to the other kind.
299. The essential qualities of painting in flat tints necessarily
reside in the good choice of colours and well drawn outlines. These
outlines contribute to render the impressions of colours stronger and
more agreeable, when, circumscribing forms clothed in colours, they
concur with them in suggesting to the mind a graceful object, when even
the imitation of it does not give a faithful representation.
300. We may, in conformity with what has been said, consider that
painting in flat tints may be advantageously employed,
1. When the objects represented are at such a distance that the finish
of an elaborate picture would disappear.
2. When a picture is an accessory, decorating an object whose use would
forbid too elaborate finish, and which would also be too costly. Such
are the paintings which ornament screens, work-boxes, tables, &c.; in
this case the objects preferable as models, are those whose beauty of
colours and simplicity of form are so remarkable as to attract the
eye by simplicity of outline, and by vivid colours: such are birds,
insects, flowers, &c.
SECTION III.
ON COLOURING IN PAINTING.
CHAPTER I.
_On Colouring._
301. _True or absolute colouring_ is the faithful reproduction in
painting of the modifications that light enables us to perceive in the
objects taken for models.
302. In the ordinary use of the word _colouring_, we allude to the more
or less perfect manner in which the painter has complied with the rules,
1. _Of aërial perspective._
2. _Of the harmony of local colours, and of the colours
of the different objects composing the picture._
ARTICLE I.
_Of Aërial Perspective._
303. We must not believe that the employment of many colours in a
composition is indispensable to give the epithet of _colourist_ to
the artist, for in pictures painted in one colour only, the simplest
of all, in which we only distinguish two colours including white, the
artist may be honoured with the title of _colourist_, if his work
presents lights and shades distributed as they are upon the model. To
convince ourselves of the justice of the expression, it will suffice to
remark that the model might very well appear to the painter coloured
with a single colour, modified by light and shade. In the same sense
this epithet may be applied to the engraver, who, by means of his
burin, reproduces a picture as faithfully as possible, in respect both
to the aërial perspective of its different planes, and to the relief of
each particular object.
304. A painter who has faithfully reproduced the aërial perspective,
with all its modifications of white and coloured light and of shades,
has effected a _true or absolute colouring_, which, however, may not be
universally deemed as perfect as that in which this quality of absolute
colouring is not found, at least in the same degree of perfection.
_Imperfectly faithful imitation._
305. _A painter may have perfectly seized upon all the modifications
of white and coloured light, but in his imitation, some of these
modifications are more strongly marked than in nature._
It almost always happens that _true but exaggerated colouring_ is more
agreeable than absolute colouring; and that many persons who experience
pleasure in seeing the modifications of exaggerated coloured light
which a picture may exhibit, do not feel the same pleasure from the
sight of a model, because the modifications corresponding to those
which are imitated in excess are not sufficiently prominent to be
evident to them. Besides the relish of the eye for an excess of an
exciting cause, is essentially analogous to the inclination we have for
food and drink of a pungent flavour and odour.
306. A painter may have perfectly seized all the modifications of
light which bring forward the planes and the relief of objects; the
modifications of the coloured light of his picture may be true, but the
colours may not be those of his model. As in pictures in which there is
a dominant colour, not found in the model, which is often called _the
tone of such a picture, and the tone of such a painter_, if he uses it
habitually.
307. We may form a very just idea of these pictures, by supposing
the artist to have painted them while looking at his model through a
glass of precisely the colour, to enable him to see the tint which
predominates in his imitation. We may mention as an example, of this
kind of imitation, a landscape painted from its reflection in a black
mirror, the effect of which is very soft and harmonious. Thus we speak
of brilliant or warm, cold or dull colouring.
_Of Colouring in respect to the Harmony of the Colours of the various
objects composing the Picture._
308. The colouring of the picture may be _true or absolute_, and yet
not agreeable in effect because the colours of the objects are not
harmonious. On the contrary, a picture may please by the harmony in the
local colours of each object, and by that of the colours of objects
contiguous to each other, and yet may offend in its gradation of lights
and shades, and by the _fidelity_ of its colours. In a word, it offends
by _true or absolute_ colouring, while a picture in flat tints, the
colours of which are perfectly assorted for the eye, although not those
which belong to the objects imitated, produces, with regard to general
harmony of colours, an extremely agreeable effect.
309. The general conclusion resulting from the analysis just made of
the word colouring, is, that the epithet _colourist_ may be applied
to painters endowed, in very different degrees, with the faculty of
imitating coloured objects by means of painting.
310. They who know the difficulties of _chiaro-’scuro_ and drawing,
may give the name of colourists to painters remarkable for the skill
with which they bring out objects placed upon the different planes of
their pictures, by means of correct drawing and a skilful gradation of
light and shade, even when their pictures do not exactly produce every
modification of coloured light, and have not this harmony of different
colours properly distributed to complete the effects of perfect
colouring.
311. Persons unaccustomed to judge of painting, or _chiaro-’scuro_,
are generally inclined to refuse the title of colourist to such
painters, while they unhesitatingly accord it to others who reproduce
the modifications of coloured light, and who tastefully distribute the
different colours of their pictures. Besides, the eye is so powerfully
influenced by colour, that frequently those who are strangers to
painting can only conceive a colourist to be skilful whose tints are
vivid, although his works may evince a want of observation.
312. We see by this how judgments will differ according to the
importance respectively attached to one quality of colouring rather
than to another.
313. For a painter to be a perfect colourist, he must not only imitate
the model by reproducing the image faithfully, with respect to the
variously coloured light, but also with regard to harmony of tints
in the local colours, and in the colours of the different objects
imitated. And although there are colours inherent to the model, which
the painter cannot change without being unfaithful to nature, yet, in
every composition, there are also colours at his disposal which must
be chosen so as to harmonize with the rest. We shall return to this
subject in the next chapter.
314. It is thus evident, that when a change in the colours of a picture
has been effected by time, it is impossible to decide whether the
artist who painted it should be called a _perfect_ colourist (310). But
if we refer to what I have said of the painter who has correctly seized
all the modifications of light adapted to bring out the distances and
relief of objects, who has truly represented the modifications of
coloured light, but which are not those of the model (312), we may
very easily conceive how, at the present day, after the lapse of
centuries, we may apply the name of _colourist_ to Albano, Titian,
Rubens, and others. In fact, the pictures of these great masters now
present to us gradations, more or less perfect, of light and shade,
and such harmonies of colours, that it is impossible to mistake or not
to admire them; and the idea that many pictures, not more than twenty
or five-and-twenty years old, painted by artists of undoubted ability,
have failed in colour more than the preceding, also increases our
admiration of the latter.
CHAPTER II.
_Utility of the Law of Simultaneous Contrast of Colours in the Art of
Colouring._
315. As to the advantages the painter will find in it when it is
required,—
1. To perceive and to imitate promptly and surely the
modifications of the light on the model.
2. To harmonize those colours of a composition which
are essentially inherent to the nature of the
objects to be produced.
316. We learn by the law of _simultaneous contrast of colours_, that
when we regard attentively two coloured objects at the same time,
neither of them appears of the colour peculiar to it; that is to say,
such as it would appear if viewed separately, but of a tint resulting
from the peculiar colour and the complementary of the colour of the
other object. On the other hand, if the colours of the objects be not
of the same tone, the lightest tone will be lowered, and the darkest
tone will be heightened.
317. The first conclusion from this is, that the painter will rapidly
appreciate in his model the colour peculiar to each part, and the
modifications of tone and of colour which they receive from contiguous
colours. He will also perceive and be prepared to imitate modifications
in them, which, if they had not always escaped him because of their
feeble intensity, might have been disregarded, because the eye is
peculiarly susceptible of fatigue when it seeks to disentangle
modifications, the cause of which is unknown, and which are not very
prominent.
318. Let us now return to _mixed contrast_ (77 _et seq._), in order
to make it evident that the painter is liable to see the colours of
his model inaccurately. As the eye, after observing one colour for a
certain time, has acquired a tendency to see its complementary, and
as this tendency is of some duration, it follows, not only that the
eyes of the painter thus affected cannot see correctly the colour
which he had for some time looked at, but also whatever colour he
sees while this modifying influence lasts. So that, conformably to
what we know of mixed contrast, he will see,—not the colour which is
before him,—but the result of this colour, and of the complementary of
that seen previously. It must be remarked, that besides the want of
clearness of view which will arise, in most cases, from the want of
exact coincidence of the second image with the first—for example, when
the eye has seen a sheet of green paper A (Plate III., fig. 4), in the
first place, and, in the second place, a sheet of blue paper, B, of the
same dimensions, but placed differently, this second image, not being
coincident in all its surface with the first, A, as represented in the
figure, the eye will see the sheet B violet only in the part where the
two images coincide. Consequently, this defect of perfect coincidence
of images will affect the outline of the second image, as well as the
colour which it really possesses.
319. We can establish three conditions in the appearance of the same
object relatively to the state of the eye; in the first, the organ
simply perceives the image of the object without taking into account
the distribution of colours, light, and shade; in the second, the
spectator, seeking to understand this distribution, observes it
attentively, when the object presents to him all the phenomena of
simultaneous contrast of tone and colour that it is capable of exciting
in him. In the third case, the organ, from the prolonged impression
of the colours, possesses in the highest degree a tendency to see the
complementary of these colours; these different states of the organ
being continuous.
I have no doubt that the dull colouring with which many artists of
merit have been reproached is partly due to this cause, as I shall show
more minutely hereafter.
_Utility of this Law to facilitate the prompt Imitation of
Modifications of Light on the Model._
320. The painter, knowing that the impression of one colour
beside another is the result of the mixture of the first with the
complementary of the second, has only to estimate mentally the
intensity of the influence of this complementary, to reproduce
faithfully in his imitation the complex effect which he has before his
eyes.
321. A painter wishing to imitate a white stuff with two contiguous
borders, one red, the other blue, perceives each of them changed by the
influence of their reciprocal contrast; thus the red becomes more and
more orange, in proportion as it approaches the blue, as this latter
becomes more and more green as it approaches the red. The painter,
therefore, making the borders of a single red and a single blue,
reduced in some parts by white or by shade, will reproduce the effects
he wishes to imitate. Whenever it is found that the painting is not
sufficiently marked, he is sure of what he must add without departing
from the truth, farther than by exaggerating a little (305).
2. A grey pattern drawn upon a yellow ground: the ground may be of
paper, silk, cotton or wool; according to its contrast, the design will
appear of a lilac or a violet colour (66).
The painter who would imitate this object, can reproduce it faithfully
with grey. But if a painter, ignorant of the reciprocal influence of
blue and red, convinced that he must represent what he sees, adds
green to his blue, and orange to his red; as in the second example, he
will trace a pattern more or less violet upon the yellow ground. Now,
supposing that the painter had perfectly seized the modifications of
the model, and, subsequently, had retouched his copy sufficiently to
produce a perfectly faithful effect, it is evident it would have been
perfect only after a number of trials, since he must have effaced what
was first done.
3. I cite a third example of the influence of contrast, not relating to
colours, like the two preceding, but to the different tones of the same
colour, contiguous to each other.
Suppose several bands in juxtaposition, 1, 2, 3, 4, (Plate 1, fig. 3),
of different tones in flat tints of the same scale, to form part of an
object: to imitate it perfectly, it is evident that it must be painted
in flat tints; but this object will appear to the eye a channeled
surface, the lines where the two bands touch will appear like a relief
by the effect of contrast of tone (9-11); therefore, if the painter is
ignorant of this, he will reproduce, not an absolute copy of the model,
but an exaggerated one. I the more willingly cite this example, because
it gave me an opportunity of enabling a most skilful paperstainer to
appreciate the utility of the law of simultaneous contrast. In going
with him over his factory, he showed me a chimney-board representing a
child whose figure stood out from a ground formed of two circular bands
in grey flat tints; 1 and 2 (Plate I., fig. 7); the first was higher
than the second; the phenomenon of contrast of tone was manifested at
the borders, _a a_, of the two bands, so that the part of the band 2,
contiguous to the band 1, was darker than the rest, as the part of the
band 1, contiguous to 2, was lighter than the rest, conformably to what
has been stated above (11). This effect, not being what the skilful
artist wished to obtain, he inquired of me how it was to be avoided.
I replied, that the grey of the band 2 must be reduced with white, in
proportion as it approached the border _a a_; and, on the contrary,
the grey of the band 1 must be strengthened with black, in proper
gradations, beginning at the same border. And I proved to him, _that to
imitate the model faithfully, we must copy it differently from what we
see it_.
322. From the above we educe the six following principles:—
1. Put a colour upon a canvas, it not only colours that part of the
canvas to which the pencil has been applied, but it also colours the
surrounding space with the complementary of that colour.
Thus, a red circle is surrounded with a green areola, becoming weaker
as it extends from the circle:—
A green circle is surrounded with a red areola.
An orange ” ” blue ”
A blue ” ” orange ”
A yellow ” ” violet ”
A violet ” ” yellow ”
(See Plates 3, 4, 5.)
2. White placed beside a colour heightens its tone; it is as if we took
away from the colour the white light which enfeebled its intensity
(44-52).
3. Black placed beside a colour weakens, and in some cases
impoverishes, its tone, as upon certain yellows (55). It is, in fact,
adding to black the complementary of the contiguous colour.
4. Put grey beside a colour, the latter is rendered more brilliant, and
at the same time it tints this grey with its complementary (63).
323. From this principle it results that in many cases where grey
is near to a pure colour in the model, the painter, if he wishes to
imitate this grey which appears to him tinted with the complementary of
the pure colour, need not use a coloured grey, as the effect will be
produced in the imitation by the juxtaposition of the colour with the
grey contiguous to it.
Besides, the importance of this principle cannot be doubted, when
we consider that all the modifications which a monochromous object
presents (excepting those which result from the reflections of coloured
lights emanating from neighbouring objects,) arise from the different
relations of position between the parts of the object and the eye of
the spectator; so that it is strictly true to say that, to reproduce by
painting all these modifications, it suffices to have a colour exactly
identical to that of the model, with black and white. In fact, with
white we can reproduce all the modifications due to the weakening of
the colour by light, and with black, those which are due to the height
of its tone. If the colour of the model in certain parts gives rise
to the manifestation of its complementary, because these parts do not
return to the eye enough colour and white light to neutralize this
manifestation, the modification may be imitated by the employment of a
normal grey tone, properly surrounded with the colour of the object.
It is necessary, in many cases, to employ with the colour of the
object the colours which are near it; that is to say, the hues of the
colour. For example; in imitating a rose, we can employ red shaded with
a little yellow, and a little blue, or, in other terms, shaded with
orange and violet; but the green shadows which we perceive in certain
parts arise from the juxtaposition of red and normal grey.
5. To put a dark colour near a different, but lighter colour, is to
heighten the tone of the first, and to lower that of the second,
independently of the modification resulting from the mixture of the
complementaries. An important consequence of this principle is, that
the first effect may neutralize the second, or even oppose it. For
example; a light blue placed beside a yellow tinges it orange, and
consequently heightens its tone; while there are some blues, so dark
relatively to the yellow, that they weaken it so much as not only to
hide the orange tint, but even to cause sensitive eyes to feel that
the yellow is rather green than orange. A very natural result, if we
consider that the paler the yellow, the greener it appears.
6. Put beside each other two flat tints of different tones of the same
colour, chiaro-’scuro is produced, because, in setting out from the
line of juxtaposition, the tint of the band of the highest tone is
insensibly enfeebled, while, setting out from the same line, the tint
of the band of the lowest tone becomes heightened; thus there is a true
gradation of light.
The same gradation takes place in all the juxtapositions of colours
distinctly separated.
I believe that attention to these principles, and especially a perfect
knowledge of the consequences of the last three, exercises a very
happy influence upon the art of painting, giving to the artist such
a knowledge of colours as he cannot possess before the law of their
simultaneous contrast and its consequences have been developed.
Among the details which the painter endeavours to render, there are
many which, due to contrast, either of colour or of tone, must be
produced spontaneously. I presume that the Greek painters, whose
palette was composed only of black, white, red, yellow, and blue, and
who executed so many pictures which their contemporaries have spoken of
with intense admiration, painted conformably to the simple method of
which I speak; _devoting themselves to great effects_, _many small ones
resulted from them_.
_Utility of the Law in order to Harmonize those
Colours of a Composition which are Inherent to
the Nature of the Object represented._
324. In all, or nearly all, compositions of painting, we must
distinguish the colours which the painter is under the necessity of
using, and those which he may choose, because, unlike the former, they
are not inherent to the model (313). For example, in painting a human
figure, the colour of the flesh, the eyes, and the hair, are fixed
by the model; but the painter has a choice of draperies, ornaments,
background, &c. In an historical picture, the flesh colours are, in the
majority of the figures, at the choice of the painter, as are also the
draperies and all the accessories, which can be placed and imagined
according to his judgment.
In a landscape, the colours are determined by the subject, yet not so
arbitrarily but that we can substitute for the true colour that of
a neighbouring scale; the artist may choose the colour of the sky,
imagine numerous accidental effects, introduce into his composition
animals, draped-figures, carriages, &c., of which the form and colour
may be so selected as to produce the best possible effect with the
actual objects of the scene.
325. A painter may also choose a dominant colour which produces, on
every object in his composition, the same effect as if they were
illuminated by a light of the same colour, or as if they were seen
through a coloured glass (259).
326. Although the law of contrast affords different methods of
imparting value to a colour, genius alone can indicate the mode in
which this idea should be realized in a painting.
327. Whenever the artist would attract the eye by colours, doubtless
the principle of _harmony of contrast_ must be his guide. The law of
_simultaneous contrast_ indicates the means of giving value to the pure
colours by each other; means which, although spoken of, are but little
known, as may be commonly seen in portraits of vivid colours, badly
assorted; and in those numerous small compositions in tints broken with
grey, where we look in vain for a pure tone; which, however, from the
objects represented in them, are eminently adapted to receive all vivid
colours.
328. The contrast of the most opposite colours is as agreeable as
possible, when they are of the same tone. But if crudity or too great
intensity of colours is feared, we must have recourse to the light
tones of their respective scales.
329. When the painter breaks tones with grey, and wishes to avoid
monotony, or when on the planes which are more remote, yet not so
remote as to render their differences of colour inappreciable, he
wishes every part to be as distinct as possible, he must have recourse
to the principle of _harmony of contrast_, and mix his colours with
grey.
330. This method of bringing out a colour by contrast, in using either
light tones complementary or more or less opposed, or broken tones
more or less grey, and of tints complementary to each other; or, in
employing a broken tone, of a tint complementary to a more or less pure
contiguous colour, ought especially to fix the attention of portrait
painters. A portrait will have a very poor effect when neither the
colour of the dress nor of the background have been well chosen.
331. The portrait-painter must endeavour to find the predominating
colour in the complexion he has to paint; and this found and faithfully
reproduced, he has to seek whatever accessories at his disposal will
give value to it. It is a very common error to suppose that the
complexion in women, to be beautiful, must consist only of red and
white: if this opinion be true for most of the women of our temperate
climate, it is certain that in warmer regions there are brown, bronzed,
or even copper complexions endued with a brilliancy, I may say beauty,
appreciated only by those who, in pronouncing upon a new object, lay
aside habitual expressions, which (albeit unconsciously to most men),
exercise so powerful an influence upon their judgment of objects seen
for the first time.
See the section in which I have treated of _the application of the law
of contrast to dress_. (Div. V.)
332. In order to make the best use of colours without being under
the necessity of multiplying them, as, for example, in draperies of
a single colour, recourse may be had to the coloured rays emanating
from neighbouring bodies, whether visible to the spectator or out of
sight. For example, a green or yellow light falling upon part of a blue
drapery renders it green, and by contrast heightens the blue-violet
tone of the rest; a golden yellow light falling on part of a purple
drapery imparts to it a golden tint, which makes the purple of the rest
come out, &c.
333. The principle of harmony of contrast then procures for the painter
in chiaro-’scuro the means of realising, with respect to brilliancy
of colours and distinction of parts, such effects as are produced in
paintings of flat tints.
334. Having treated of the utility of the law of simultaneous contrast
in the intelligent use of pure opposite colours, and of colours broken
by grey similarly opposed when it is required to multiply pure and
varied colours, it now remains for me to treat of those cases in which
the painter, desiring less diversity in the object, less variety in the
colours, employs sparingly the _harmony of contrast_, preferring the
_harmony of scale_ and the _harmony of hues_.
335. The greater the variety of colours and accessories in a
composition, the more the eyes of the spectator are distracted, and
the more difficulty is experienced in fixing attention. If then, this
condition of diversity of colours and accessories is obligatory on the
artist, the more obstacles there are to surmount in drawing and fixing
the attention of the spectator upon the physiognomy of the figures,
whether they represent the actors in a single scene, or whether they
are simply portraits. In the latter case, if the model has such an
ordinary physiognomy, as recommends itself neither by its expression
nor its beauty, and still more, if he must conceal or dissemble a
natural defect, all that is accessory to this physiognomy, all the
resources of contrasted colours, well assorted, should come to his aid.
336. But if, fervently inspired, he appreciates the purity of
expression, the nobility and loftiness of character pertaining to his
model; or even if a physiognomy, to most eyes commonplace, strikes him
by such an expression as he judges to belong only to men animated by
noble ideas, it is to such a model that he will address himself and
fix his chief attention; so that in giving it life upon his canvas,
no one can mistake either the resemblance, or the sentiment which
directed his pencil. Everything being accessory to the physiognomy,
the draperies will be of black or of sombre colours; and if ornaments
relieve them, they will be simple, and always in keeping with the
subject.
337. When, in this point of view, we examine the masterpieces of
Vandyke, and trace the beauty of their effect to the simplicity of
the means which produce it,—when we consider the elegance of their
attitudes, which always appear natural, the taste which presided over
the selection of all the accessories, we are struck with admiration
of the genius of the artist, who has not had recourse to those means,
so much abused at the present day, of attracting attention, either
by giving to the most vulgar person an heroic attitude, to the most
commonplace physiognomy pretension to profound thought, or by seeking
extraordinary effects of light, such as filling the figure with a
strong light, while the rest of the composition is in shade.
338. These reflections indicate the course which an historical painter
must take, when he would particularly fix the attention upon the
physiognomy of the persons in a remarkable scene. The more he employs
allied scales, the more care he must take to select such as do not lose
too much by their mutual juxtaposition.
339. There is another important direction to give, which is to avoid
as much as possible the same kind of images on different objects; thus
figures clothed in draperies with large flower patterns, in a room
where the carpet and porcelain vases repeat the same images, are never
free from objection, for it is troublesome to the eye to distinguish
those parts of the picture which the similarity of ornaments tends to
confound. Upon the same principle, the painter must generally avoid
placing beside the faithful copy of a model the copy of an imitation
which repeats this model. For example, when, he paints a vase of
flowers, the artist produces most effect, other things being equal,
in painting a vase of grey or white porcelain, instead of a vase upon
which a profusion of similar objects are its ornaments.
340. When it is required that a certain colour shall predominate in a
composition, or to speak more correctly, when the scene is illuminated
by a coloured light, shed over every object, we must not only take
simultaneous contrast into consideration, but also the modification
which results from the mixture of colours (172), comprising the
recomposition of white light by means of a proper proportion of the
differently coloured elementary rays.
341. We must here attentively study the article which treats of the
principal cases of the modifications of light resulting from coloured
rays falling upon bodies of various colours (261, _et seq._), when,
although the coloured light chosen imparts value to certain colours
of the objects upon which it falls, it also impoverishes and even
neutralizes others. Consequently, in employing any predominant colour,
we must renounce the advantages of others, or the effect produced will
be false. For example: if orange colour predominates, for the colouring
to be true it must necessarily follow—
1. That the purples must be more or less red.
2. That the reds must be more or less scarlet.
3. That the scarlets must be more or less yellow.
4. That the orange must be more intense, more vivid.
5. That the yellows must be more or less intense, and orange.
6. That the greens lose their blue, and consequently
become yellower.
7. That the light blues become more or less light grey.
8. That the deep indigo becomes more or less maroon.
9. That the violets lose some of their blue.
Thus we see that orange light heightens all the colours which contain
red and yellow, while, neutralizing a portion of blue in proportion
to its intensity, it destroys wholly or partially this colour in the
body which it illuminates, and consequently disturbs the greens and the
violets.
342. With reference to the true imitation of colouring, it appears
to me that painters of interiors, have, other things being equal,
more skill than historical painters in faithfully reproducing the
modifications of light. Historical painters, attaching more importance
to the attitudes and physiognomy of their figures than to the other
parts of their composition, attend less to small details, the faithful
imitation of which is the essential merit of the painter of interiors.
Besides, the historical painter is never in a position to see the whole
of the scene he would represent, while the painter of interiors, having
constantly his model before him, sees it completely, as he imitates
it upon the canvas. Hence, therefore, in every small composition the
colours, as well as the objects represented, must be distributed with a
kind of symmetry, so as to avoid being what I can best express by the
term _spotty_. In fact, for want of a good distribution of objects,
the canvas will not be filled in some parts, or, if it is, there will
be, in many places, evident confusion; so also if the colours be not
properly distributed, the picture will be spotty, because they are too
far isolated from the others. (See 249-251.)
343. I believe that those painters who will study the mixed and
simultaneous contrasts of colours, in order to employ rationally
the coloured elements of their palette, will perfect themselves in
_absolute colouring_ as by studying the principles of geometry they
perfect themselves in linear perspective. I have no doubt but that the
difficulty encountered by painters ignorant of the law of contrast,
of faithfully imitating their model, has been with many the cause of
a colouring dull and inferior to that of artists, who, less careful
than they in the fidelity of imitation, or not so well organized for
seizing all the modifications of light, have worked more by their first
impressions, or, in other words, seeing the model more rapidly, their
eyes have not had time to become fatigued; and thus, content with the
imitation which they have made, they have not returned to their work
too often to modify, to efface, and afterwards to reproduce it upon
a canvas soiled by the colours first put on. There are, indeed, many
painters, to whom the maxim, “Let well alone,” is peculiarly applicable.
SECOND DIVISION.
_Imitation of Coloured Objects by Materials of a Definite
Size, as Threads, &c_.
344. The tapestries of Gobelins and of Beauvais, and also the
carpets of Savonnerie, and certain very elaborate mosaics, may all
be considered as works which resemble the method of painting in
_chiaro-’scuro_; while the windows of Gothic churches correspond more
or less exactly to painting in _flat tints_; so also with tapestries
for furniture and carpets, which, instead of being fabricated with
scales of at least sixteen or eighteen tones, as they are in the royal
manufactories, are composed with scales consisting of three or four
tones only, and, far from imitating the effects of _chiaro-’scuro_, the
coloured objects produced present to the eye only small monochromous
bands of a single tone.
345. There are also some works whose coloured designs are upon a kind
of mixed system, being the result of the juxtaposition of monochromous
single tinted parts, of a visible size, but in which the effects of
_chiaro-’scuro_ are sought by using gradations of scale or a mixture of
hues; such are ordinary mosaics, carpets, embroidered tapestries, &c.
346. In the patterns of tapestries and carpets, when the principal
effects to be aimed at have been determined, it may be seen what points
of ordinary painting may be sacrificed to obtain them, and what must be
done for perfecting the _special portion of their imitation_. Beginning
with the physical condition of the coloured elements the weaver
employs, and the texture of the tapestry, we see the necessity of
representing in this kind of work only large, well-defined objects, and
especially such as are remarkable for the brilliancy of their colours.
The patterns for hangings must recommend themselves more by the
opposition of their colours than by the minute finish of their details.
To pretend to rival painting in these manufactures is to establish a
confusion most detrimental to the progress of arts, absolutely distinct
from painting, both in their purpose and their means of execution.
347. The principles truly essential to these arts of imitation being
once deduced from the peculiarities of each, it becomes easy to point
out by what efforts we may hope to obtain true perfection.
CHAPTER I.
ON THE ELEMENTS OF GOBELINS TAPESTRY.
348. To make mixtures of coloured threads intelligently, we must be
guided by the three following rules:—The first two resulting directly
from observation of facts; the third being the natural deduction from
the facts comprised in the two former.
RULE I.—THE BINARY MIXTURE OF PRIMARY COLOURS.
_When we unite Red with Yellow, Red with Blue, Yellow with Blue, the
threads must not reflect a perceptible quantity of the third primary
colour, if we would have Orange, Violet, and Green as brilliant as it
is possible, by this method, to obtain._
EXAMPLE A.—_Red and Yellow._
Plate 11.
3 Red threads with 1 Yellow thread,
2 ” ” 1 ” ”
1 ” ” 1 ” ”
3 Yellow ” 1 Red ”
2 ” ” 1 ” ”
yield mixtures which appear to the eye in proportion to the two colours
mixed. There is no appearance of grey in any of these mixtures, when
we employ a red more inclining to orange than to crimson, and a yellow
more inclining to orange than to green.
[Illustration: PLATE XI.]
B.—_Red and Blue._
3 Red threads with 1 Blue thread,
2 ” ” 1 ” ”
1 ” ” 1 ” ”
3 Blue ” 1 Red ”
2 ” ” 1 ” ”
yield mixtures which appear to the eye in proportion to the two colours
mixed. If we use a red and a blue inclining to violet, the mixture will
contain no grey.
C.—_Yellow and Blue._
4 Blue threads with 1 Yellow thread,
3 ” ” 1 ” ”
2 ” ” 1 ” ”
1 ” ” 1 ” ”
give mixtures which appear to the eye in the proportions of the two
colours mixed. If we use yellow and a blue inclining to green more than
to red, the mixture will contain little or no grey.
Experiment on all the preceding mixtures demonstrates the rule above;
or rather, this rule is but the expression of a generalization of facts.
RULE II.—THE MIXTURE OF COMPLEMENTARY COLOURS.
349. _When we mix Red with Green, Orange with Blue, Yellow with Violet,
the colours are more or less completely neutralized, according as they
are more or less perfectly complementary to each other, and as they are
mixed in proper proportions. The result is a grey, the tone of which is
generally higher than that of the colours mixed, if the latter are of a
suitably high tone._
EXAMPLES.—_Red and Green._
Plate 12.
3 Red threads with 1 Green thread give a dull Red.
2 Red threads with 1 Green thread give a duller and a
deeper Red.
1 Red thread with 1 Green thread give a Reddish-grey.
The tone a little higher than the preceding.
3 Green threads with 1 Red thread give a Green Grey,
the tone higher than the Green or the Red.
2 Green threads with 1 Red thread give a Grey, less
Green, and of a higher tone than the two colours.
In repeating the same mixtures with higher tones of the same scales of
Green and Red, the tone of the mixture of 2 Green with 1 Red is higher
relatively to that of the colours mixed, than it is in the mixtures
above.
1 Red thread and 1 Yellowish-green thread give a Carmelite-brown or an
Orange-grey, the tone of which is equal to that of the colours mixed.
1 Red thread and 1 Bluish-green thread give a copper-coloured mixture
or catechu-brown of a higher tone than that of the colours mixed.
Hence we may conclude that red and green threads, properly assorted,
and in suitable proportions, yield _Grey_.
_Orange and Blue._
3 Orange threads with 1 Blue thread give a dull Orange.
2 Orange ” 1 ” ” a duller Orange.
1 Orange ” 1 ” ” Chocolate-grey.
3 Blue ” 1 Orange ” Violet-grey.
2 Blue ” 1 Orange ” Violet-grey.
Redder than the preceding.
[Illustration: PLATE XII.]
The results are the same with deeper tones than the preceding, except
that the corresponding mixtures are browner.
3 orange threads with 3 blue threads present a remarkable phenomenon,
according to the intensity of the light and the position from which
it is observed. The tapestry being placed in a vertical plane before
the incident light when the warp is horizontal, we perceive _blue_ and
_orange_ stripes; but if the warp is vertical, we may then see the
upper part of each blue stripe _violet_, and its under part, as well as
the upper part of each orange stripe _green_, while the rest of each of
the latter will appear _red_, bordered on the lower part with _yellow_.
We may also see the upper part of each blue stripe, _violet_, and its
under part, as well as the upper part of each orange stripe, _green_,
and the rest of each of these stripes _red_, bordered on the lower
part with green, and in the upper part with yellow. We say that they
may be seen in this manner, because if the light were strong enough
for distinct vision, we should not see the horizontal blue and orange
stripes.
_Yellow and Violet._
3 Yellow threads with 1 Violet give a Greyish-yellow.
2 ” ” 1 Violet ” Yellow-grey.
1 ” ” 1 Violet ” Grey,
much nearer _normal grey_ than the preceding.
3 Violet threads and 1 Yellow give a Greyish-violet.
2 ” ” 1 Yellow ” dull Violet,
greyer than the preceding.
It is remarkable that in the mixture of a yellow with a violet
thread, seen from a greater distance than that at which they appear
neutralized, the yellow is so much weakened in proportion to the
violet, that the mixture appears of a dull violet.
Yellow and blue afford an analogous result.
RULE III.—THE MIXTURE OF THE THREE PRIMARY COLOURS IN
SUCH PROPORTIONS THAT THEY DO NOT BECOME NEUTRALIZED,
BECAUSE ONE OR THE OTHER OF THEM IS IN EXCESS.
350. _When Blue, Red, and Yellow are combined in such proportions that
they do not neutralize each other, the result is a colour much greyer
or more broken than if the proportion of complementary colour were more
equal._
As Red mixed with a Greenish-yellow gives a _Carmelite_ mixture, I
shall add the following:—
1. _Crimson-red and greenish-yellow_ give mixtures so much duller
as these colours more nearly neutralize each other. A mixture of
one crimson-red with one greenish-yellow thread produces a brick or
copper-orange, the tone of which is higher than that of the colours
mixed.
2. _Scarlet-red and greenish-blue_ give mixtures which are without
vigour or purity, relatively to the corresponding mixtures made with
crimson-red and violet-blue.
3. Red and blue-grey give violet mixtures, which are not so dull as the
preceding, because the colours contain no yellow.
4. The red of the mixture 3, worked with a green-grey, gives mixtures
much duller than the preceding, as might have been expected, on account
of the yellow contained in the green-grey.
5. Orange and blue-violet give very dull mixtures.
6. Orange and red-violet give dull mixtures, but redder or less blue
than the preceding.
ON THE PRINCIPLE OF CONTRAST IN CONNEXION WITH THE
PRODUCTION OF TAPESTRY.
351. The tapestry-weaver should therefore thoroughly understand the
effects of contrast, to know the influence which the part of the copy
he proposes to imitate receives from the colours surrounding it, and
so judge what coloured threads to choose. The following examples will
explain better than the most profound reasoning the necessity for the
tapestry-worker to possess a knowledge of the law of contrast.
_First Example._
352. If there be two coloured stripes in a picture, one red the other
blue, touching each other, the phenomenon of contrast between two
contiguous colours would have arisen, had not the painter sustained the
red by blue, and the blue stripe by making it red or violet next to the
red stripe (320).
353. Suppose a weaver wishing to imitate these two stripes, but
ignorant of the law of contrast of colours, after choosing the wools
or silks, he is sure to make two stripes, which will produce the
phenomenon of contrast; for he will select his wools or silks of only
one blue or one red, to imitate two stripes of different colours, each
of which appears homogeneous throughout, but which the painter has only
succeeded in making so by neutralizing the phenomenon of contrast,
which would undoubtedly have resulted had each been painted of a
uniform colour.
354. Suppose the painter has painted the stripes with uniform colours,
then contrast will arise, so that the red contiguous to the blue will
appear orange, and the blue contiguous to the red will appear greenish.
If the weaver be ignorant of the law of contrast, in attempting to
imitate his model he will be sure to mix yellow or orange with his red,
and yellow or green with his blue, in those parts of the stripes which
come in contact. Hence the contrast will be more exaggerated than if he
had worked the two stripes with homogeneous colours.
355. Suppose a weaver has to copy the series of ten grey stripes in
flat tints (fig. 3, Plate 1) described (11), it is evident that if he
is ignorant of such effects he will exaggerate it in the imitation;
for instead of working ten tints of the same scale so as to produce
ten bands in flat tints, he will make ten bands, each graduated
conformably to what he sees; he will probably also have recourse to
lighter and darker tones than those which correspond exactly to the
model, and thus he will require a greater number of tones than would
have been necessary had he been aware of contrast, rendering the copy
an exaggeration of the model.
When we attentively observe the rosy flesh tints of many pictures, we
perceive in the shadows a more or less apparent green tint, resulting
from the contrast of rose with grey. (I presume that the painter has
made his shadows without using green, and that he has not corrected the
effect of contrast by using red.) Now a weaver, ignorant of the effect
of rose upon grey, in imitating the shaded part will have recourse to
a green-grey, which will exaggerate an effect that would have been
produced naturally by employing a scale of pure, not of greenish grey.
QUALITIES WHICH PATTERNS FOR GOBELINS TAPESTRY MUST POSSESS.
356. To determine the qualities which model pictures for tapestry must
possess, we must decide what are specific qualities peculiar to this
kind of imitation.
The weaver imitates objects with coloured threads of a certain
diameter. These threads are applied round the threads of the warp.
Their surface is not uniform but furrowed, those which are parallel to
the threads of the warp being lower than those which are perpendicular
to it; the effect of these furrows being such as would be produced upon
a picture, by a series of dark parallel lines, cut at right angles by
another series of finer parallel lines, less dark than the preceding.
357. There are these differences then between tapestry and painting:—
1. Tapestry never presents those blended colours which the
painter obtains so easily by indefinitely mixing or dividing
his pigments.
2. The symmetry and uniformity of the furrows of tapestry
prevent the lights being as vivid, and the shadows as
vigorous, as in a painting; for though the furrows obscure
the lights, the salient parts of the threads which are in
the shades, have the ill effect of enfeebling the latter by
the light they reflect.
3. The lines surrounding the different objects in a
painting, although straight or curved in every direction,
may be of extreme fineness without ceasing to be perfectly
distinct, while the threads of the weft and the warp, always
crossing at right angles, interfere with such a result
whenever the lines of the pattern do not exactly coincide
with these threads.
4. The painter has other resources, which are denied to the
weaver, for increasing the brilliancy of the lights and
the vigour of the shadows. For instance: he opposes opaque
body-colours to glaring colours, he modifies an object of a
single colour by varying the thickness of the layer of paint
which he places on the canvas; and within certain limits he
can produce modifications, by changing the direction of the
strokes of his pencil.
358. Hence, to raise the effects of tapestry as nearly as possible to
those of painting, it is requisite:—
1. That the objects be represented of such a size that
the position of the spectator does not permit of his
distinguishing either the coloured elements from each
other, or the furrows which separate them; so that
threads of two mixed scales (377), and the hatchings
of different scales, more or less distant, interwoven
together (378), may be mingled into a homogeneous
colour, and that the cavities and salient parts may
appear as a uniform surface.
2. That the colours be as vivid and strongly contrasted
as possible, so that the lines which surround the
different objects be more distinct, and the lights and
shadows be as different as possible.
359. Thus patterns for tapestry must not only recommend themselves
by correct outline and elegant forms, but must also represent larger
objects: figures draped rather than nude, vestments decorated with
ornaments, rather than simple and uniform. Consequently, every thing
allied to miniature, by minuteness or by finish in details, is foreign
to its special object.
360. The elements of Beauvais tapestry for furniture are essentially
the same as those of Gobelins tapestry; but with this difference, that
the light and the middle tones are of silk, while in the Gobelins
tapestry these tones are almost always of wool. The scales of Beauvais
are less varied in colour than those of the Gobelins, and their tones
are less numerous. But the working of the threads is the same in both
kinds of tapestry; so that as to the employment of coloured threads,
depending in like manner on the knowledge and observance of the
principles of mixture and contrast of colours, I need not add to what I
have already said on this subject in the preceding section.
361. The furrows caused by the weft and the warp have not the
inconvenience they present in the Gobelins tapestry. In fact, the
regular grain of the tapestry for furniture is so far from producing
a bad effect in the image represented on it, that we are obliged to
give the appearance of this grain to many paper-hangings by means of
parallel lines cutting it, or by points symmetrically placed.
COLOURED GLASS WINDOWS IN LARGE GOTHIC CHURCHES.
362. I am about to examine, according to the preceding views, the
coloured glass windows which concur so powerfully with architecture,
in giving to vast gothic churches that harmony which we cannot fail
to recognise whenever we enter them. These structures rank with
those works of art which are most impressive by their size, the
subordination of their various parts, and by their complete fitness
for the purposes to which they are applied. The stained glass of
gothic churches has always a most appropriate effect, intercepting the
white light, which, by giving too vivid a glare, is less conducive
to meditation than the coloured light which this glass transmits. We
shall find its splendid effect to arise, not only from the contrast
of colours, but also from the contrast of its transparency with the
opacity of the surrounding walls, and of the lead which binds its parts
together. The impression produced on the eye by this twofold cause
becomes more vivid the more frequently it is repeated and the longer it
is sustained, when yellow, blue, violet, orange, red, and green stained
glass appears like most precious jewels.
363. The upright windows usually represent, within a border or a ground
analogous to the rose windows, the figure of a saint in harmony with
those which stand in relief about the portals of the edifice; and to be
fully appreciated they must be judged of as _parts of a whole_, and not
as a Greek statue which is intended to be seen isolated on all sides.
The glass is of two kinds, the one painted on its surface by pigments
afterwards vitrified (glass painting); the other, melted with the
material that colours it (glass staining); the first is generally used
in the composition of the nude parts of the human figure, and the
second in that of the drapery. All the pieces of glass are united by
strips of lead. What has struck me as being most effective in windows
with human figures, is the exact observance of the relations of size
of the figures and of the intensity of the light which renders them
visible, with the distance at which the spectator is placed; a distance
at which the strips of lead surrounding each piece of glass appear only
as lines or as small black bands.
364. It is not necessary, for an effective whole, that the _painted
glass_, when viewed closely, should exhibit fine hatchings, careful
stippling, or blended tints; for, with the coloured stained glass for
draperies, they should compose a system which compares with painting
in flat tints, and certainly we cannot doubt that a painting on glass,
executed entirely according to the system of _chiaro-scuro_, not to
speak of the cost of its execution, will have the disadvantage of the
finish in its details entirely disappearing at the distance at which it
must be viewed as a whole.
365. _The first condition, which must be fulfilled by every work of
art, is, that it be presented without confusion and as distinctly as
possible._ Let us add that paintings on glass, executed on the method
of _chiaro-’scuro_, cannot receive the borders and grounds of rose
windows which have such fine effects of colour, as they have less
brilliancy and transparency than the glass in which the colouring
material has been incorporated; they are also less capable of resisting
the injuries of time.
Variety of colours in these windows is so necessary to attain the best
possible effect, that those which represent figures entirely nude,
edifices, or large objects of a single colour, or slightly tinted,
whatever may be the perfection of their execution with regard to finish
or truth of imitation, will have an inferior effect to windows composed
of pieces of varied colours suitably contrasted; but a bad effect
results from the mixture of coloured glass with transparent colourless
glass, when the latter has a certain extent of surface in a window; yet
a good effect is obtainable by mixing ground glass with coloured glass,
and also of small pieces of colourless transparent glass, framed in
lead, so that at the distance at which they must be viewed they produce
the effect of a symmetrical juxtaposition of white parts with black
parts.
366. I conclude that we must refer the causes of the beautiful effects
of coloured glass of great churches—
1. To their presenting a very simple design, whose
different well-defined parts may be seen without
confusion at a great distance.
2. To their offering a union of coloured parts which
are distributed with a kind of symmetry, but
which are also vividly contrasted, not only among
themselves, but also with the opaque parts which
surround them.
367. Coloured windows appear to me to produce their utmost effect only
in the vast edifices where the different-coloured rays reach the eye
of the spectator on the floor of the church so much scattered that
they impinge upon each other, whence results an harmonious mixture,
not found in a small structure lighted by coloured windows. It is this
intimate mixture of the coloured rays, transmitted into a vast edifice,
which permits of tapestries placed on the ground floor. But when the
lower walls have not colourless glass windows, it is evident that, if
tapestries be placed too near coloured windows, the harmony of their
colours must be lost, as when blue rays fall upon red draperies, yellow
rays upon blue draperies, &c.
Thus, when coloured glass is to be put in a window, it is necessary to
take into consideration, not only its beauty, but also the effect which
the coloured light it transmits will have upon the objects illuminated
by it.
368. The coloured windows of a large church may be regarded as real,
transparent tapestries, intended to transmit light, and to ally
themselves harmoniously with the sculptures on the exterior, which
destroy the monotony of the high walls of the edifice, and with the
different monuments of the interior, among which tapestries must be
taken into account.
369. My ideas on the employment of stained glass for windows may be
summed up in the following terms:—
1. They produce their utmost effect only in the rose
windows, bay windows, or pointed windows of large
Gothic churches.
2. Only when they present the strongest harmonies of
contrast, not of colourless transparent glass with
the black produced by the opacity of the walls,
iron bars, and strips of lead, but of this black
with the intense tones of red, blue, orange,
violet, and yellow.
3. Their designs must always be as simple as possible,
and admit of the harmonies of contrast.
4. While admiring painted windows, of which a large
number consist of paintings of undoubted merit,
especially in regard to the difficulties overcome,
I confess that it is a kind of painting which
should not be much encouraged, because it never
has the merit of a picture properly so called, it
is more costly, and will produce less effect in a
large church than a stained window of much lower price.
5. Windows of a pale grey ground, with light arabesques,
have a very poor effect wherever they are placed.
See the relations of the law of contrast with the decoration of the
interiors of churches.
THIRD DIVISION.
_Colour Printing._
ON CALICO-PRINTING, AND PRINTING PAPER-HANGINGS.
370. I propose to examine only the optical, not the chemical, effects
produced by patterns printed upon woven fabrics.
Printing on textile fabrics was for a long time limited, so to speak,
to cotton cloths. It is only of late years that it has been extended
to fabrics of silk and wool, for furniture and clothing. This branch
of industry has now undergone an immense extension, fashion having
accepted these products with extreme favour; but, whatever may be the
importance of the subject, in a commercial point of view, I must treat
it briefly. This book is not directed exclusively to that branch of
inquiry, and as all the preceding part is intimately connected with it,
I shall merely state some facts which show, that, in ignorance of the
law of contrast, the manufacturers and printers of cotton, woollen, and
silk stuffs are constantly exposed to error in judging the value of
recipes or colours, or as to the true tint of the design applied upon
grounds of a different colour.
FALSE JUDGMENT OF THE VALUE OF RECIPES FOR COLOURING COMPOSITIONS.
371. At a certain calico-printer’s a recipe for printing green had
always succeeded up to a certain period, when it began to give bad
results. They were lost in conjectures upon the cause, when a person,
who at the Gobelins had followed my researches on contrast, recognised
that the green of which they complained, being printed on a ground
of blue, inclined to yellow through the influence of orange, the
complementary of the ground. She therefore advised that the proportion
of blue in the colouring composition should be increased in order to
correct the effect of contrast. The recipe, modified according to this
suggestion, gave the beautiful green which they had obtained formerly.
372. Thus every recipe for colours to be applied upon a ground of
another colour, must be modified conformably to the effect which the
ground will produce. It is this great facility in correcting the
ill effect of certain contrasts which explains why they so often
succeed without being able to account for it. Here, notwithstanding
their colour, the eye judges them to be colourless, or of the tint
complementary to that of the ground. These appearances have been the
subject of questions frequently addressed to me by the manufacturers
of printed stuffs, and by drapers: they are due to the _law of
simultaneous contrast of colours_. In fact, when the patterns appear
white, the ground acts by contrast of tone (9); if they appear
coloured (and this appearance generally succeeds to that where they
appear white), the ground then acts by contrast of colour (13). The
manufacturer of printed stuffs therefore will not seek to attribute
the cause of these phenomena to the chemical actions in his operations.
373. Ignorance of the law of contrast has, among drapers and
manufacturers, been the subject of many disputes, which I have been
happy to settle amicably, by demonstrating to the parties that they had
no possible cause for litigation in the cases they submitted to me. I
will relate some of these, to prevent similar disputes.
Certain drapers gave to a calico-printer some cloths of single colours,
red, violet, and blue, upon which they wished black figures to be
printed. They complained that upon the _red_ cloths he had put _green_
patterns; upon the _violet_, the figures appeared _greenish-yellow_;
upon the _blue_, they were _orange-brown_ or _copper_-coloured—instead
of the _black_ which had been ordered. To convince them that they had
no ground for complaint, it sufficed to have recourse to the following
proofs:—
1. I surrounded the patterns with white paper, so as to
conceal the ground; the designs then appeared black.
2. I placed some cuttings of black cloth upon stuffs
coloured red, violet, and blue; the cuttings
appeared like the printed designs, _i. e._, of
the colour complementary to the ground, although
the same cuttings, when placed upon a white ground,
were of a beautiful black.
374. The modifications which black designs undergo upon different
coloured grounds are the following:—
Plate 13.
Upon _Red_ stuffs they appear Dark Green.
Upon _Orange_ stuffs they appear of a _Bluish-black_.
Upon _Yellow_ stuffs they appear _Black_, the violet tint of which is
very feeble, on account of the great contrast of tone.
Upon _Green_ stuffs they appear of a _Reddish-grey_.
Upon _Blue_ stuffs they appear of an _Orange-grey_.
Upon _Violet_ stuffs they appear of a _Greenish-yellow Grey_.
[Illustration: PLATE XIII.]
These examples are sufficient to enable us to comprehend their
advantage to the printer of patterns in colours complementary to the
colours of the ground, whenever contiguous tints are to be mutually
strengthened without going out of their respective scales.
DESIGNS FOR PAPER-HANGINGS.
375. The manufacture of paper-hangings has now arrived at such a point,
that a knowledge of the law of contrast of colours is indispensably
necessary to this branch of industry. We cannot estimate the true
relations between the law of contrast and the art of paper-staining
without dividing the papers into several categories to which the law is
applicable.
1. Papers having figures and landscapes, or flowers of
different sizes, and of varied colours, not intended
for borders; these approach the nearest to painting.
2. Papers with patterns of one colour, or of colours
but slightly varied.
3. Those employed as borders.
CHAPTER II.
_On the Law of Simultaneous Contrast of Colours
in relation to Paper-Hangings with Figures,
Landscapes, or large Flowers of varied Colours._
376. The study which I recommend to artists occupied in fabricating
paper-hangings, is in some measure that immediately applicable to every
pictorial composition, or, in other words, the tapestry of figures
and landscapes. But, whatever be the merit of paper-hangings of this
category, they are not sought by persons of refined taste, and they do
not appear to me destined to be any more so in future, for the twofold
reason that the taste for arabesques, painted upon walls, or upon wood,
and that for lithographs, engravings, and paintings, is spreading every
day. These last three objects exclude, at least, all those papers with
figures and coloured landscapes.
377. The applications of the law of contrast to this class of
paper-hangings are easy, when we thoroughly understand the divisions of
the book to which I referred above. In order to prove the advantage to
be derived from the knowledge of this law, I need only refer to the bad
effect presented by contiguous bands of two tones of the same scale of
grey (serving as the ground to the figure of an infant), in consequence
of the contrast of tone arising from their juxtaposition (321).
378. _On the Law of Simultaneous Contrast of Colours in relation to
Paper-hangings with Designs in a Single Colour, or in Colours but
slightly varied._
The remarks in 372 are applicable here also, as are those of 374. The
best executed, and in the best taste, are those with black figures, or
of figures much darker than the ground.
Paper-hangings, I do not say the most tasteful, but those most
convenient for use, present very light grounds, with white or grey
figures.
379. Grey patterns, upon papers tinted of a light colour, exhibit
the phenomenon of maximum contrast; that is to say, the grey appears
coloured with the complementary of the ground.
[Illustration: PLATE XIV.]
Thus, conformably to the law, (Plate 14)
Grey patterns upon a _Rose_ ground appear _Green_.
” ” ” an _Orange_ ” ” _Blue_.
” ” ” a _Yellow_ ” ” _Violet or Lilac_.
” ” ” a _Green_ ” ” _Rose_.
” ” ” a _Blue_ ” ” _Orange-grey_.
” ” ” a _Violet_ ” ” _Yellow_.
380. I mention these examples to instruct artists, for, in
manufactories of paper-hangings, disputes arise between the proprietors
and the preparers of the colours. For instance, a few years ago, the
proprietors of one of the first manufactories in Paris, wishing to
print grey patterns upon grounds of apple green and of rose, refused to
believe that his colour preparer had given any _grey_ to the printer,
because the designs printed on these grounds appeared coloured with
the complementaries of the colour of the ground. It was only when the
colour preparer, having attended a lecture I gave for M. Vauquelin, at
the Museum of Natural History, and hearing me speak of the mistakes
that these contrasts of colours might occasion, suspected the cause of
the effects which he had unconsciously produced, and which had really
caused him much annoyance.
OF THE LAW OF SIMULTANEOUS CONTRAST OF COLOURS RELATIVELY TO THE
BORDERS OF PAPER-HANGINGS.
381. Every paper of one colour, or one belonging to the second
category, should receive a border generally darker and more complex in
design and colour than the paper which it frames.
The assortment of two papers exercises a very great influence on the
effects they are capable of producing; for each of them may be of a
fine colour, ornamented with designs in the best taste, yet their
effect will be mediocre, or even bad, because the assortment will not
be conformable to the law of contrast.
382. The ground of a border contributes greatly to the beauty of the
pattern, whether this be of flowers, ornaments, or any other object. As
we cannot treat of this influence in an absolute or methodical manner,
I shall select a certain number of remarkable facts which I have had
occasion to observe, and I shall principally dwell on those from which
we can deduce conclusions, which, apparently not flowing from previous
observation, might escape many readers, in spite of the great interest
they have in knowing them. Besides, the exhibition of these facts will
give me occasion to apply the law of contrast to designs presenting
many tones of the same scale, and of different hues, and also often
of different scales, more or less distant from each other. I shall
not treat of simple borders, presenting black or grey designs upon a
uniform ground, for I have already spoken of the modifications which in
this case black designs undergo (374), and grey designs also (379).
383. The design of a border, either of ornaments, flowers, or any other
object, being cut out and pasted upon a white card, designs identical
with the preceding, which had been pasted upon cardboard, were then
cut out, and placed upon grounds of black, red, orange, yellow, green,
blue, and violet; then compared, not only by myself, but also by many
persons whose eyes are much accustomed to seeing colours. When we had
perfectly agreed upon their value, the results were noted as follows:—
1.—BORDER OF EIGHT INCHES IN HEIGHT, REPRESENTING GILT ORNAMENTS UPON
DIFFERENT GROUNDS.
Plate 15.
[Illustration: PLATE XV.]
384. These ornaments, executed by the ordinary processes of
paper-staining, contained no particle of metallic gold; yellow, lakes,
and orange, of different tones and hues, had been exclusively employed
in their production. After having stated the modifications which the
painted gilt ornaments experience from the colour of the grounds,
I shall indicate those which the metallic gilt ornaments receive
comparatively from the same grounds; this comparison presenting results
which appear to me interesting.
_Black Ground._
385. Painted gilt ornaments placed upon black ground, compared with the
same ornaments placed on a white ground, appear much more distinct than
the latter; because the yellows and orange-yellows, colours eminently
luminous, and the black ground, which reflects no light, give rise to
contrast of tone, which the white ground, essentially luminous, cannot
give with the colours which are themselves luminous. (See 53.)
We perceive thus, that the colours placed upon black are lowered in
tone; but it must be noted that yellows and orange-yellows, far from
being weakened (58), would only cause the black to gain in purity.
In considering more particularly the effects of two grounds, we see
that a black imparts a red to the ornaments, and it is important to
remark that the brightness of this red, instead of reddening the
yellows, really gilds them. (See 394.)
We may thus understand how black, in taking away some grey, imparts
brilliancy, and how this grey, which may be considered as a tarnished
or subdued blue, may, with yellow, produce an olive colour. It is also
necessary to remark, that the gilt ornaments in question present an
olive-grey tint, which, far from being diminished by the white ground,
is exalted by it.
Although the black ground lowers the tone of the colours, while white
heightens them, it lowers yellow more in proportion than red, and
consequently renders the ornaments redder than they appear upon a white
ground; and, in taking away the grey, it purifies the colours, and acts
also by giving them some red, or by taking away some green.
_Metallic Gilt Ornaments._
386. Gilt ornaments stand out better from black than from white, but
the orange colour is weakened and really impoverished. The black ground
then does not purify the real gilt ornaments as it does the painted
imitation of gold.
_Deep Red Ground._
The yellows are more luminous, the whole effect with the painted
ornament is clearer, more brilliant, less grey than upon a white ground.
Red much deeper than the ornament, lowers the tone of it; and this
effect is also augmented by the addition of its complementary, green, a
bright colour.
This example is of much importance, enabling us to see how the red,
which appears as though it could be of but little advantage to
ornaments, because it tends to weaken them by making them greener,
is notwithstanding favourable, because the lightening or weakening
of the colour is more than compensated for by the brilliancy of the
complementary of the ground which is added to the yellow. We shall
return to this effect in a moment. There is this analogy between the
influence of the red ground and that of the black ground, that the
tone of the colour is lowered; but there is this difference, that the
ornaments become green on the first, while they become orange upon the
second.
387. The red ground is not so advantageous for gilt ornaments as it is
for the painted imitations of them, because the metal loses too much of
its orange colour, and appears inferior to gold upon a black ground.
The red ground appears darker, and more violet than the ground upon
which painted ornaments are placed.
Grounds of a light-red are still less favourable to the gold than red
grounds of a dark tone.
_Orange Ground deeper than the Ornaments._
388. The painted ornaments are bluer or rather greener than upon a
white ground. The yellow and orange are singularly lower in tone.
This ground, then, is very disadvantageous to ornaments, as might have
been expected.
389. Orange is not favourable to metallic gilt. The metal becomes too
white, while the orange ground is redder and more vivid than that upon
which the painted ornaments are placed.
_Yellow Ground of Chromate of Lead more brilliant than the Yellow of
the Ornaments._
390. The yellow of the painted ornaments is excessively enfeebled by
the complementary of the ground which is added to it, the ornaments
appear grey in comparison with those upon a white ground.
391. The yellow ground is not so unfavourable to gilt ornaments as it
is to painted ones. The first assortment may, in certain cases, be
recommended.
The yellow appears more intense, and perhaps greener.
_Bright Green Ground._
392. Painted ornaments are darker upon a bright green ground than
upon a red or white ground. They have acquired some red, but not the
brilliant tint which is given to them by black—it is a brick-red tint.
393. It follows from the comparison of the effects of ornaments upon
red and upon green grounds, that the first is much more advantageous
than the second, because it adds an essentially brilliant tint to the
colour of the ornaments, while the latter, adding red, or taking away
green, produces a brick-red.
394. Upon a bright green ground, _metallic gilt ornaments_ acquire red,
as the painted ornaments do, while the red, not sensibly diminishing
the brilliancy of the metal, but, on the contrary, augmenting the
intensity of its colour, produces an excellent effect.
The green ground is more intense and bluer than the same ground upon
which the painted ornaments are placed.
395. The study of the effects of red and of green grounds upon
painted ornaments, on the one hand, and upon gilt ornaments on the
other, is extremely interesting to paperstainers and decorators; it
demonstrates to them the necessity of taking into consideration, in
the juxtaposition of bodies which it is proposed to associate, the
brilliancy which these bodies naturally possess, and the brilliancy we
wish to impart to them, if they have none. The preceding examples (386,
394) explain why the paperstainer will choose dark red instead of green
for his gilt ornaments, and why a decorator will prefer green to red
for the colour of the hangings of a show-room of gilt bronzes, gilt
clocks, &c.
_Blue Ground._
396. Observation agrees perfectly with the law that it is really upon
a blue ground, that painted ornaments, whose dominant colour is the
complementary of blue, show themselves to the greatest advantage with
respect to intensity of the gold-yellow colour. This effect more than
compensates for the slight difference which may result from the red
ground giving a little more brilliancy. The ornaments upon the latter
ground, compared with those on the blue, are less coloured and appear
whiter.
With _metallic gilt ornaments_ the blue ground is deeper and less
violet than with painted ornaments.
_Violet Ground._
397. Conformably to the law, the violet ground giving greenish-yellow
to the painted ornaments, is favourable to them; they appear on this
ground less olive-grey, more brilliant than upon the white ground, and
less green than upon the red ground.
_Metallic gilt ornaments_ stand out quite as well, the ground is raised
in tone, and the violet appears bluer or less red.
398. It is remarkable that gilt ornaments, compared with their painted
imitations, heighten all the grounds upon which they are placed. We
cannot say that this metal causes the grounds to lose their brilliancy,
for orange gaining some red, by the juxtaposition of the gold, appears,
nevertheless, more brilliant than the orange in juxtaposition with the
painted ornaments. The gold, by its orange colour, gives also some
blue, its complementary, to bodies which surround it.
2.—BORDER OF FOUR INCHES IN BREADTH PRESENTING ORNAMENTS
COMPOSED OF FESTOONS OF BLUE FLOWERS, OF WHICH THE
EXTREMITIES ARE HELD BY GREY LEAVES OF ARABESQUES.
Plate 16.
399. These ornaments are opposed in some respects to the preceding by
their dominant colour, which is blue.
_Black Ground._
400. Grey lowered three tones in comparison with grey; upon white less
reddened.
Blue flowers lowered two tones at least.
_Red Ground._
401. The grey is greenish, while upon white it is reddish.
The blue flowers are lowered three tones, and the blue inclines to
green.
_Orange Ground._
402. Grey much lowered; less red than upon white. Flowers paler, and of
a blue less red or less violet, than upon a white ground.
_Yellow Ground._
403. Grey higher than upon white ground, more violet.
Flowers of a more violet-blue, less green than upon a white ground.
_Green Ground._
404. The grey is reddish, while upon a white ground it appears greenish.
The blue gains red or violet, but it loses much of its vivacity; it
resembles some blues of the silk-vat, which, giving yellow to the
water, become slaty-blue-violet.
[Illustration: PLATE XVI.]
_Blue Ground._
405. The blue ground being fresher than that of the ornament, it
follows that it gives _orange_ to the blue of the flowers; that is to
say, it _greys_ them in the most disagreeable manner.
The grey ornament is _oranged_, and lighter than upon the white ground.
_Violet Ground._
406. Grey lowered, yellowed, impoverished. Blue tends to green, and is
impoverished.
3.—BORDER OF FIVE INCHES AND A HALF IN BREADTH,
REPRESENTING ROSES WITH THEIR LEAVES.
Plate 17.
407. This border is particularly useful as an example of the effect
of two colours, red and green, which are very common in the vegetable
world, and often represented upon paper-hangings.
_Black Ground._
The green is less black, lighter, fresher, and purer, and its brown
tones redder than upon a white ground. With respect to its lighter
tones, I see them yellower, while, on the contrary, they appeared bluer
to three persons accustomed to observe colours. This difference, as I
at last found, arose from my comparing the general effect of leaves
upon a black ground with that of leaves upon a white ground; while the
other persons instituted their comparison more particularly upon the
browns and the light tones of green, placed upon the same ground. This
difference in the manner of seeing the same objects will be the subject
of some remarks hereafter.
Rose lighter, yellower than upon a white ground.
_Dark Red Ground._
408. Green more beautiful, less black, lighter than upon a white ground.
Rose more lilac, perhaps, than upon a white ground. The good effect of
the border upon this ground is due chiefly to the greatest part of the
rose not being contiguous to red, but to green; because the border and
the ground exhibit flowers, the rose of which contrasts with the green
of their leaves; while the same green contrasts with the red of the
ground, which is deeper and warmer than the colour of the flowers.
_Orange Ground._
409. The green lighter, a little bluer than upon a white ground.
Red much more violet than upon a white ground.
The general effect not agreeable.
_Yellow Ground._
410. Green bluer than upon a white ground.
Rose more violet, purer than upon a white ground.
The whole exhibits a good effect of contrast.
Green ground, the tone of which is nearly equal to that of the lights
of the leaves, and the hue of which is a little bluer.
Green of the leaves lighter, yellower than upon a white ground.
Rose fresher, purer, more velvety than upon a white ground.
[Illustration: PLATE XVII.]
Ground of an agreeable effect from harmony of analogy with the colour
of the leaves, and from harmony of contrast with the rose of the
flowers.
_Blue Ground._
411. Green lighter, more golden than upon a white ground.
Rose yellower, less fresh than upon a white ground.
Although the green leaves do not exactly produce a bad effect upon the
ground, yet the roses lose much of their freshness, and the appearance
of the whole is not agreeable.
_Violet Ground._
412. Green yellower, lighter than upon a white ground.
Rose faded.
If the ground does not injure the green of the leaves, yet it injures
the rose so much that it is not agreeable.
4.—BORDER OF SIX INCHES IN BREADTH, REPRESENTING
WHITE FLOWERS, AS CHINA ASTER, POPPY, LILY OF
THE VALLEY, ROSES; SOME RED FLOWERS, AS THE
ROSE-WALLFLOWER SOME SCARLET OR ORANGE, AS THE
POPPY, POMEGRANATE, TULIP; BIGNONIA AND VIOLET
FLOWERS, AS LILAC, VIOLETS, AND TULIPS WITH
GREEN LEAVES.
413. This border was remarkable for the pleasing combinations of
the flowers among themselves, and of the flowers with their leaves.
In spite of the multiplicity of colours, and of the hues of red and
violet, there was no disagreeable juxtaposition, except that of a
pomegranate next to a rose; but the contact only took place at one
point, and the two flowers were in very different positions.
_Black Ground._
414. The whole lighter than upon a white ground.
Orange finer, brighter than upon a white ground.
White the same.
Green lighter, redder. The roses and the violets gain nothing from the
black.
_Red-Brown Ground._
415. The whole lighter than upon a white ground.
Whites and greens of fine effect. An orange-flower contiguous to the
ground, for the reason explained above (407), acquires a brilliancy
which it has not upon a white ground.
_Orange Ground._
416. The whole more sombre, duller than upon a white ground.
Orange-flowers and roses dull, lilacs bluer.
This assortment is not good.
_Yellow Ground._
417. The orange-flower contiguous to the ground evidently loses
vivacity in comparison with the white ground.
The whites are less beautiful than upon a red ground.
The greens are bluer than upon a white ground.
The roses become bluer, the violets acquire some brilliancy.
The whole effect is good, because there is but little yellow in the
border, and but little orange contiguous to the ground.
_Green Ground._
418. The ground being fresher than the green of the leaves, had not a
good effect, relatively to them. On the other hand, the green in the
border was in too small a quantity to produce a harmony of analogy, and
it had not sufficient red for a harmony of contrast.
_Blue Ground._
419. The oranges have a fine effect, the greens were reddened as well
as the whites. The roses and the lilacs lost some of their freshness.
This arrangement did not produce a good effect, because there was not
sufficient yellow or orange in the border.
_Violet Ground._
420. Orange more beautiful than upon a white ground.
Roses, and violets especially, less beautiful than upon a white ground.
A poor assortment.
_Grey Ground._
421. As might be easily foreseen, this ground was extremely favourable
to all the colours of the border.
422. The examination we have just made of four sorts of borders enables
us to verify the exactness of the conclusions which are directly
deducible from the law of simultaneous contrast of colours, and
presents to us effects which we could scarcely have deduced from the
same law without the aid of experiment. I now speak—
1. Of the influence which a complementary exercises by
imparting _brilliancy_ to the colour to which
it is added.
2. Of the very different manner in which not only
different people, but even the same person, will
judge of the colours of a more or less complex pattern,
having a certain number of colours, according to the
attention the spectator gives at a certain moment to
different parts (407).
423. Our examination of the border of roses with their leaves (No. 3),
and especially of that of the border of flowers varied in their forms
and hues (No. 4), shows the necessity of a knowledge of the law of
contrast to assort the colours of objects represented upon a border
with the colour which serves as a ground to them. The examination of
the border No. 4 has demonstrated experimentally that this assortment
presents so much the more difficulty as we wish to have purer tints for
the ground, and more varied colours in the objects we intend placing on
it; besides, in demonstrating the good effect of grey as a ground for
these latter objects, it has furnished an example of a fact which may
be deduced from the law, and which is in perfect accordance with what
practice taught us long ago.
PRINTED OR WRITTEN CHARACTERS ON PAPERS OF DIFFERENT COLOURS.
424. Having made it a rule in this work never to state any observations
which I have not myself verified, I must mention that, not possessing
every requisite for the examination of the subject of this section, I
am obliged to develop certain points of it only.
We must regard—
1. The duration of the reading, and
2. The kind of light which illuminates the printed or written paper.
A.—INFLUENCE OF DURATION IN THE READING.
425. From the different conditions in which the eyei s found when it
is apt to perceive the phenomena of simultaneous, successive, and
mixed contrasts of colours (77 _et seq._), it may be conceived that
in order to judge of the effect upon the sight of the assortments of
the colour of the letters and that of the paper as to the degree of
facility that they respectively present for reading, it may happen that
one assortment will be more favourable during a brief reading, while
the contrary will take place if the reading be prolonged during several
hours. Besides, an assortment presenting the greatest contrast will be
more favourable to a reading of short duration, while it will be less
so to a prolonged reading; because, in consequence of the intensity of
its contrast, it will fatigue the eye more.[2]
[2] Hence the pleasure of reading books printed on the modern _toned_
paper. De Morgan advises that tables of logarithms, and the like,
should be printed on pale brown paper.
B.—INFLUENCE OF THE KIND OF LIGHT ON PRINTED OR WRITTEN PAPER.
426. The light we employ to supply the place of that of the sun,
changing the relations of colour under which the same bodies appear
to us illumined by daylight, it is evident that if we neglected this
difference of relation it would give rise to error; because any
assortment of colours favourable to read in diffused daylight, might be
less so by the light of a lamp, &c.
427. I will now examine—
The influence of different assortments of the colours of writing and
printing for reading by diffused daylight.
ON THE ASSORTMENT OF COLOURS FOR READING BY DIFFUSED DAYLIGHT.
_Reading of a Few Minutes’ Duration._
428. Letters upon paper can be read without fatigue only when there is
a marked contrast between the letters and the ground. This contrast may
be of tone, or of colours, or both.
429. _Contrast of tone_ is the most favourable condition for distinct
vision, if we consider white and black as the two extremes of a scale,
comprehending the gradations from normal grey; in fact, black letters
upon a white ground present the maximum of contrast of tone, and may
be read in a perfectly distinct manner without fatigue by diffused
daylight. Indeed, all whose sight is enfeebled by age require the
utmost contrast of tone.
FOURTH DIVISION.
_Employment of Colours in Architecture._
I. ON THE EMPLOYMENT OF COLOURS IN EGYPTIAN ARCHITECTURE.
430. The Egyptians employed various colours, as red, yellow, blue,
green, and white, to decorate their monuments.
Lancret remarks, “All who have seen Egyptian paintings, can attest
that when seen, even for the first time, they were not disagreeable;
and, that if at first the colours appear distributed arbitrarily,
it is because observers have not combined a sufficient number of
observations, and that it will one day be found that this part of the
arts of the Egyptians was, like all the rest, submitted to invariable
rules.”
431. Champollion the Younger expresses himself in these terms on the
application of colours to Egyptian architecture: “I should like to
introduce into the great temple of Ipsamboul, all who refuse to believe
in the elegant richness that painted sculpture adds to architecture; in
less than a quarter of an hour, I engage that they would perspire away
all their prejudices, and that their _à priori_ opinions would quit
them through every pore.”
432. The fact of colouring hieroglyphics being once admitted, the
colouring of the other figured objects which accompany them appears
to have been a necessary consequence, either to bring out certain
symbols, or allegories more distinctly and more agreeably, by the
effect of their various colours, or because, if the hieroglyphics only
were differently coloured, there would be no harmony between them and
the other figured objects. No one can mistake the harmony between the
hieroglyphics and other painted objects, and we therefore should not
see any impropriety in them if we mistook them for figures traced
by the capricious imagination of the artist. This harmony clearly
justifies Lancret and Champollion the Younger, in the passages quoted
above.
II. ON THE EMPLOYMENT OF COLOURS IN GREEK ARCHITECTURE.
433. The discovery of Greek temples coloured on the exterior is
doubtless a very remarkable fact in archæology; for if any monuments
seemed to reject the application of colours to their external
decoration, it was assuredly those of the Greeks. At this day, it
is impossible not to admit that it was among these people that the
alliance of colours with architecture was made, not in the declining
epoch but at a period when monuments were erected in the best style;
in fact, the ruins of coloured temples discovered by the excavations
made in Greece, Italy, and Sicily, in places where many Greek colonies
prospered, have this characteristic in a remarkable degree.
434. If we seek the cause which determined the Greek architect to seize
upon one of the most powerful means that the painter has of addressing
the eye, we shall find it especially, I think, in a taste for colours,
rather than in the intention of rendering the various parts of an
edifice more distinct from each other; and of substituting painted
ornaments for ornaments in relief, whether sculptured or moulded, or of
augmenting the relief these ornaments already possessed; indeed, the
communication of the Greeks with the Egyptians, may have induced them
to imitate the latter in this application of colours to ornaments.
435. In the coloured drawings of Greek monuments which I have been able
to procure, I have remarked not only the number of colours employed
in these monuments,—_white_, _black_, _red_, _yellow_, _green_, and
_blue_,—but also the use which has been made of them under the relation
of _variety_ and _purity of tint_, of _distinct view of the parts_,
and of the _harmony of the whole_. For instance, the principal lines,
as the fillets of the architrave and of the cornice, are _red_; the
mutules _blue_, and their guttæ _white_; the triglyphs _blue_, their
channels _black_, and their guttæ _white_; and the more extended parts
of the frieze and the cornice, as well as the architrave, are of light
_yellow_.
We see that _red_, a brilliant colour, indicated the greater part
of the principal lines; that _blue_, associated with _black_ in the
triglyphs and their channels, formed an harmonious and distinct
union of the neighbouring parts: also that the dominant colour,
light _yellow_, produced a much better effect than it would if the
most intense or the most sombre colours had predominated. Finally,
the colours were distributed in the most intelligent manner possible
without being motley, presenting a variety and lightness in the tints,
with easy separation of parts.
III. ON THE EMPLOYMENT OF COLOURS IN GOTHIC ARCHITECTURE.
436. In the great Gothic churches, colour has rarely been employed on
the exterior, except in a few cases, and always in a restrained manner,
and without injury to the general harmony; for the colour on porches
and in niches is altogether insignificant in this point of view; and,
besides, there is nothing to show that it was not added long after the
erection of the structure on which it is found. One of the things I
most admire in these vast edifices is the art, or, if you will, the
luck, with which they have succeeded without colour, by having recourse
only to architecture and sculpture, in giving to the exterior of the
edifice a variety which in no respect injures the imposing effect of
the whole.
437. If we now regard the interior of these churches, the magic of the
colours of the stained windows will complete the enjoyments the sight
can receive from colour allied to architecture—enjoyments which can
only strengthen the power of the religious sentiment in all who enter
these edifices to address their prayers to God. M. Boiserée, author of
a work full of research, as original as profound, on the cathedral of
Cologne, thinks that the ceilings of Gothic churches ought, according
to a general custom, to represent the celestial vault, and be painted
blue, studded with gilt stars.
438. If painting has from the beginning really concurred with
architecture, and even with painted sculpture, in the interior
decoration of Gothic churches, it can only have been in a secondary
degree and on the system of flat tints, from the time when it had
been decided to put in windows of stained glass; for no painting
applied upon an opaque body, such as stone, wood, &c., could sustain
itself beside the brilliant coloured light transmitted by the glass;
and if this painting had been graduated according to the rules of
chiaro-’scuro, all its merit would have disappeared, for want of pure
and white light, the only kind suitable for illuminating it.
439. Is it true that the vicinity of stained glass necessarily requires
as an effect of harmony, painting on the contiguous walls? Without
deciding absolutely in favour of the contrary opinion, I confess that,
after reflecting long upon the deep impressions I have received in
great Gothic churches where the walls present only the simple effects
of light and shade upon a uniform surface of stone, where there are no
colours except those transmitted by the stained glass, I say that the
sight of more varied effects would have appeared to me an error against
the principle of suitability of the place to its destination; and this
opinion was especially fortified by seeing, after the coronation of
Charles X., the fine vault of the ancient cathedral at Rheims, which
had been painted for the occasion blue, sprinkled with _fleurs-de-lis_.
I am reminded of the impression it produced upon me some years before,
when it presented to my sight only the uniform colour of the stone.
APPLICATION TO THE INTERIORS OF EDIFICES.
440. I shall treat in succession—
1. On the assortment of stuffs with the wood of seats, &c.
2. On the assortment of frames with the pictures,
engravings, and lithographs which they surround.
3. On the general decoration of interiors of churches.
4. On the decoration of museums, galleries, &c.
5. On the decoration of houses, palaces, &c.
_On the Assortment of Stuffs with the Wood of Seats._
441. There should be between the two parts of the seat—the wood and
the stuff—harmony of contrast and harmony of analogy. The beauty of
the wood and of the stuff which accompanies it, may mutually enhance
each other. From what has been said, it is evident that we must assort
violet or blue stuffs with yellow woods, as the root of ash, the yew,
satinwood, maple, &c. Green stuffs with rose or red-coloured woods, as
mahogany, cherry-tree, rosewood, &c.
Violet, or blue-greys, are equally good with yellow woods, as
green-greys are with the red woods.
But to obtain the best possible effect it is necessary to take into
consideration the contrast resulting from depth of tone; for a dark
blue or violet stuff will not accord so well with a yellow wood as a
light tone of the same colours; and it is for this reason that yellow
does not assort so well with mahogany, as with a wood of the same, but
not so deep a colour.
442. Among the harmonies of contrast of tone that can be made with
wood, may be mentioned ebony, the brown colour of which permits its
employment with light stuffs to produce contrasts of tone, rather
than contrasts of colour. We can use it with very brilliant, intense
colours; such as poppy, scarlet, aurora, flame-colour, &c.
443. When we employ painted woods instead of those which retain their
natural colour, it is better for a stuff to give the wood such a
colour as will best assort with the stuff. For assortments of this
kind, I believe we cannot do better than refer to the examples of the
assortments of the principal colours with white, black, and grey. (P.
49 _et seq._)
444. Ebony wood, on account of its dark colour, be employed with dark
stuffs to produce the assortments of analogy. In this case it can be
allied with brown tones, and with red, blue, green, and violet. It is
scarcely necessary to remark that these assortments prevent our using
with ebony, white and yellow inlaying woods, which can be used with
more or less advantage in those assortments which enter into the case
of harmonies of contrast.
445. Frequent use is made of crimson woollen, velvet, and mahogany.
This assortment, which is related to the harmony of analogy, is
preferable to many others, only in consideration of the great stability
of the colour of the stuff, and therefore independently of every idea
of harmony. This induces me to examine it under several relations, that
we may make the best possible use of it, according to the particular
purpose.
When, in assorting crimson with mahogany, we wish to produce the
harmony of analogy, by marking out the lines where the wood and the
stuff touch, we can employ a cord or narrow galloon of yellow, or of
golden yellow with gilt nails; or, better still, a narrow galloon of
green or black, according to our wish to render the border more or less
prominent.
When, in assorting these colours, we are guided by the twofold motive
of the stability of the crimson colour and of the beauty of the
mahogany, we must necessarily increase the distance which separates the
stuff from the wood, by making the black or green border wider.
446. As the red woods always lose more or less of their beauty by the
juxtaposition of red stuffs, we can never ally mahogany to colours
which belong to the vivid reds, such as poppy or cherry; and more
particularly to orange-reds, such as scarlet aurora; for these colours
are so bright, that, taking away from this wood its peculiar tint, it
becomes no better than oak or black walnut.
ON THE SELECTION OF FRAMES FOR PICTURES AND ENGRAVINGS.
447. If a frame is necessary to a picture, engraving, or drawing,
to isolate it from the objects around it, it is always more or less
injurious to the illusion the painter or designer has desired to
produce, when it occupies its destined place. I only purpose here to
examine the relation of colour between the frame and the object it
surrounds.
448. Gilt frames accord well with large pictures painted in oil, when
the latter do not represent gildings, at least so near the frame as to
render it easy for the eye to compare the painted gold with the metal
itself.
I will instance a bad effect from such proximity. A Gobelins tapestry,
after Laurent, represents a genius armed with a torch, near which is a
gilt altar, executed in yellow silk and wool, all of which are entirely
eclipsed by the metallic brilliancy of the gilt bronzes profusely
spread over the mahogany frame of the tapestry. This may convince us
that the richness of a frame may not only be a fault against art, but
also against common sense.
449. Bronze frames which have but little yellow brilliancy do not
injure the effect of an oil picture which represents a scene lighted by
artificial light, such as that of candles, torches, a conflagration, &c.
450. When black frames, such as ebony, detach themselves sufficiently
from an oil painting, they are favourable to large subjects; but
whenever they are used, it is necessary to see whether the browns of
the painting or drawing which are contiguous, do not lose too much of
their vigour.
451. A grey frame is favourable to many landscape scenes painted in
oil, particularly when the picture having a dominant colour, we take a
grey lightly tinted with the complementary of that colour.
452. Gilt frames accord perfectly with black engravings and
lithographs, when we take the precaution of leaving a certain extent of
white paper round the subject.
453. To conclude. The rule to be followed in assorting a frame to a
picture is, that its colour, brightness, and ornaments also, injure
neither the colours, nor the shadows, nor the lights of the picture,
nor the ornaments which it represents.
When we propose to put a border between the frame and an engraving,
plain or coloured, we must take into consideration,—
1. The effect of the height of tone of this border
upon the different tones of the design.
2. The effect of the complementary of the colour of
the border upon the colour of the design.
3. The intensity of the diffused light which is
considered most suitable to light the design.
Because for a given border the mutual relations
between the browns, the half-tints, the lights
and the whites, change with the intensity of the
daylight, and change more for a given composition
with certain borders than with others.
A composition of small or medium size may be painted
so that the artist himself will do well to choose
the frame best adapted to it, and to paint up those
parts of his picture which are contiguous to it.
(See also 483.)
ON THE GENERAL DECORATION OF THE INTERIORS OF CHURCHES.
I now resume this subject, no longer to treat of it relatively to a
given architectonic form, but to consider it under the most general
point of view.
Conformably to the principle enunciated above (346), of judging the
productions of art by the rules drawn from the nature of the materials
employed, I establish two distinct classes of churches, not according
to their form, but to a fundamental consideration which subordinates
the interior decoration to the quality of the light, coloured or
colourless, diffused through plain or coloured glass.
_Stained Glass Windows._
1. From the bad effect of the mutual proximity of white and stained
glass (365), it results that where one is employed in a church the
other must be excluded, at least from the nave, choir, in a word, from
all that the spectator can embrace at one point of view. The colourless
glass in some of the chapels of the aisles is of no consequence in the
general effect.
2. If pictures be near stained windows, they must be flat, or present
subjects as simple as possible, since their effects are entirely
sacrificed to those of the stained glass (438).
3. We can place pictures in a large church where the light is
transmitted through coloured glass; but, for the view to be
satisfactory, they must necessarily encounter such a union of
conditions, that they will almost always be found out of place. In
fact, if the pictures are not at a certain distance from the glass,—if
the coloured lights which emanate from them are not, by their mutual
admixture, in the requisite proportions for producing white light, or,
at least, a very faintly coloured light—or if this feebly coloured
light is insufficient to lighten the interior of the church properly,
the pictures will lose their colour, unless they have been executed
with reference to the nature of the light from the stained windows; but
this is not, to my knowledge, ever realized.
_White Glass Windows._
454. Churches with white glass windows harmonize with every ornament we
can imagine in the employment of wood, marbles, porphyry, granite, and
the metals. Mosaics may ornament the floors and adorn the walls with
true pictures, as we see in St. Peter’s at Rome. Painting in fresco,
in oil, plain and coloured sculptures, also combine to ornament the
interior.
1. In churches of this class, the profusion of riches at the disposal
of the decorator, far from being always of advantage to him, may be
the cause of difficulties; for, the more varied the objects he has to
arrange, the greater the difficulty of presenting only such objects as
are in keeping with the place he has to embellish. It is not enough
to have precious woods, marbles, metals, pictures; he must also make
these objects harmonize. Thus, he must avoid putting coloured marbles
contiguous to the white stone of which the walls are constructed; he
must also proscribe surrounding bas-reliefs in white stone with slabs
or borders of red or green marble.
2. The cathedral of Cologne, for churches with _coloured_ glass, and
St. Peter’s at Rome, for those with _white_ glass, are two types which
it will be sufficient to mention when we wish to demonstrate that
beauty is compatible with different systems.
3. Much as I admire the marvels which the arts have accumulated in
churches where white light freely enters, and although I acknowledge
the effects which certain pictures of the first order are capable of
producing in the Christian mind, yet the churches in which we see these
decorations, resemble museums of art more than temples consecrated to
prayer; and under this aspect they do not appear to me to fulfil the
conditions imposed by the principle of fitness of edifices to their
purpose in the same degree as Gothic churches with stained glass
windows.
ON THE DECORATION OF MUSEUMS AND GALLERIES.
455. The essential condition which these edifices must fulfil, is, that
the light be as white and as vivid as possible; but always diffused
and distributed equally and in the most suitable manner upon all the
objects exhibited to the spectator, so that they may be seen without
fatigue, and distinctly in every part.
_Picture Galleries._
456. There is generally a disposition to be prodigal of ornaments and
gilding in such buildings. Without pretending that all decoration
should be proscribed, yet I believe that there is less disadvantage in
erring by deficiency than by excess; in fact, the pictures, &c., are
the precious objects, and it is to them that we must attract attention.
Let me add, that one of the most injurious things to the effect of
pictures is their accumulation—their being crammed all together;
the position they then occupy, so different from that for which the
painters destined them, diminishes the illusion which each would
produce if it were in its proper place. Few, except the intelligent
connoisseur and amateur, on seeing a picture exhibited in a gallery,
experience all the effect which the artist wished to produce. Even
the contiguity of the frame to the picture is destructive of the
illusion of perspective: hence the difference between the effect of a
framed picture and the effect of the same picture when seen through
an opening, which permits us to see neither frame nor limits: it then
recalls all the illusion of the diorama.
_Sculpture Galleries._
457. Statues of white marble or stone, as well as plaster casts, stand
out well in a gallery, the walls of which are of a pearly-grey colour;
and if we would augment the whiteness of the statues by neutralizing
the red hue which the marble, stone, or plaster might have, we could
colour the walls with a chamois or orange-grey tint. If, on the
contrary, we preferred giving to the statues a warm colour, which many
sculptors esteem so highly, the walls must be of blue-grey. Green walls
will give to the statues a rosy tint, which is not disagreeable.
The tone of their colour must be lower, the brighter we wish the
sculptures to be.
458. When there are bronzes, the colour of the walls of the gallery
must be determined by that which we wish to predominate in the statues;
because, as is very well known, the metallic alloy of which they are
formed yields two very different tints; one _green_, acquired by
exposure to atmosphere; the other the peculiar _golden_ tint which it
possesses where it is not oxidized. If we wish to exalt this green
tint, the colour of the walls of the gallery must be _red_; while they
must be _blue_ to bring out the brilliancy of the metallic bronze,
which has not experienced the action of the atmosphere.
459. The walls of the gallery are considered as giving rise to effects
of contrast, and not of reflection.
_Museums of Natural History._
460. In these edifices it would be wrong to give the walls any positive
colour, for the objects exhibited should appear to the eyes of the
naturalist of the colour peculiar to each; consequently the interior of
cabinets, glass-cases, and drawers must necessarily be white, or normal
grey, very light in tone.
_Wainscoting._
461. From the fact that wainscotings are generally concealed by the
furniture placed before them, we may conclude that they must be of a
dark, rather than of a light colour, and that, if they have ornaments,
these must be simple, and not prominent. The wainscoting may be
considered as serving as a ground to the furniture, whenever it is not
entirely concealed by the latter. We shall see hereafter what colour is
necessary to be given them that they may suit their purpose.
DECORATIONS OF THE INTERIOR OF HOUSES.
_Hangings._
462. In consequence of an apartment never being too light—for we can
always diminish superfluous light—hangings should be of a light colour,
that they may reflect, not absorb, light.
463. We proscribe all dark hangings, whatever be their colour, because
they absorb too much light; we proscribe also red and violet hangings,
because they are exceedingly unfavourable to the colour of the skin.
For this latter reason we reject the light tones of the red and violet
scales. Orange is a colour that can never be much employed, because it
fatigues the eye too much by its great intensity.
1. Among the simple colours, there are scarcely any
which are advantageous, except yellow and the light
tones of green and of blue. Yellow is lively; it
combines well with mahogany, furniture, but not
_generally_ with gilding (see 469).
2. Light green is favourable to pale complexions as well as
to rosy ones; to mahogany furniture, and to gilding.
3. Light blue is much less favourable than green to
rosy complexions, especially in daylight; it is
particularly favourable to gilding, it does not
injure mahogany, and associates better than green
with yellow or orange woods.
4. White or whitish hangings of a light grey (either
normal green, blue, or yellow), uniform or with
velvet patterns of the colour of the ground, are
also very useful.
5. When we would choose hangings upon which to place
a picture, their colour must be uniform, and make
the greatest contrast possible with that which
predominates in the picture, if the hangings are
not of a normal grey. I shall return to this
assortment (483).
464. Hangings in the best taste are those—
1. Which present designs of a light tone, either
normal or coloured grey, upon a white ground, or
the reverse, and in which the pattern is at least
equal in extent of surface to the ground; for a
small pattern has a very poor effect, at least in a
large room.
2. Patterns of two or more tones of the same or very
near scales assorted conformably to the law of contrast.
465. Hangings of brilliant and varied colours representing real
objects, forming patterns more or less complex, do not admit of
pictures; and as such hangings should exhibit themselves distinctly,
they must not be concealed by the furniture in any of their parts.
466. When we have to adapt a border to a monochromous hanging, or to
one presenting a dominant colour, we must first determine whether we
can have recourse to a harmony of analogy or to a harmony of contrast;
in all cases the border ought to detach itself more or less from the
hangings, which it is intended to surround and separate from contiguous
objects.
Harmony of contrast is the most suitable to papers of a uniform pure
colour, such as yellows, greens, and blues; consequently we recommend
for the dominant colour of the border, the complementary of that of
the hangings, whether this border represents ornaments, arabesques,
flowers, or imitations of fringes or tissues. But, as a contrast of
colour ought not generally to offer also a contrast of tone, then the
general tone of the border must only surpass that of the hangings so
far as to avoid a deadening effect. If a double border be required,
the exterior border must be of a much deeper tone than the other, and
always narrower.
467. Among the colours suitable for borders we recommend the following
as harmonies of contrast:—
1. For yellow hangings, violet and blue mixed with
white; if a fringe, of flowers garnished with their
leaves, or ornaments.
2. For green hangings, red in all its hues; the
painted gilt-yellows upon a dark-red ground; the
borders of brass.
3. For white hangings, orange and yellow; the borders
of brass or gilt moulding: these are much better on
blue than on green.
468. Among the harmonies of analogy, I recommend the following:—
For yellow hangings, a border of brass or gilt moulding.
_White or Whitish Hangings of Normal Grey, Pearl Grey, or very pale
coloured Grey, of a uniform colour, or with a Velvet Pattern of the
Colour of the Ground._
469. Although papers of this kind admit of borders of all colours, yet
we must avoid too great a contrast of tone in a border containing pure
colours; for the intense tones of blue, violet, red, green, are too
crude to combine with these light grounds. Gilt brass borders accord
well with these grounds, especially with the pure or grey whites. If a
grey present a tint of green, of blue, or of yellow, we may use borders
of the complementary of these tints, taken many tones above, or of a
grey, deeply tinged with this complementary.
470. Among the harmonies of analogy, we may take for grey hangings,
borders of some tones higher, and of a grey contrasting with their
tint, but very lightly.
_For Borders of Hangings that present a pure Colour with White, or many
Tones belonging either to the same Scale or to contiguous Scales_ (see
466).
For _chintzes_, we must have analogous borders.
For larger patterns than chintzes, repeated like the latter, a binding
of galloon suffices.
Hangings with human figures, landscapes, or other pictures, require a
frame either of painted, gilt, or bronzed wood, or, better still, a
border imitated by painting.
_Colour of the Wainscoting relatively to the Hangings._
_When the Hangings and the Border make a Contrast of Colour._
471. The dominant colour of the wainscoting must generally be more or
less approximating, and may be—
1. The same as that of the border, but a little darker, and especially
more or less broken with black.
2. Grey lightly tinted with the colour of the border, and of the same
tone, or very near it.
3. The complementary of the colour of the hangings, when the dominant
colour of the border is not its complementary. If we employ a
complementary lightly broken with black, the moulding must be picked
out in brown on the border and on the wainscoting.
4. A grey complementary to the colour of the hangings, when the border
is not the complementary of the hangings.
In these cases we bring out upon the colour of the hangings, properly
so called, that of the wainscoting, which we always render more or less
dull. Thus the colour of the hangings and the wainscoting are agreeably
harmonized, and the border suitably separates them.
5. A normal grey of many tones, with which we may combine white.
472. When the colour of the wainscoting is the same as that of the
hangings, but duller or deeper, in general it has a poor effect,
arising particularly from the fact that the colour of the border, which
contrasts with that of the hangings and of the wainscoting, is in too
small superficial proportion to the other.
_When the Assortment of the Hangings and the Border
make either the Harmonies of Contrast of Scale or
of Contrast of Hue, or the Harmonies of Analogy._
The dominant colour of the wainscoting may be—
1. The complementary of the colour of the hangings,
but more or less broken, and a little deeper.
2. Grey complementary to the colour of the hangings.
3. A colour which, without being complementary,
contrasts with that of the hangings.
4. Grey, tinted by a colour which, without being
complementary to that of the hangings, contrasts
with them.
473. When the hangings are white, or of an extremely feeble tone
of colour, and the border does not stand out very strongly by its
colour, we may make a harmony of tone or of hue with the tint of the
wainscoting. For example, white, or nearly white hangings, with a gilt
or brass border, harmonize well with a wainscoting which differs only
by some tones more from the colour of the hangings.
_Cornice of the Ceiling._
474. The cornice of a white ceiling must be of light colours, and but
little varied; not according with those of the hangings, but of the
wainscoting. White parts, which may be confounded with the ceiling,
must be carefully avoided, as must also whatever will cause too much
difference between the parts of the whole. When the hangings are white,
or of a very pale grey, with a gilt or brass border, the cornice may
present ornaments of the same material, and in this case they may stand
upon a white or upon a grey, a little deeper than that of the hangings.
_Chairs, Sofas, &c., placed in front of the Wainscoting or Hangings._
475. The colour of the covering of chairs should be complementary
to that of the hangings, properly so called, or, more generally,
the same as that of the border, because this may be different from
its complementary, and contrast, nevertheless, with the tint of the
hangings. We see, then, that the chairs should contrast with the
hangings, as may also the wainscoting; but the colour of the chairs
being pure, it will also be purified by that of the wainscoting, which,
for this reason, we have advised to be deadened.
1. The case of clearest contrast—_i.e._, when the
colours of the hangings and the chairs are
complementary—is the most favourable to distinct
vision, as well as to successive contrast, whenever
we observe first the hangings separately, and
afterwards the chairs separately, and _vice versâ_.
2. When the colour of the hangings and of the chairs
contrast without being complementary, we must take
into consideration the degree of _light_ in the
colour of the hangings. For example, if they are
blue, and the border is yellow, the covering of the
furniture being a yellow, more golden than citron,
this stuff must be of a much higher tone than the
blue tone of the hangings; and the tone of the wood
of the chairs, &c., must be still higher than the
yellow, to avoid a dull appearance.
3. We may border the stuff at the parts contiguous to
the wood, either with well-assorted dark colours,
or with the same colour as the hangings, but of a
higher tone; there is also a means of harmonizing
the hangings and the furniture, in uniting the same
colours, but in inverse proportion.
4. When, instead of sofas, arm and other chairs,
there is a _divan_ which entirely conceals the
wainscoting, we must use the complementary colour
of the hangings, when it is more advantageous for
the colour of the border to form a contrast of
scale or of hue with the hangings. In this case,
yellow hangings bordered with brass in relief with
a violet-coloured divan, will produce an excellent
effect, at least by daylight; for we must not
forget that yellow and violet lose in artificial
light.
5. We regard as a harmony of contrast of colour light
hangings of a pure colour with furniture of a
grey, tinted with the complementary to that of the
hangings.
476. Rooms differing in dimensions, according as they belong to the
lively or grave harmonies, will be adapted to very different purposes.
1. In small rooms—such, for example, as boudoirs, where the hangings
are bright—a harmony of contrast of hue, of scale, or a harmony of
analogy, is generally preferable to a harmony of contrast of colour,
if the hangings are uniform, or have a dominant colour. If they have a
decided colour allied to white, or if they present patterns of various
colours, such as _chintzes_, the furniture most suitable will be a
divan of the same material as the hangings; and it is conformable
with the object of boudoirs, or of similar places, to diminish their
apparent extent to the eye, by employing only one material for the
hangings and the chairs, instead of seeking to fix the eye upon
distinct objects.
2. In large rooms there is an arrangement of good effect—viz., white,
or very light grey hangings, with furniture of a pure colour, such
as red, yellow, green, blue, and violet. When we employ these pure
colours, we must heighten the tone only so much as to avoid a faded
appearance. Sky-blue is the most suitable for this arrangement;
crimson, which is also employed, is too harsh, especially if the room
is neither very large nor well lighted.
477. _Grave Assortments_ are adapted to places devoted to quiet
meetings, such as libraries, museums, studies, &c. In general, the
smaller the place, or the less space there is to receive the hangings,
the more the assortment must be that of a harmony of analogy.
The hangings or the pictures must present only normal grey, or a grey
of a colour more or less broken; the chairs must be black or of a
dark grey, either normal or coloured; and in this case we can take a
grey tinted with the complementary of the colour of the grey of the
hangings. If more contrast is desired, we can have recourse to the
brown tones of this complementary of the colour, which tints the grey
of the hangings.
478. _Window and Bed-curtains_ should be similar to each other.
_When the Chairs have a decided Colour—such as Red, Yellow, Green,
Blue, or Violet_—the hangings should be of a pure colour, contrasting
favourably with that of the chairs.
The curtains should generally be of the colour of the chairs, and their
borders of the colour of the hangings, or of the colour of the hangings
bordered with the colour of the chairs.
_The Chairs being Grey, or of a very subdued Colour_, and the hangings
of a decided colour, the curtains should be either,—1. Of the colour of
the chairs, with a border of the colour of the hangings: or, 2. Of the
complementary of the hangings, or contrasting favourably with them; the
colour of the border should be that of the hangings.
_The Hangings being of a Grey Colour, or White_, the curtains
should be,—1. Of the colour of the chairs: or, 2. Of a pure colour,
complementary to the grey of the hangings, if the latter do not belong
to the scale of normal grey.
479. _Doors._—Doors being, by their use, size, and position, relatively
to the plane of the wall, absolutely distinct from the wainscoting,
should be distinguished from it by their colour, notwithstanding
the contrary practice of painters, who make them the same. Their
different parts might be painted in many low tones of the same, or of
approximating scales, and always according to the harmony of analogy,
as the parts of one object are concerned. The colour of the doors
should be of normal grey, or of a grey tinged with the colour of the
hangings or of its complementary, which will thus always unite with the
hangings, either by harmony of analogy, or by harmony of contrast. The
door frames should be darker than the door itself.
480. _Window Frames_ should be like the doors, according to a rule
which has long been generally observed. The fastenings must be black,
bronzed, or of brass.
_Carpets._
481. Whatever may be the dominant colours of the subjects represented
in their central part, with regard to brilliancy and contrast, they
should always be separated from the chairs by a sufficient interval to
prevent discord with the colour of the latter.
1. The more numerous and vivid the colours are, the more we must
control their brilliancy; and the carpet most suitable will be one of
simple colours and pattern. In many cases, an assortment of green and
black will have a good effect.
2. If the furniture is of a single colour, or of many tones, either
of the same colour or of approximating scales, we can, without
disadvantage, employ a carpet of brilliant colours, and thus establish
a harmony of contrast between them and the dominant tint of the
furniture.
482. But if the furniture is of mahogany, and we wish to bring out
its colour, then we must not have either red, scarlet, or orange as a
dominant colour in the carpet.
In short, to get the best effect of the colours of the furniture, in
the first case, the colours of the carpet, more or less sombre, must
enter into the harmonies of analogy; while in the second, where harmony
of contrast of colour does not exist in the furniture, we can, if we
choose, have recourse to this harmony in the carpet without ill effect.
_Pictures_ (See 453).
483. Whenever pictures are placed on hangings, the latter must be of
a single colour, or of two very similar colours or tones of the same
scale. The pattern of these hangings must be as simple as possible.
Whenever a picture is placed on coloured hangings, we must always take
care that the dominant colour of the hangings be complementary to the
dominant colour of the picture.
Engravings and plain lithographs must never be placed beside oil
paintings, or even coloured drawings.
Pearl grey, or rather deep normal grey, is a good tint to receive
engravings and plain lithographs in gilt or yellow wood frames.
484. Yellow hangings can receive with advantage landscapes, in which
green grass, and leaves, and a blue sky predominate. The most suitable
frames in this case are those of violet ebony, or wood painted grey
or black. Gilt frames have not a bad effect on the picture; but the
gold of the frame and the yellow of the hangings do not contrast
sufficiently to most eyes.
485. Oil-paintings in gilt frames have a good effect on hangings of
olive-grey more or less deep, according to the tone of the picture.
Carnations and the gold assort well on a similar ground. Papers of
a deep green, and even of a deep blue, may also be advantageously
employed in many cases.
ON THE ASSORTMENT OF COLOURS IN INTERIORS, THE WALLS
OF WHICH ARE PANELLED OR COVERED WITH MARBLE,
STUCCO, OR PAINTED WOOD.
_Panelled Interiors._
486. Notwithstanding the present taste for decorations, which it is so
easy to satisfy by means of paper-hangings, woven fabrics, and other
accessories, I think there are in large suites of apartments two rooms
for which a paneling more or less finished is very suitable; these
are the dining and the billiard rooms; the scene being, as it were,
concentrated on the dining or billiard tables, there is no reason to
distract the attention by clothing the walls with ornaments. Where an
interior is paneled, the floor should be in parquetry; a pavement of
tiles, stones, or marbles would be out of keeping.
487. The colour of the curtains, for paneled interiors, must be chosen
conformably to the preceding principles. For example—
White curtains will heighten the tone of the woodwork;
Blue curtains will bring out the golden tint of many woods, especially
of polished oak.
_Interiors covered with Marbles._
488. We can arrange marbles together on the principle of harmony of
contrast or of harmony of analogy. Bronze adapts itself to them very
well. If granite and porphyry are to be added, the lower courses must
be composed of the latter.
Blinds are preferable to curtains, which are not suited to marbles.
_Interiors covered with Wood painted of several Colours._
489. The painting on a wainscot which is not beautiful enough to be
seen uncovered has for its object the imitation—1. Of hangings; 2. Of
wood more or less costly; 3. Of marble.
490. When we decorate walls of a pale grey ground, which require to be
warmed with arabesques, we must endeavour to imitate pictures rather
than mosaics.
491. The more carefully arabesques are executed, the more variety
they will present in their forms and colours, and the less they
should resemble the draperies, with which they are associated. Thus,
white curtains with a simple and ample border, or curtains of a
slightly-elevated tone of colour, or of an extremely simple design,
should have the preference to curtains which are related to arabesques
by their vivid colours, their varied patterns, or striking colour; in
short, the colour of the curtain, if it has any, must be sacrificed to
that of the arabesques.
FIFTH DIVISION.
CLOTHING.
492. In explaining the applications of the law of contrast to the
colours of Male Clothing, my intention is to discuss principally the
question of the combination of colours in military uniforms as a matter
of State economy; and, in the case of Female Clothing, the combinations
which are most suitable for a portrait. The first question is entirely
one of administrative economy; the second belongs solely to the domain
of art.
I shall attain my end if, in the views set forth, the portrait-painter
find the means of selecting associations of colours which, by imparting
to his works more brilliancy and harmony, render them thereby less
likely to appear antiquated when the prevailing fashion of his time is
forgotten.
I. _Men’s Clothing._
493. A dress composed of cloths of different colours may be worn much
longer, and will appear better, although nearly worn out, than a
suit of a single colour, even when the latter is of a piece of cloth
identical with one of the first. The law of contrast fully gives the
reason of this fact.
OF THE ADVANTAGES OF CONTRAST, CONSIDERED WITH REGARD TO THE
APPARENT CLEANLINESS OF CLOTHS FOR CLOTHING.
494. Contrast in the colours of cloths composing a dress is not
only advantageous to the brightness and _apparent preservation_ of
the colours of these cloths, but also to render less visible the
inequalities which a cloth presents on account of the colouring
material not having equally penetrated to the centre of the stuff; the
surface wearing unequally, according as it is exposed to different
degrees of friction, the colour of the cloth becomes lighter, or, as it
is commonly called, _whitens_, in the parts most exposed to friction.
Many blue, scarlet, and madder-red cloths present this result,
especially on the salient parts of the vestment, such as the seams.
495. This defect which certain cloths have of _whitening in the
seams_ is much less apparent in a coat of two or more colours than it
is in a monochromous coat; because _the vivid contrast of different
colours, fixing immediately the attention of the spectator, prevents
the eye from perceiving the inequalities, which would be visible in a
monochromic coat_.
For this reason stains, on the same ground, will always be less
apparent in a polychromous than in a monochromous garment or dress.
496. For the same reason also a coat, waistcoat, and trousers of the
same colour cannot be worn together with advantage, except when new;
for when one of them has lost its freshness, by having been more worn
than the others, the difference will be increased by contrast. Thus
new black trousers worn with a coat and waistcoat of the same colour,
but old and slightly _rusty_, will bring out this latter tint, while
at the same time the black of the trousers will appear brighter. White
trousers or reddish-grey will correct the defect. We see, then, the
advantage of having a soldier’s trousers of another colour than his
coat, especially if, wearing this coat all the year, he only wears
trousers of the same cloth during winter. We see also why white
trousers are favourable to coats of every colour.
II.—_Female Clothing._
497. Although there are many varieties of the human race with respect
to the colour of the skin, yet we may arrange them in the three
following divisions:—The Caucasian, or white race; the American
Indians, whose skin is red or copper-coloured; the negro race, the
Malays, &c., who have black or olive skins.
_Colours for the Dress of Women with White Skins._
498. To give precision to this subject, we must begin by establishing
certain distinctions.
1. That of the two types, with skins more or less white and rosy:—
The one with light hair and blue eyes.
The other with black hair and black eyes.
2. That of the juxtaposition of the articles of the toilet, whether
pertaining to the hair or to the complexion; for a colour may contrast
favourably to the hair, yet produce a disagreeable effect with the skin.
3. That of the modifications of the complexion, by coloured rays
emanating from the head-dress, and which, being reflected on the skin,
tinge it with their peculiar colour.
499. The colour of light hair being essentially the result of a mixture
of red, yellow, and brown, we must consider it as _a very pale subdued
orange-brown_; the colour of the skin, although a lower tone, is
analogous to it, except in the red parts. Blue eyes are really the
only parts of the fair type which form a contrast of colour with the
whole; for the red parts produce, with the rest of the skin, only a
harmony of analogy of hue, or at most a contrast of hue, and not of
colour; and the parts of the skin contiguous to the hair, the eyebrows,
and eyelashes, give rise only to a harmony of analogy, either of scale
or of hue. The harmonies of analogy, then, evidently predominate in the
fair type over the harmonies of contrast.
500. The type with black hair shows the harmonies of contrast
predominating over the harmonies of analogy. The hair, eyebrows,
eyelashes, and eyes, contrast in tone and colour, not only with the
white of the skin, but also with the red parts, which in this type are
really redder, or less roseate, than in the blonde type; and we must
not forget that a decided red, associated with black, gives to the
latter the character of an _excessively deep_ colour, either blue or
green.
_Of the Colours of the Hair and Head-dress._
501. The colours which are usually considered as assorting best with
light or black hair, are precisely those which produce great contrasts;
thus, sky-blue, known to accord well with blondes, is the colour that
approaches the nearest to the complementary of orange, which is the
basis of the tint of their hair and complexions. Two colours, long
esteemed to accord favourably with black hair—yellow, and red more
or less orange—contrast in the same manner with them. Yellow and
orange-red, contrasting by colour and brilliancy with black, and their
complementaries, violet and blue-green, in mixing with the tint of the
hair, are far from producing a bad result.
_Of the Colours of the Complexion and the contiguous Drapery._
502. The juxtaposition of drapery with the different flesh tints of
women offers to portrait-painters a host of remarks, which are all the
results of the principles already laid down. We shall state the most
general: thus—
503. ROSE-RED cannot be put in contrast with even the rosiest
complexions without causing them to lose some of their freshness.
_Rose-red_, _maroon_, and _light crimson_ have the serious disadvantage
of rendering the complexion more or less green. This is shown in the
following experiment:—
Place two sheets of paper of either of the above colours beside two
sheets of flesh-coloured paper, when it will be seen how much they are
mutually injured, the lighter becoming greenish, and the darker rather
of a violet hue. By substituting light green for the red, we shall
find them mutually heightened and improved. The height of tone of the
green influences the result: a very deep green, acting by contrast of
tone, so enfeebles the complexion, that the slight contrasts of its
colours will be inappreciable; a deep red, by contrast of analogy,
blanches the complexion. It is necessary, then, to separate the rose
from the skin, in some manner; and the simplest manner of doing this,
is to edge the draperies with a border of _tulle_, which produces
the effect of grey by the mixture of white threads, which reflect
light, and the interstices, which absorb it; there is also a mixture
of light and shade, which recalls the effect of grey, like the effect
of a casement-window viewed at a great distance. Dark red is less
objectionable for certain complexions than rose-red, because, being
higher than the latter, it tends to impart whiteness to them in
consequence of contrast of tone.
504. DELICATE GREEN is, on the contrary, favourable to all fair
complexions which are deficient in rose, and which may have more
imparted to them without disadvantage. But it is not as favourable to
complexions that are more red than rosy; nor to those that have a tint
of orange mixed with brown, because the red they add to this tint will
be of a brick-red hue. In the latter case a dark green will be less
objectionable than a delicate green.
505. YELLOW imparts violet to a fair skin, and in this view it is less
favourable than the delicate green.
To those skins which are more yellow than orange it imparts white; but
this combination is very dull and heavy for a fair complexion.
When the skin is tinted more with orange than yellow, we can make it
rosy by neutralizing the yellow. It produces this effect upon the
black-haired type, and it is thus _that it suits brunettes_.
506. VIOLET, the complementary of yellow, produces contrary effects;
thus it imparts some greenish-yellow to fair complexions. It augments
the yellow tint of yellow and orange skins. The little blue there
may be in a complexion it makes green-violet. This, then, is one of
the least favourable colours to the skin, at least when it is not
sufficiently deep to whiten the skin by contrast of tone.
507. BLUE imparts orange, which combines favourably with white, and
the light flesh tints of fair complexions, which have already a more
or less determined tint of this colour. Blue is thus suitable to most
blondes, and in this case justifies its reputation.
It will not suit brunettes, since they have already too much of orange.
508. ORANGE is too brilliant to be elegant; it makes fair complexions
blue, whitens those which have an orange tint, and gives a green hue to
those of a yellow tint.
509. LUSTRELESS WHITE, such as cambric muslin, assorts well with a
fresh complexion, of which it relieves the rose colour; but it is
unsuitable to complexions which have a disagreeable tint, because white
always exalts all colours by raising their tone; consequently it is
unsuitable to those skins which, without having this disagreeable tint,
very nearly approach it.
510. VERY LIGHT WHITE draperies, such as muslin or lace, appear more
grey than white. (See 503.) We must thus regard every white drapery
which allows the light to pass through its interstices, and which is
only apparent to the eyes by the surface opposed to that which receives
incident light.
511. BLACK draperies, by lowering the tone of the colours with which
they are in juxtaposition, whiten the skin; but if the vermilion, or
rosy parts, are somewhat distant from the drapery, it will follow that,
although lowered in tone, they appear relatively to the white parts of
the skin contiguous to the same drapery, redder than if not contiguous
to the black. This effect is analogous to that mentioned (385).
_The Head-dress in relation to the Coloured Rays which it may reflect
upon the Skin._
512. The effect of coloured bonnets on the complexion can now be
readily understood; and whether it is true, as is generally believed,
that a rose-coloured bonnet gives a rose tint to the skin, while a
green bonnet gives a green tint to it, in consequence of the coloured
rays which each of them reflects upon it, it is no longer a question
about those head-dresses which, being too small or too much thrown back
to give rise to these reflections, can only produce the effects of
contrast, as I have said above, when treating of the juxtaposition of
coloured objects with the hair and skin (501, _et seq._)
513. If an object in relief is illuminated exclusively by a coloured
light, it will appear tinted with the colour of this light. A white
plaster figure, for example, placed in an enclosure where the red
rays illuminate it, will appear red, at least to most eyes, and under
most circumstances; for certain eyes, in some cases, may perceive the
sensation of the complementary of the coloured rays in looking at some
parts of the figure.
514. But if the figure is placed so as to receive, at the same time,
coloured rays and diffused daylight, there will be produced on the eyes
of a spectator, suitably placed, a complex effect; resulting—
1. From some parts of the figure being white, reflecting to the eyes of
the spectator the coloured rays falling from above.
2. From some parts of the figure reflecting diffused daylight in
sufficient quantity to appear white, or almost white.
3. From there being between the parts which reflect coloured light
to the eye, and those which send diffused daylight, some parts in a
condition which appears to be complementary to the reflected coloured
light.
515. One very remarkable consequence of this is, that the rays of
mutually complementary colours, successively lighting the same object,
concurrently with the diffused daylight, give rise to _the same
coloration_.
516. This may be proved thus:—Between two windows directly opposite to
each other, admitting diffused daylight, place a white plaster figure
in such a position that each half shall be lighted directly by only
one of the windows. On completely intercepting the light of one of the
windows, and hanging a coloured curtain before the other, the figure
appears only of the colour of the curtain; but if we open the other
window, so that the figure is lighted by diffused daylight, while it
is at the same time lighted by the coloured light, we then perceive
some parts white, and some parts tinted with the complementary of the
coloured light transmitted by the curtain.
517. This experiment, then, teaches us, that if a bonnet,
rose-coloured, for example, give rise to a reflection of this colour
on a complexion, the parts thus made rosy by the effect of contrast,
themselves give rise to green tints, since the figure, while it
receives rosy reflections, receives also diffused daylight.
518. To consider the real influence of the bonnet, we place three white
plaster casts of the same model in a position equally illuminated by
daylight; then observe them comparatively, after having clothed the
middle cast with a white bonnet, and the two others with bonnets of
which the colour of one is complementary to that of the other. _In
this way we may satisfy ourselves that the influence of reflection in
colouring a figure is very feeble, even when the bonnet is placed in
the most favourable manner for observing the phenomenon._
519. _Rose-coloured Bonnet._—Rose colour reflected upon the skin is
very feeble, except on the temples; wherever the rosy parts are
contiguous to parts feebly lighted by daylight, the latter will appear
very lightly tinged with green.
520. _Green Bonnet._—Green colour reflected upon the skin is very
feeble, except on the temples; wherever the green parts are contiguous
to parts feebly lighted by daylight, the latter will appear slightly
rosy; the effect of green in colouring it rose, is greater than the
effect of reflected rose in colouring it green.
521. _Yellow Bonnet._—Yellow colour reflected upon the skin is very
feeble, except on the temples; wherever the yellow parts are contiguous
to parts feebly illuminated by daylight, the latter will appear very
sensibly violet.
522. _Violet Bonnet._—Violet colour reflected on the skin is very
feeble, even on the temples; wherever the violet parts are contiguous
to parts feebly illuminated by daylight, the latter will appear
slightly yellow; but this coloration is very feeble, because the
reflections of violet have it themselves.
523. _Sky-blue Bonnet._—Blue colour reflected on the skin is very
feeble, except on the temples; wherever the blue parts are contiguous
to parts feebly illuminated by daylight, the latter will appear
slightly orange.
524. _Orange Bonnet._—Orange colour reflected on the skin is very
feeble, except on the temples; wherever the parts are contiguous to
parts feebly illuminated by daylight, the latter will appear slightly
blue.
525. It is evident, then, from these experiments, that a coloured
bonnet produces much more effect by virtue of contrast, arising from
juxtaposition with the flesh tints, than by the coloured reflections
which it imparts to them.
526. Let us now see what advantage the painter can derive from the
preceding observations, when he prescribes a bonnet to a model,
belonging either to the light-haired or to the black-haired type.
FAIR-HAIRED TYPE.
527. A black bonnet with white feathers, with white rose or red, suits
a fair complexion.
528. A _lustreless white bonnet_ does not suit well with fair and
rosy complexions. It is otherwise with bonnets of gauze, crape, or
lace; they are suitable to all complexions. The white bonnet may have
flowers, either white, rose, or particularly blue.
529. A _light blue bonnet_ is particularly suitable to the light-haired
type; it may be ornamented with white flowers, and in many cases with
yellow and orange flowers, but not with rose or violet flowers.
530. A _green bonnet_ is advantageous to fair or rosy complexions; it
may be trimmed with white flowers, but preferably with rose.
531. A _rose-coloured bonnet_ must not be too close to the skin; and if
it is found that the hair does not produce sufficient separation, the
distance from the rose colour may be increased by means of white, or
green, which is preferable. A wreath of white flowers in the midst of
their leaves has a good effect.
532. I shall not advise the use of a light or deep red bonnet, except
when the painter desires to diminish too warm a tint in the complexion.
533. Finally, the painter should never prescribe either yellow or
orange-coloured bonnets, and be very reserved in the use of violet.
TYPE WITH BLACK HAIR.
534. A _black bonnet_ does not contrast so well with the general
appearance of the type with black hair as with the other type, yet it
may produce a good effect, and receive advantageously accessories of
white, red, rose, orange, and yellow.
535. A _white bonnet_ demands the same notice as that, concerning its
use, in connexion with the blonde type (528), except that for brunettes
it is better to give preference to accessories of red, rose, orange,
and yellow, rather than of blue.
536. Bonnets _of rose-red or cherry-colour_ are suitable for brunettes,
when the hair separates, as much as possible, the bonnet from the
complexion. White feathers accord well with red; and white flowers,
with abundance of leaves, have a good effect with rose.
537. A _yellow bonnet_ suits a brunette very well, and receives with
advantage violet or blue accessories. The hair must always interpose
between the complexion and the head-dress.
538. It is the same with bonnets of an _orange_ colour, more or less
broken, such as chamois, with which blue trimmings are eminently
suitable.
539. A _green bonnet_ is suitable to fair and light rosy complexions,
rose-red or white flowers are preferable to all others.
540. A _blue bonnet_ is only suitable to a fair or light-red
complexion; nor can it be allied to such as have a tint of
orange-brown. When it suits a brunette, it may take with advantage
yellow or orange trimmings.
541. A _violet bonnet_ is always unsuitable to every complexion, since
there are none to which the addition of yellow will be favourable. Yet,
if we interpose between the violet and the skin, not only the hair, but
also yellow accessories, a bonnet of this colour may become favourable.
542. Whenever the colour of a bonnet does not realize the intended
effect, even when the complexion is separated from the head-dress by
large masses of hair, it is advantageous to place between the latter
and the bonnet certain accessories, such as ribbons, wreaths, and
detached flowers, &c., of a colour complementary to that of the bonnet,
as I have prescribed for the violet bonnet. The same colour must also
be placed on the outside.
ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH COPPER-COLOURED
SKINS.
543. The tint of the complexions of the women of the North American
Indian races is too positive to induce them to endeavour to
dissimulate, either by lowering its tone, or by neutralizing it. There
is, then, no alternative but heightening it, for which purpose we must
use draperies either of white or of blue strongly inclining to green,
when the tint will become of a redder orange.
ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH BLACK OR OLIVE
SKINS.
544. If I have prescribed the harmony of contrast of tone where the
colour of the complexion is copper-red, there is a stronger reason for
it when we have to drape olive or black skins; we can then use either
white or the most brilliant colours, as red, orange, and yellow. The
consideration of contrast determines which one we ought to choose in
a particular case. If the complexion is intense black, dark olive, or
greenish-black, red is preferable to every other colour; if the black
is bluish, then orange is particularly suitable. Yellow will best
accord with a violet-black.
545. _Results applicable to Portrait painting._
The tint may be heightened without leaving its scale:—
1. By a white drapery which heightens by contrast of tone.
2. By a drapery the colour of which is exactly the
complementary of the tint, and of which the tone is
not too high; such as perhaps a green drapery for
a rosy complexion; or perhaps a blue drapery for
the orange complexion of a blonde. The tint may be
heightened by making it leave its scale:—
1. By a green drapery of a light tone upon an orange complexion.
2. By a blue drapery of a light tone upon a rosy complexion.
3. By a yellow, canary, or straw-coloured drapery, upon
an orange complexion, of which the complementary
violet neutralizes some of the yellow of the complexion,
and heightens its rose.
546. _Note._—The modifications resulting from the juxtaposition of
parts diversely coloured are much more positive than those arising from
reflection by one part upon another.
_If the Painter wishes to dissimulate a Tint of the Complexion—_
547. As above, he must distinguish two cases:—
1st, WHEN HE SEES THE COLOURS MODIFIED BY JUXTAPOSITION ONLY, _when the
tint may be lowered without leaving its scale_:—
1. By a black drapery, which lowers it by contrast of
tone. 2. By a drapery of the same scale as that of
the tint, but of a much higher tone.
Such, perhaps, as a red drapery upon a rosy complexion; or, an orange
drapery upon an orange-tinted complexion; or, the effect of a dark
green drapery on a complexion of a green tint.
2nd, _The tint may be lowered by making it leave its scale_.
1. By a green drapery of very dark tone, upon an
orange complexion. 2. By a blue drapery of a dark
tone, upon a rosy complexion. 3. By a very dark
yellow drapery, upon a very pale orange complexion.
APPLICATIONS TO HORTICULTURE.
SECTION I.
548. The applications I propose to make are of two kinds: the one
relating particularly to the arrangement of plants in gardens,
according to the colour of the flowers; the other, to the method of
distributing and planting ligneous plants in masses, which I suppose
to have been previously planned. Doubtless, I need not have discussed
the latter subject, but I have been led to it so naturally, and the
rules which guided me are so positive and simple, that I have no doubt
of their proving profitable to those of my readers who follow them in
laying out plantations, &c.
The artist who conducts these operations is called a Gardener, or
Landscape Gardener.
ON THE ART OF ARRANGING ORNAMENTAL PLANTS IN GARDENS
SO AS TO DERIVE THE GREATEST POSSIBLE ADVANTAGE
FROM THE COLOURS OF THEIR FLOWERS.
549. Among the pleasures afforded us by the cultivation of choice
plants, there are few so intense as the sight of a collection of
flowers, varied in colour, form, size, and position. It is probably
because we admire the plants individually, and become attached to
them on account of the pains they cost us, that we have hitherto so
generally neglected to dispose them in such a manner as to produce the
best possible effect when their flowers are seen collectively.
Thus, no defect is more common than that of the _proportion_ in which
flowers of similar colours are distributed in a garden. Sometimes the
eye is struck by blue or white, sometimes it is dazzled by yellow.
Add to this defect of proportion, the ill effect produced by placing
together many species of flowers, which, although of the same colour,
are not of the same tint: for instance, in spring we see the leopard’s
bane (_doronica_), of a brilliant golden yellow, side by side with the
narcissus, which is of a pale greenish yellow; in autumn, the Indian
pink beside the African marigold, dahlias of various reds grouped
together, &c.
Such arrangements as these cause the eye, accustomed to appreciate
the effects of contrast of colours, to feel sensations quite as
disagreeable as those experienced by the musician whose ear is struck
with discords.
550. Previously to my observations on simultaneous contrast, and
the demonstration of the law which governs it, it was impossible to
prescribe rules which, by instructing horticulturists to place, with
certainty of success, flowers in proximity whose colours reciprocally
enhance each other, enabled them to avoid either the monotony resulting
from the grouping of flowers of the same colour, or the disagreeable
effect of a collection of flowers whose hues are mutually injurious.
ASSORTMENTS OF FLOWERS,
_Where the Plants are apart._
551. The associations of flowers which relate to the harmonies
of contrast of colour, are first, those with colours mutually
complementary to each other; such as blue with orange, or yellow with
violet. Rose or red flowers contrast with their own leaves.
552. White flowers accord more or less favourably with blue and orange
flowers, already allied together; and perfectly with rose or red
flowers, but not so well with yellow or violet flowers, already allied.
White associates much less favourably when the latter is brighter or
greener.
White flowers are the only ones that possess the advantage of
heightening light tones of any colour, and of separating those whose
colours are mutually injurious.
553. Yellow flowers, especially those which incline to orange, accord
very well with blue ones.
Flowers of a yellow, more green than orange, have a very good effect
with flowers of a red inclining to blue, rather than to orange.
Deep red flowers accord well with deep-blue flowers.
Orange flowers are not misplaced near violet flowers.
ASSORTMENTS RELATING TO THE HARMONIES OF CONTRAST OF HUES.
554. It is so difficult to make associations of hues which will have
a satisfactory effect, that I prescribe _in general_ the mutual
association of flowers whose colours belong to neighbouring scales.
We must then separate
Pink flowers from those that are either Scarlet or Crimson.
Orange ” ” Orange-yellow,
Yellow ” ” Greenish-yellow,
I shall even go further in advising the separation of—
Red flowers from Orange, Blue or Pink from Violet.
_Where the Plants are indiscriminately mixed._
555. Flowers which only present contrasts of hues and which spring
from seeds sown thickly in borders, or in beds, will not have the same
objection as when the roots are planted at a distance from each other.
556. Flowers, presenting a disagreeable contrast of hues, may still
produce a good effect, when their assortment makes part of an
arrangement of contrasts of colours, strongly opposed; in this case
being no longer seen isolated, they become in a manner the element of a
picture.
SECTION II.
ASSORTMENTS AS TO HARMONY OF ANALOGY.
557. I only reckon shrubs susceptible of this harmony; because only
perennial plants afford to the horticulturist a guarantee that the
flowers of one year will be identical with those of the preceding;
consequently, if we plant woody shrubs in such manner as to secure
a regular gradation of tones, the successive annual flowerings will
be constantly according to that order. We may apply this kind of
arrangement to standard roses.
558. But I do not advise any one to attempt submitting annuals to this
arrangement, because of the uncertainty that exists in the tones of
their colour.
_Harmonies of Analogy of Hues._
559. If I have spoken against the associations of _contrast_ of
hues (554), I am more inclined to speak against the associations of
_analogy_ of hues, always remembering the restrictions I have stated
above (Section 1). We must not forget that my intention is to describe
assortments, whose good effects are certain. Now the more the colours
contrast, conformably to our law, the more latitude there will be,
although the colours of individual flowers associated vary in tone and
in hue.
560. An objection might be addressed to me _that the green of the
leaves, which serves as a ground to the flowers, destroys the effect
of their contrast_. But it is not so; and to be convinced of it, it is
sufficient to fix upon a screen of green silk, two kinds of flowers
in conformity with the arrangement of the coloured bands (_pl. 1.
fig. 7_), and to look at them from a distance of about ten paces; for
when the eye is fixed on two well-defined objects simultaneously,
surrounding objects, especially distant ones, produce but feeble
impressions.
ON THE ART OF ASSORTING LIGNEOUS PLANTS IN GARDENS, SO
AS TO DERIVE THE BEST POSSIBLE ADVANTAGE FROM THE
COLOUR OF THEIR FOLIAGE.
561. If we consider trees and shrubs no longer under the relation of
the colour of their flowers, but with regard to the manner in which
we may employ their foliage in the decoration of gardens, we shall
perceive that there is only a very small number of contrasts of
scale and hue which we can realize while vegetation is active; yet
in autumn, when plants, losing their leaves before falling, assume
various colours, as red, rose, scarlet, orange, and yellow, these, by
their brilliancy, recall the season of flowers. Most trees and shrubs
present, in the summer season, only the green of their foliage; and,
although this green varies in tone and hue, the differences are always
trifling.
562. _Harmonies of Contrast._—The most decided contrast of colour that
we can establish between the leaves of ligneous plants, is that of
green, with foliage nearest to red. But even the _purple beech_ is more
of a red-brown than a dark _red_, properly so called, for the colour
of leaves results from a mixture of red and green, which, according
to the principle of mixing colours must produce black, if they are
in suitable proportion, or a brown tone of the green or red scale,
according as one or the other colour predominates. The contrast of hue
is established by the assortment of a bluish-green and a yellowish
green of tones unequally high, by the contrast of a bluish-green brown
with a yellowish light green, &c.
563. _Harmonies of Analogy._—Nearly all the masses of various trees
in our landscape gardens present certain harmonies of hues mostly
resulting from associations established according to considerations
foreign to those of the assortment of foliage—an evident result,
remembering (561) that the colours of the leaves of the greater part
of plants are of green belonging to scales more or less allied, and of
tones but little distant from each other.
(_a_) Harmonies of analogy of hues formed of allied tones belonging to
neighbouring scales, are those which it is least difficult to obtain.
(_b_) Arrangements of foliage presenting a series of equidistant tones
of the same scale of green.
ON THE DISTRIBUTION AND PLANTING OF TREES, ETC., IN MASSES.
564. The principal object of the two following chapters is to supply
a deficiency in works on gardening as to the manner of distributing
and planting trees in masses, &c., the outlines of which have been
previously sketched conformably with precise rules. For authors say
nothing on this subject, and the embarrassment of a landowner who
wishes to plant an estate already planned out, is further increased
by this circumstance, that, in the majority of cases, the author of
the plan of the projected garden, after having defined the lines of
the plantations, indicated the places where isolated trees must be
placed, designated the kinds of trees which should constitute groups,
and others which must enter into the formation of masses with trees
and shrubs (which he does not generally indicate), leaves the care of
planting and other details to ordinary gardeners.
Yet the distribution of trees and shrubs, however easy it may appear,
in a piece of ground otherwise perfectly planned, contributes more
than is generally supposed to the pleasure of a landscape garden, and
presents also more difficulties than to allow of its being effected in
a satisfactory manner, when it is abandoned, as generally happens, to
chance. In fact, if, at the end of a few years, we observe the greater
part of masses planted as they frequently are, we shall be struck with
defects which were not at first perceptible, because we were then under
the influence of the pleasure we always experience at witnessing the
development of plants which have been confided to a carefully prepared
soil; and besides, there are some defects which are only perceptible
after a certain time, such, for example, as that resulting—
1. _From the plants being placed too near together._
2. _From placing, in the front row, clumps which rise too high, or
which lose their lower branches._ Such are the elder tree, and sumach.
565. It was after many years of lost enjoyments, through having planted
without fixed rule, masses otherwise well designed in their contours,
that I was led by my own experience to seek the means of avoiding
similar errors in future. The rules I now give are not the result of
reflection merely; they have been practised many years, and I am much
deceived if those who observe them will not derive great facilities in
their application, and experience from them a lively satisfaction.
566. I will now define several expressions employed to designate the
different associations of plants which may form part of a landscape
garden.
An assemblage of trees and shrubs, occupying a large space, is termed a
_forest_. But in a landscape garden a similar assemblage, or that which
has been arranged to present the appearance of a vast space, is called
a _wood_, if it is composed of trees and underwood; and a _park_, if it
consists of trees only.
[Illustration: ARRANGEMENT OF PLANTS IN LANDSCAPE GARDENING.
PLATE XVIII.]
A collection of trees, shrubs, bushes, and underwood, is called a
_grove_; when it consists only of trees, it is termed _a group of
trees_.
There are _thickets_ of shrubs, bushes, underwood, and of flowering
herbaceous plants.
There are _thickets_ formed of a single species of plants, and thickets
formed of several species. The first are called _homogeneous_, and the
second _heterogeneous_, or _varied_.
There are _isolated masses_, and _masses subordinated together_.
A small mass of flowers or shrubs, isolated, and of a circular or
elliptical form, is called a _bed_.
CHAPTER I.
_Of Lines of Plants._
567. I call a _line of plants_, plants placed at equal distances from
each other, in straight or curved lines: these plants may be trees,
shrubs, bushes, underwood, or flowering herbaceous plants.
568. A _line of plants_ of sufficient extent, and of which the plants
are close enough to conceal from view objects placed behind them, is
called a _screen_.
All masses planted according to my method are composed of lines of
plants parallel to each other; in other words, there is between two
similar lines an equal distance throughout. But the distance between
the first and the second may differ from the distance between the
second and the third, and so of the others. The result would be the
same if the lines were closed curves, as, for instance, circles or
ovals. The lines of plants are the elements of the masses.
ARTICLE I.
_Of the Lines of Plants called Screens._
569. When we desire to conceal any object of considerable extent, we
have recourse to a _screen of plants_. Whenever the extent of the
land will not permit of the planting of several lines, constituting a
mass, evergreens, such as thujas, almond-laurels, &c., are those to be
preferred, succeeded by the hornbeam, lilac, privet, &c.
The most homogeneous screens, that is to say, those which are formed
of a single species of plant, are preferable to all others for the
object they are intended to fulfil; and to avoid the monotony of a
single species, we must have recourse to one which offers varieties.
For example, a screen composed of violet and white lilacs, will possess
at the same time the advantage of homogeneity for concealing what is
behind it, and the advantage of variety of foliage; the leaves of the
violet-lilac being of a less yellow-green than those of the white
lilac. We may alternate one or more plants of violet-lilac with one
plant of white lilac.
_Of Lines of Plants considered as Elements of Masses._
570. 1st. If the plants in the same line are not of the same species,
it is essential that they do not differ too much from each other in
respect to height.
2nd. Where a line happens to be entirely seen, the same species must be
placed alternately.
3rd. We must avoid placing the same species in two neighbouring lines,
when we would employ varied masses which are composed of several lines
only.
RULE.—_When two lines of vegetation are planted to constitute a mass,
in planting the first or exterior line, we must follow the rule
indicated above_ (570), _then go on planting the second line, in the
same manner as the first, except that the stakes indicating the centre
of vegetation must be placed chequer-wise relatively to the centre of
vegetation of the first line._
I will cite an example of a plantation of two lines intended to conceal
a wall.
1st _Line_. 1. Almond-laurel. 2. Violet-lilac. 3. Laburnum. 4.
Violet-lilac. 1_a_. Almond-laurel, &c.
2nd _Line_. 1. Clump of _prunus mahaleb_. 2. _Idem_, &c.
The distance between the clumps of the first line is four or five feet.
We may plant the first line in _screen_, and the second with trees
larger than in the first; we may also plant the second line with roots
of _prunus mahaleb_, comprehending between two roots three or five
clumps of the same species.
_Of Homogeneous Masses._
571. The _homogeneous mass_ includes only a single species of plant,
because the intention of the gardener in forming it, is to produce an
effect of _individuality_.
In the large French garden, designed by Le Notre, where the trees
combine so effectually with the elements established by the architect,
to prolong, so to speak, a similar work, the symmetrical plantations
are identical, and generally composed of trees of a single species.
572. Although homogeneous masses of trees have a good effect in a large
composition, it is not so with those which are composed of a single
species, or of a single variety of flower. They almost always present a
monotonous aspect, especially if the latter have a definite extent; and
if the species of plant of which they are composed is in flower only
a part of the year, the defect of monotony will be greatly increased.
Homogeneous masses of shrubs or of flowers are only suitable when they
are in leaf or in flower during a great portion of the year; as their
extent is small, and they serve simply as a bond of union between
different parts more or less distant from each other.
_Of Heterogeneous or Varied Masses._
573. I shall distinguish two cases—one where it is a _heterogeneous_ or
_varied_ mass, isolated, intended to serve as an individual composed of
distinct parts; and the other where it consists of many varied masses,
allied together, and separated by paths, at least in some parts.
_Isolated Masses._
If each line consists of only a single species, we must arrange the
lines according to their size. For example—1. Lilacs. 2. Laburnum. 3.
Judas trees.
574. _Heterogeneous or varied masses_ placed together so as to form a
whole, are generally separated from each other by glades, or unplanted
intervals, but cultivated or sown in grass, or by paths. To make
what follows thoroughly understood, I must point out the essential
difference that exists between landscape gardening and French
(geometrical) gardening.
575. French gardening is regular and symmetrical, the paths are
straight, and the eye is only impressed by objects slightly varied;
for when there are squares or straight borders, symmetry necessarily
requires that the objects on one side be repeated on the other. The
result is, that when the spectator has visited the principal points of
this composition, which are never very numerous, he has seen everything
it has to offer to his curiosity.
576. I will not say, with some writers, that landscape gardening is
conceived with an entirely different aim. The spectator who surveys
a landscape garden, should be excited, so to speak, at every step,
by the sight of various objects. The different points of view must
be as numerous as possible, the paths must always, therefore, be
traced, so that from no point can their whole extent be discovered.
The plantations must be disposed so as to conceal the walls, fences,
or other disagreeable ill-placed objects. They must allow the eye
the greatest possible scope, at all the points the gardener wishes
to be displayed; and the views must vary with the different points
successively observed.
577. To achieve this, it is evident that there must be no straight
paths, but only curved ones. When paths pass between masses, the
intervals between these masses must also permit to be seen groups of
objects, which must form planes, skilfully prolonging the perspective,
as far as possible. The masses, though varied, must nevertheless be
allied together, so that neighbouring masses may harmonize as dependent
parts of the same whole.
ARTICLE II.
578. _Harmony between masses distant from each other_, in which
harmonies may be established by the same general means as they are
between neighbouring masses. The foliage in the masses being much more
abundant than the flowers, the shades of their greens will not differ
so much from each other as the colours of their flowers; consequently,
the distant masses, however varied in their foliage, are always in
harmony of form and colour, if they have been planted according to
our rules; and if they are composed solely of ligneous plants, which
lose their leaves in winter, or solely of evergreens, which do not
lose them; but in the opposite case, that is to say, when the masses
are formed, the one of deciduous trees, and the other of evergreens,
some remarks must be made relative to the conditions of harmony, which
are the more necessary, as even the most studied landscape gardens
generally err in this respect; for a clump or a mass of evergreens is
almost always out of keeping in a large space where masses of deciduous
trees are found. To remedy this defect we must multiply the groups
or masses of evergreens, so as to establish between all of them this
same correlation which is required by deciduous trees; but it is not
necessary that the trees should occupy a space equal to that occupied
by ordinary trees; it is sufficient if their forms recur at suitable
intervals. In a word, for evergreens to produce a good effect, they
must compose a whole, which unites or intercalates with the general
effect of the masses of deciduous trees.
We may oppose allspice trees to pines, cedars to larches; different
groups, composed of three or four trees only, suffice to harmonize a
large space of ground occupied with two or three groups composed of
half a hundred similar trees.
579. _There are certain cases in which the want of either perspective
or harmony requires, in a large mass, a line of trees which is neither
concentric with its circumference, nor identical with the central line,
if there be one; such, for example, as the line P. R., which is found
in the masses 1 and 2_ (Pl. 18); _for if the planting of this line be
correct, and according to the preceding principles, the trunks, which
define it, beyond the concentric plantings, must be in the points
of intersection of the line P. R., with the concentric lines, and
the central line, if there be one; and the trunks must be as much as
possible at equal distances from each other._
Such a plan, always easy to make, will enable a landowner, when once
his masses are planned, their concentric lines traced, and the species
to be planted determined upon, to order from the nurseryman the exact
number of each species he requires.
580. _After tracing the lines of plantations, and putting in the stakes
to mark out the centre of the holes to be dug, we must draw upon grey
paper lines representing those of the masses we intend to plant, taking
as many equidistant points as there are stakes in the corresponding
lines of plantation; we then fasten on these points wafers, or little
circles of paper, of the colour of the flowers or the foliage of the
plants, according to the desired effect._
By this means we can judge of the harmony of the colours of flowers
with the different hues of green composing the mass, and thus rectify
any defect in the plan before we begin to plant.
The principles on which the preceding rules are founded are those of
height, form, variety, facility of development, and distinctness of
view. Harmonious arrangement, with reference to these points, not being
so exclusively the object of this work as the subject of colour, must
be passed with this indication.
_Contrast of Colours._
581. This principle, regarded generally, is included in the preceding,
since a difference in colour will render plants distinct which have
numerous analogies; but viewed specially, it produces among perfectly
dissimilar plants, effects which can only be obtained from colour;
and it is then that the principle of contrast is to be taken into
consideration.
In the application of the law of contrast to the arrangement of
flowers, we must never forget the difference between an assemblage
forming a line of plants, and an assemblage of flowers belonging to
plants of various heights, standing on different planes, so as to
produce the effect of a picture. I have alluded to this before (551);
for in a linear arrangement, for example, there is nothing more
unpleasant than the blue flowers of the German iris, associated with
the light violet of the lilac. But if we add to this association large
tufts of _alyssum saxatile_, Persian iris, and red tulips, so that the
golden yellow, white, and deep red, appear on one plane, and the deep
blue and the light violets on a more distant plane, we shall obtain
general effects of a most agreeable kind.
_Repetition._
582. When a line of plants exhibits the repetition of the same
species, and presents them regularly at the same intervals, an
effect is produced which, although very agreeable, is but little
appreciated—for it is very rarely met with in gardens. It is especially
the repetition of a similar arrangement of colours that is agreeable,
and which recommends the observance of this principle.
Repetition of the same arrangement of plants of various kinds, and of
course distinct to view, contributes greatly to prolong the extent
either of an alley or of a mass; a similar general effect repeated
a certain number of times becomes a standard, by means of which
the eye judges the space to be greater than if it were bordered
with individuals of the same species or variety equal in number
to the former. This effect is carried to the utmost extent when
the arrangement is composed of a certain number of tufts—five, for
instance—placed between two trees, which rise above them, but not too
high.
Repetition and distinctness of view concur in producing an agreeable
effect.
583. _Variety_, like every other principle, should never be carried too
far, and it is a great mistake to suppose that plantations made without
design, and which thus it might seem must be extremely diversified,
produce in this respect more effect than those which have been arranged
according to the principles of distinct view, contrast, and repetition.
Whenever objects must have a certain superficial extent, we gain
nothing by multiplying varieties of them. Thus, the repetition of an
arrangement of three colours, including white or black, will generally
be more agreeable than that of an arrangement of five colours.
Diversity of colours, pushed to the extreme, can only be permitted
in a continuous border, or a bed of different varieties of the same
species of flowers, as a border of larkspur, china aster, or anemones;
but, for flowering shrubs, we shall gain everything by not indefinitely
multiplying their colour, in a view which the eye can embrace at once.
And as with colours so with forms, which must not be too diversified in
the same arrangement.
_Symmetry._
584. We should deceive ourselves very much if we supposed the principle
of symmetry to be excluded from landscape gardening. But, in order
to perceive it or to put in practice, it is necessary to distinguish
the _symmetry of similar parts_, and _the symmetry of parts merely
corresponding_.
The former is that of two equal parts of one whole, as the two halves
of a circle, of a square, of an equilateral or isosoceles triangle,
&c.; while
_Symmetry of parts merely corresponding_, is that of two parts of the
same whole, which, without being equal, have the same form, or nearly
so; such are the two triangular parts of the Mass 3, Plate 18.
Or, that of two separate parts, more or less analogous in form, extent,
or nature, which have a correspondence of position relatively to an
intermediate object.
Or, that of two masses or groups of trees, or of a mass and a group of
trees which are presented, the one to the left, the other to the right.
_General Harmony._
585. In the general composition of a large landscape garden, it is not
enough to have satisfied all these principles, if the different masses
subordinated together, which we shall now regard as individuals, as
well as the various constructions of wood or of stone, are not combined
by some harmonious relation suitable for satisfying the principles of
_general_ harmony. The isolated or subordinated masses near or distant
from each other must be allied together by the same vegetable form or
by analogous forms, or by the same arrangements of several species; or,
lastly, by the same colours of flowers or of foliage. By the aid of
similar means, we ally the house and other buildings to the different
parts of the garden. When the neighbouring masses, especially those
formed near buildings, are not sufficiently allied together, or the
perspective of their concentric or median lines is not satisfactory,
we have recourse to a different line of vegetation, which cuts the
first and thus adds to the general harmony. Thus, as I have so strongly
insisted, when we decide to plant evergreens in a landscape garden,
they must be distributed throughout the composition.
SIXTH DIVISION.
INTERVENTION OF THE PRECEDING PRINCIPLES IN THE JUDGMENT
OF COLOURED OBJECTS, RELATIVELY TO THEIR COLOURS,
CONSIDERED INDIVIDUALLY, AND TO THE MANNER IN WHICH
THEY ARE ASSOCIATED.
586. In this division my object is purely critical. The positive
conclusions at which I have arrived upon certain assortments of
colours, so as to derive the best result from them under given
circumstances, become rules, adapted to guide those who would judge
a work of art in which such assortments occur. The generalizations
established in the preceding chapters, with the object of aiding the
numerous artists who use colours, now critically considered, will serve
as the basis of a conscientious and sound judgment upon the merit of
any work in which these generalizations are concerned. They will, I
trust, possess the double advantage of all the rules involved in the
nature of such things; they guide the workman who does not disdain
them, and they direct the critic who judges the work of which these
rules govern some element. We cannot then refuse to recognise the
utility of such an examination, both for artists and for the public,
to whom they are more particularly addressed, in the hope that a clear
demonstration of what is laudable or censurable will form such a public
taste as, by preventing a reliance on first impressions, will lead to a
sound judgment; and that we may not henceforth strive to enlist public
suffrages by falling into unsuitable singularity, or by wandering from
the truth.
587. If there exists a subject worthy of being studied critically on
account of the frequency and variety of the cases it presents, it is
unquestionably this; for whether we contemplate the works of nature
or of art, their varied colours form one of the finest spectacles man
is permitted to enjoy. Hence the desire of reproducing the coloured
images of objects which excite our admiration or interest, has produced
the art of painting. The imitation of the painter’s works has given
birth to tapestry, and carpets, and mosaics; while the necessity for
economically multiplying designs has led to ornamental printing. The
love of colour has also induced man to paint his dwelling and to dye
his garments and household decorations.
588. The sight of colours, so simple a thing for the greater part of
mankind, is, according to some philosophers, a phenomenon entirely
out of the domain of positive knowledge, inasmuch as they consider
that it varies with the organization, and even the imagination, of
individuals; consequently, they think that it cannot be inferred that,
because one man sees an object in a certain way, another will see it in
like manner under the same external circumstances. They believe that
no generalization, deduced from observation, can direct the artist
with certainty, either in the art of seeing his model or in faithfully
reproducing a coloured image of it: they also think that no useful
physiological generalization can arise from a profound study of the
modifications his organs experience from the sight of the colours that
bodies present to him.
I cannot admit that we ought to abstain from the study of a subject
because it presents variable phenomena.
All those who are engaged in the study of the positive sciences, should
inquire for some fact capable of illustrating the study of these
phenomena.
589. I entered upon this study, not having spontaneously chosen it, but
because it appeared to me indispensable before pretending to establish
a sound judgment on the beauty of the dyer’s colours. As soon as I felt
the necessity for this study, in my capacity of Director of the Dyeing
Department of the Royal Manufactories, my first care was to discover
whether I saw colours as the generality of persons see them. I was soon
perfectly convinced that I did, and not till then did I venture to make
my researches the subjects of public lectures. These have been repeated
before the students of the Polytechnic School. Certain questions
addressed to my auditors to satisfy me that they saw the things I put
before their eyes as I saw them myself, have, in the majority of cases,
always proved them to be so, and yet my demonstrations were given
in the reception-hall at the Gobelins,—a place ill adapted for the
exhibition of the phenomena of contrast to a large audience. Certain
observations by myself, tested by a great number of persons in my
laboratory, and afterwards publicly exhibited, form the subject of this
book; all who repeat my experiments will discover whether my opinion is
well-founded, or whether an opinion is correct which pretends that the
sight of colours is not capable of giving a general positive result.
Because some individuals have organs of sight so imperfect that they
cannot distinguish green from red, or blue from grey, &c., must we
write our treatises on optics without mentioning either red, green, or
blue, and cast away these colours from the palette? Assuredly human
nature is too limited to allow of our making such a sacrifice of our
common organization to the infirmity of an individual.
590. In order to comprehend clearly how experiment and observation,
after having disentangled the causes which exercise a determinate
influence upon the sight of colours, led me to adopt the opinion that
these phenomena are perfectly defined by the law of contrast and the
conclusions therefrom, doubtless it will suffice to consider how
1. Our former ignorance respecting the different states of the eye,
which, in seeing colours, give rise to the phenomena of simultaneous,
successive, and mixed contrasts.
And our former ignorance respecting the definite influence that the
direct or diffused light of the sun exercises, according to its
intensity, upon the colours of bodies, have led to the establishment of
an opinion contrary to my own;—that is to say, the opinion that _the
same colour appears so diversely to different persons, and even to the
same person, that nothing general or precise can be deduced from the
sight of coloured objects, with regard to their respective colours_.
2. To consider how the following have passively contributed to belief
in this opinion.
The limited number of ideas we have generally about the modifications
of coloured bodies, by their mutual mixtures; or in other terms, upon
the colours resulting from these mixtures.
The want of a precise language to convey the impressions we receive
from colours.
591. It is indisputable that if we are ignorant of the regularity with
which the eye passes successively through stages, the extremes and the
mean of which are very different, in viewing the colours which put the
organ into the condition of perceiving the phenomenon of one of the
three contrasts (77) we shall be led to consider the sight of colours
as a very variable phenomenon, _while the successive stages through
which the organ passes being once distinguished, the variations of the
phenomenon become perfectly definite_.
592. If we are ignorant of the law of simultaneous contrast, we shall
suppose that the same colour varies in tint according to the colour
with which it may be associated; and if we are ignorant that contrast
affects the tone as well as the colour, we cannot explain how two
similar colours (for instance, blue and yellow at the same depth of
tone) will appear redder by juxtaposition; while, if the blue is very
deep relatively to the yellow, it will appear black, rather than
violet, and the yellow will appear more green than orange. Finally, if
we are ignorant of the effect of the brightness which a complementary
can give to a dull colour, we cannot explain the great difference
there is between the effect that a red ground has upon imitative
gilt ornaments, and the effect of the same ground upon metallic gilt
ornaments (384).
593. Doubtless, also, if it be not known that in a complex object, the
eye can only see clearly at the same moment a small number of parts
and that the same part may appear to different eyes with different
modifications, according as it is seen juxtaposed with one or another
colour, as in the instance given (407).
594. We might know the regularity of the successive states of the eye
during the sight of coloured objects, and the law of simultaneous
contrast of colours, and yet, if we were ignorant of the influence of
various degrees of intensity of light in varying the colour of bodies
and in rendering the modifications of contrast more or less evident,
we should be led to believe in an indefinite variation in the aspect
of colours; but this variation is perfectly defined by the following
remarks:—
If the direct light of the sun or diffused daylight illuminates a
monochromous body unequally, the part most vividly lighted is modified
as it would be if it received orange, and the modification appears the
stronger the greater the difference of light on the parts (280): thus
the more intense the light, the more it gilds the body it illumines;
it is thus always easy to foresee the effects of it when we know the
result of the mixture of orange with various colours.
595. The phenomena of simultaneous contrast being less evident in a
very vivid light than in a weaker light (63), it follows that if we
disregarded the difference in the effects, we should greatly deceive
ourselves in our appreciation of the phenomena of contrast of similar
colours. Simultaneous contrast, which tends to make the differently
coloured parts appear as distinct as possible, is carried to a maximum,
precisely when the light being feeble, the eye requires the greatest
contrast of colour to perceive distinctly the various parts upon which
it is fixed.
596. We may perceive the modifications presented by bodies when
lighted, and yet we may experience much difficulty in accounting for
them, for want of knowing how to represent exactly the modifications
which the coloured materials experience, in their colour, according
as they receive light or white, shade or black; or according as they
are mixed together. It is partly to make these modifications clearly
known that I have designed the _chromatic hemisphere_ (134, _et seq._).
In describing it, I have attached less importance to its material
realization than to the rational principle upon which it depends. On
looking at the lines of this diagram independently of all colouring, we
understand how any colour is reduced by white, deepened by black, and
broken by black and white, and how, by mixture with a pure colour, it
produces hues. I shall add subsequently some new considerations on the
gradations of colour made with coloured materials.
My object would not have been attained had not the chromatic
hemisphere given me the means of representing, by a simple
nomenclature, the modifications which a colour undergoes by the
addition of white and black, modifications which produce the _tones
of its scale_; those which it receives from black yielding _broken
scales_, and those resulting from the addition of a pure colour,
produce scales which are _hues_ of the first colour.
597. Finally, to the definitions which I have given of the words
_tone, scale, hue, broken colours_, I must add the distinction of the
associations of colours into _harmonies of analogy_, and _harmonies of
contrast_ (172).
I am convinced that all those who accept the small number of
definitions I have given, will find much advantage from them in
accounting for the effects of colours, and in expressing their views to
others. By their aid it will be easy to notice relations which might
have escaped observation, or which, in the absence of precise language,
could not have been clearly communicated.
598. It would be ignoring a fact to attribute the opinion I have
combated, exclusively to ignorance of what I have just recapitulated,
or to believe, that in order to establish the contrary opinion, which I
maintain, it is sufficient to dissipate this ignorance.
But I am satisfied with pointing out the error, without making the
least pretension to overthrow it, otherwise than by stating what I
believe to be the truth.
599. The study of the positive facts just reviewed, leads to a
certainty in the view of colours which all may acquire who devote
themselves to it. They will see how fruitful it is in applications,
and that it is independent of every hypothesis, and that it would be
impossible to obtain this result, if there did not commonly exist
among men an average organization of the eye, which permits them to
perceive in similar circumstances the same modifications, but with
varied intensity of perception.
600. Having noticed the series of principles upon which my book
is founded, I next consider these facts under the three following
relations:—
1. The certainty they give in judging of the colour of an object.
2. The certainty they give to our judgment in the various arts which
address the eye by coloured materials.
3. The union they establish between the principles common to many arts,
which speak to the eye as it were various languages, in employing
different materials.
4. The influence that the disposition of the spectator’s mind may have
upon his judgment of a work of art.
SECTION I.
ON THE CONNEXION OF THE LAW OF SIMULTANEOUS CONTRAST
OF COLOURS WITH THE JUDGMENT WE FORM UPON ALL
COLOURED BODIES, UNDER THE RELATIONS OF THE
RESPECTIVE BEAUTY OF PURITY OF THEIR COLOURS, AND
OF THE EQUALITY OF THE DISTANCE OF THEIR TONES IF
THESE BODIES BELONG TO THE SAME SCALE.
601. The most simple and general conclusion deduced from the law of
contrast is certainly that which concerns the judgment we exercise,
either by taste or profession, on a colour, whether presented by a
coloured paper, a textile fabric, a glass, an enamel, a picture,
&c. All those who have some experience in the matter consider one
condition as essential to be fulfilled to avoid error, namely, that
the colour concerning which we have to determine be compared with
another colour analogous to it. _If we are ignorant of the law of
contrast, the result of this comparison is not exact, whenever the
objects compared are not identical._ I now proceed to demonstrate this
by examples adapted to the application of the principle spoken of.
Further, a more remote consequence of the law affords the means of
knowing whether the tones of a scale of wool or silk are equidistant.
ON THE COMPARISON OF TWO SAMPLES OF THE SAME COLOUR.
602. When we have to do with two patterns of any kind, which are
related to the same colour, if there is no identity between the
tints, we must take into account the contrast which exaggerates the
difference; thus if the one be greenish-blue, it will make the other
appear less green, or more indigo, or even more violet, than it really
is; and, reciprocally, the first will appear greener than when viewed
alone; the same with the reds, if one is more orange than the other,
the latter will appear more purple, and the former more orange, than
they really are.
INFLUENCE OF A SURROUNDING COLOUR UPON ONE COLOUR WHEN COMPARED WITH
ANOTHER.
603. Since the contrast of colours which are not analogous, tends to
improve and purify them, it is evident that whenever we would exercise
a correct judgment upon the beauty of colours, after comparing them
with the colours of objects analogous to the first, we must take into
account the kind of work, and the manner in which they are juxtaposed,
if the objects compared are not the exact representation of the same
subject. For, other things being equal, the same colours not blended,
and which are not sufficiently analogous to injure each other, will
certainly appear more beautiful disposed in contiguous bands than if
each were seen on a ground which consisted of it exclusively, and which
consequently produced only a single impression of colour upon the eye.
Colours forming palms like those of Oriental shawls or patterns, as
of Turkey carpets, produce a much greater effect than if they were
shaded or blended, as they generally are in paintings. Consequently,
for example, in comparing a stripe of crimson in a Cashmere shawl of
various stripes with the crimson of a French shawl, we must destroy
the contrast of colours by placing around it a piece of grey or white
paper, cut out so as to allow this stripe only to be seen, when the
parts compared will be submitted to the same influence from the
surrounding objects.
604. So, when we compare the colours of old tapestries, pictures,
&c., with colours recently dyed or painted. Time acts very unequally,
not only on the different kinds of colours of dyed stuffs, but also
upon the tones of the same scale. Thus, the deep tones of certain
scales,—those of violet, for example,—fade, while the deep blues of the
indigo-blue scale, the deep tones of madder, kermes, cochineal, are
permanent. Also, the light tones of the same scale fade during a time
which has no sensible effect in altering its deep tones. Whence the
colours which have most resisted the destructive action of time, being
more isolated from each other, as well as deeper and less blended,
appear to have more brilliancy. There are many pigments, as most of the
lakes, which are in the same condition as compared with ultramarine,
the oxides of iron, the blacks, &c.
_On the Effect of Contrast upon the Browns and the
Lights of most of the Scales of Wool and Silk
employed in Tapestry and Carpets._
605. When we look at the whole effect of tones of most of the scales
made use of in these manufactures, the phenomenon of contrast
exaggerates the difference of colour observed between the extreme
and the middle tones of the same scale. For instance, in the scale
of indigo-blue, applied to silk, the lights are greenish, the browns
are tinged violet, while the intermediate tones are blue; but the
difference of green and violet at the two extremes is augmented by the
effect of contrast. So in the scale of yellow, the light tones appear
greener, and the browns redder, than they really are.
606. In speaking of a difference existing between the deep and
the light tones of most of the scales of wool and silk, which is
exaggerated by contrast, I will add some remarks relative to the
gradations the dyer produces. This gradation is very seldom perfect,
as the light tones are exactly represented to the eye by the colour
taken at its normal tone, reduced by white. Thus, a compound which at
the normal tone is pure yellow, or slightly tinged with orange, will,
by reduction, produce light tones of a greenish-yellow. An orange-red
compound upon silk or wool will yield light tones tinged violet-red. To
obtain a correct gradation, we must in most cases add to the weak tones
a new coloured material, adapted to neutralize or weaken the defect
spoken of.
607. Many of the colouring matters used in painting produce the same
result when reduced with white. I do not speak here of changes which
may be the effect of chemical action; I allude only to those which
result from an attenuation of the coloured material. For example, the
normal tone of carmine is a much purer red than its light tones, which
are evidently tinged with lilac. Ultramarine, so beautiful in itself,
yields light tones which, with respect to the blue rays, appear to
reflect more violet rays than the normal tone. In consequence of these
facts, it is difficult to colour the chromatic diagram, because many
trials must be made to obtain the modification of colour which yields
the normal tone of a scale, by the addition of such coloured materials
as will render the gradation correct.
MEANS AFFORDED BY CONTRAST FOR ASCERTAINING WHETHER THE
TONES OF A SCALE OF COLOUR ARE EQUIDISTANT.
608. Contrast, which augments the difference existing between two tones
of the same colour, affords the means of judging with greater certainty
than could otherwise be done, whether the numerous tones of a scale
are at the same distance from each other. Thus, if the tone 2, placed
between 3 and 4, appears equal to the tone 1, it follows, if the tones
are equidistant, that 3 placed between 4 and 5 will appear equal to
2; that 4 put between 5 and 6 will appear equal to 3, and so with the
others. If the tones are too near together to yield this result, we
must move them successively, not one degree, but two or three. This
means of judging of the equality of distance that separates the tones
of the same scale, is based upon the fact, that _it is easier to
establish an equality than to estimate a difference between patterns of
the same colour._
OF THE BINARY ASSOCIATIONS OF COLOURS, CRITICALLY CONSIDERED.
609. In order to sum up in few words the generalities which must serve
as the bases of our judgment, not on one colour compared with another
of the same sort, but on the associations of two colours, which any
object whatever presents to our eyes, we must consider combinations
both of complementary and non-complementary colours.
1st. _Combination of Complementary Colours._
_This is the only association where the colours mutually improve,
strengthen, and purify each other without leaving their respective
scales._
This case is so advantageous to the associated colours, that the
combination is also satisfactory when the colours are not absolutely
complementary; also when they are made dull with grey. I therefore
prescribe the complementary association when we have recourse to the
harmonies of contrast in painting, in tapestry, in the arrangement
of coloured glass windows, in the assortment of hangings with their
borders, in that of stuffs for furniture and clothing; and, lastly, in
the arrangement of flowers in our gardens.
2nd. _Combination of Non-complementary Colours._
_The product of this combination is distinguished from the preceding
in this,—the complementary of the juxtaposed colours, differing from
the other colour to which it is added, there must necessarily be a
modification of hue in the two colours, as well as a modification of
tone, if they are not taken at the same height._
610. Juxtaposed non-complementary colours can _certainly_ give rise to
three different results:—
1. They may improve each other.
2. The one may be improved, the other may lose
some of its beauty.
3. They may injure each other.
The greater the difference between the colours, the more favourable
will the juxtaposition be to their mutual contrast; consequently, the
more analogy they will have, and the more chances there are that the
juxtaposition may injure their beauty.
1. _Two non-complementary colours improve each other by juxtaposition._
611. Yellow and blue are so dissimilar, that their contrast is always
sufficiently great for their juxtaposition to be favourable, although
the juxtaposed colours belong to different scales of yellow and blue.
2. _One colour juxtaposed with another which is not its complementary,
may be improved, while the latter may be injured._
A blue, which is improved by a yellow, being placed beside a violet
(blue rather than red) may lose some of its beauty, by becoming
greenish; while the orange it adds to the violet, neutralising its
excess of blue, rather improves than injures it.
3. _Two non-complementary colours may injure each other._
A violet and a blue are reciprocally injurious, when the first greens
the second, and the latter neutralizes sufficient of the blue in the
violet to make it appear _faded_.
It might also happen that although the colours juxtaposed be modified,
neither gaining nor losing in beauty, that the one may gain without the
other losing; lastly, that the one may neither gain nor lose, while the
other loses.
612. _In the association of two colours of equal tone, the depth of the
tone may have some influence on the beauty of the association._
For example, a deep indigo-blue and an equally deep red, gain by
juxtaposition; the first, by losing some violet, will become a pure
blue, the second, in acquiring orange, will become brighter. If we take
light tones of the same scales, it may happen that the blue will become
too green to be good as a blue, and that the red, acquiring orange,
will be too yellow to be a pure red.
613. _In the association of two coloured objects of tones very distant
from each other, belonging to the same scale, or to scales more or
less allied, the contrast of tone may have a favourable influence upon
the beauty of the light tone_; because, in fact, if the latter is not
a pure colour, its juxtaposition with the deep tone, upon the whole
brightening it, will purify the colour from whatever grey it may have.
614. It is very necessary for the correction of our judgment of these
principles on the binary associations of colours, not to lose sight
of all that precedes, concerning colours that are “dead,” or without
gloss, and that their combination be considered independently of the
form of the objects presenting them, for the twofold reason, that
_the glossiness of the coloured surfaces, and the form of the bodies
which these surfaces bound_, may modify the effect of two associated
colours; consequently, the analysis I have made of the optical effects
of colours would be incomplete without speaking of the possible
influence of these causes.
_Influence of Gloss taken into consideration in the Effect of Contrast
of two Colours._
615. The optical product of the juxtaposition of contrasted flat
colours is composed of two effects:—1. The effect which arises from
each of the juxtaposed colours, by receiving the complementary of the
colour contiguous to it, is thus strengthened or tinged agreeably,
independently of any augmentation of gloss. 2. The effect arising from
gloss in the two juxtaposed colours. Here it may be remarked that
associations which I have not prescribed, such as red with violet, or
blue with violet, have a fine effect in the plumage of certain birds
and butterflies; for, in these natural associations, the effect arising
from the addition of the complementaries to each, which would injure
the _flat_ colours, is entirely insensible in surfaces which acquire
_metallic brilliancy_ from their organic structure. Finally, I shall
add, that it would be necessary, before raising the objection, to
demonstrate that the same red, associated with green, the same violet
associated with yellow, and the same blue associated with orange,
equally glossy, would be less effective than in natural assortments.
_Influence of Form taken into consideration in the Effect of Contrast
of two Colours._
616. Elegance of form, the arrangement of the parts, their symmetry,
the effects of light and shade, and the association of ideas which may
connect this form with an agreeable recollection, will prevent the
perception of the ill effect of two associated colours, even when not
glossy. Thus, for example, in flowers, combinations, which would not
produce a good effect upon two plain surfaces, are very beautiful. For
example, the flower of the sweet pea, which has the combination of red
and violet.
617. The critic must be directed by the considerations here summed up:—
1. The kind of association: the greater the difference
between the colours, the more they beautify each
other; and, the less difference there is, the more
they will tend to injure one another.
2. The equality in depth of tone.
3. The difference of tone, the one being deep, the
other light.
4. The glossiness of the surfaces which reflect the
colours to the eye.
5. The form of the coloured body.
OF THE COMPLEX ASSOCIATIONS OF COLOURS, REVIEWED CRITICALLY.
618. It is evident that the rules prescribed for judging of a colour,
and the associations of two colours, in an absolute manner, must serve
for judging as to the colours of an association, however complex it may
be. We shall consider the masses of colours which are upon the same
plane, the extent which each occupies, and the harmony which unites
them. On submitting to a similar examination the colours on the other
planes, we can then look at the colours of the latter. The critic who
is well satisfied with seeing clearly at the same time, only a very
small number of the objects that a picture presents to him and who is
also accustomed to examine a coloured composition in this manner, is in
the position of a person who reads in succession writing on the same
side of a sheet of paper; one series of lines crossing the first at
right angles, and the third composed of lines running diagonally across
the paper. The critic must review the _ensemble_ of the picture as to
its colours, and then, being attentive to their particular and general
associations, he will be in a condition to enter into the thought of
the painter, and to see whether he has employed the most suitable
harmonies to express it. Although it is easier to form with opposed
colours than with neighbouring colours binary assortments favourable to
the associated colours, yet, when a great number of pure and brilliant
colours are employed, it is more difficult to harmonize them than if we
produced the effect with a small number of colours, which would involve
only the harmony of analogy, or that of scale, or of hue.
619. Although harmony of contrast most favourably causes two colours to
impart value to each other, yet, when we desire to derive the greatest
advantage from a union of numerous brilliant colours in any work—a
picture, for instance,—this diversity presents some difficulties in
the general harmony, which a smaller number of colours, and especially
of brilliant colours, would not present. It is, therefore, evident
that, if we compare two effective pictures, well adapted to be judged
under the relation of colour (other things being equal), the one which
presents more harmony of contrast of colour will have the greater
merit, on account of the difficulty overcome in the employment of the
colours; but it must not be inferred that the painter of the other
picture is not a colourist; for the art of colouring is composed of
several elements, and the talent of opposing pure colours to each
other, is only one of these elements.
620. Let us now consider the relations existing between the subjects
of painting and the harmonies they admit of. We know that the more
pictures address the eye by numerous contrasts, the more difficulty
the spectator experiences in fixing his attention; especially if the
colours are pure, varied, and skilfully distributed upon canvas. It
results, therefore, from this, that these colours, being much more
vivid than the flesh tints, the painter who wishes that his idea should
be found in the expression of his figures, and who, deeming this part
of his art superior to the rest, is convinced that the eyes of most
people ignorant of the art of seeing, being carried away by their
first impressions, are incapable of returning from these to receive
others;—the painter, I say, who knows all this, and is conscious of
his power, will be restrained in the use of harmonies of contrast,
and prodigal of the harmonies of analogy. But he will not derive
advantage from these harmonies, especially in a subject covering a vast
space filled with human figures, as the “Last Judgment” of M. Angelo,
unless he avoids confusion by correct drawing, by a distribution of
the figures in groups, skilfully distributed over the canvas, so that
they may cover it almost equally, yet without cold symmetry. The eye
of the spectator must embrace all these groups easily, and seize
the respective positions; while in looking into one of them he must
discover a variety which will invite his attention to other groups.
621. The painter who fails to gain the effects of the physiognomies,
&c., in having recourse to the harmonies of analogy, will not have the
same advantage in fixing general attention, as the painter who employs
the harmonies of contrast.
The harmonies of contrast of colour are especially applicable to scenes
(illumined by a too vivid light), representing fêtes, ceremonies, &c.,
which may be sober without being mournful; they are also applicable to
large subjects, comprising groups of men animated with various passions.
Hence, the critic must never compare the colouring of two large
compositions without taking into account the difference which may exist
in the suitableness of each subject with one kind of harmony rather
than with the other.
_Painting in Flat Tints._
622. To apply painting in flat tints to historical, portrait, and
landscape painting—in a word, to the imitation of any object of which
we can produce a faithful representation, would be going back to the
infancy of art; but to abandon it to practise exclusively the system
of painting where all the modifications of light are reproduced
according to the rules of chiaro-’scuro, would be an error which can be
demonstrated beyond question.
1. That, in every instance in which a picture must be placed at such
a distance from the spectator that the details of chiaro-’scuro will
not be visible, we must have recourse to flat tints,—not neglecting,
however, to use masses of light and shade adapted to give relief, if it
is considered suitable.
2. That, in every case where the picture is necessary to the
decoration of an object, flat tints are preferable to chiaro-’scuro,
because the use of the object almost always prevents the picture which
ornaments it from being clearly seen under all circumstances. Thus
painting in flat tints is preferable to the other—
For ornamenting boxes, tables, screens, which, from the
various positions their use requires, only allow to
be seen a part of the pictures which decorate them;
or, if the paintings are entirely visible, as those
of a screen, they will be presented relatively to
the daylight in a manner quite different from each
other, on account of these various positions of
their parts;
For decorating curved surfaces, as those of vases, the
surfaces of which are never plain.
3. That the qualities peculiar to painting in flat tints are:—
Purity of outline;
Regularity and elegance of forms;
Beautiful colours properly assorted.
Whenever suitable, the most vivid and the most contrasting colours may
be advantageously employed.
Simplicity in the whole, so as to render clear and distinct view easy.
OF THE ARTS WHICH ADDRESS THE EYE BY EMPLOYING
COLOURED MATERIALS OF A DEFINITE SIZE, CONSIDERED
RELATIVELY TO THE PHYSICAL CONDITION OF THESE
MATERIALS, AND TO THE PECULIARITY OF THE ART IN
WHICH THEY ARE EMPLOYED.
623. If we examine paintings with sufficiently powerful magnifiers, we
shall see that the coloured material, far from being continuous in all
its parts, is in separate particles, and consequently, if the naked eye
does not perceive them separately, it is because they are too small.
In fact, the coloured threads (elements of tapestries and carpets),
and rigid coloured prisms (elements of mosaics), which are visible
to the naked eye, may be reduced to such a state of division, and so
mixed and combined, that at the distance from which we view them united
they appear as a uniform coloured surface—as if painted; whence the
possibility of making, with these elements, works which correspond to
those painted in chiaro-’scuro; but it will be easier to execute such
as correspond with flat tints.
TAPESTRIES, CARPETS, MOSAICS, AND COLOURED GLASS
WINDOWS, CORRESPONDING TO PAINTINGS IN CHIARO-’SCURO.
_Tapestries with Human Figures._
624. Tapestries with human figures derive their origin from the taste
of mankind for painting. They had adorned churches, palaces, and
castles, before they appeared in simple dwellings.
From the filamentous condition of the elements constituting them,
their size, the direction the weaver gives them in twisting the weft
upon each thread of the warp, results a coloured image presenting
two systems of lines cutting each other at right angles. From this
structure it results, that a tapestry will not produce the effect of a
painting (the surface of which is entirely uniform), if the spectator
does not view it from a point sufficiently distant; so that, these
lines ceasing to be visible, the delineation which separates each
part of the design from the contiguous parts, will appear like the
delineations of a painting, as much so as the indentations of the
outlines which are oblique to the weft will permit. Hence _the objects
represented by it must be large, of various colours, forming harmonies
of contrast rather than harmonies of analogy_.
625. Every model which does not fulfil the previous conditions is bad,
and as, in pictures which have not been painted with the intention of
being reproduced in tapestry, it is difficult to meet with the union
of pure outline with harmonies of colours sufficiently numerous and
contrasted, it follows that what would be very advantageous to the art,
is the execution of pictures intended to serve exclusively as models,
painted broadly, so as to resemble, in some degree, painting in flat
tints.
The weaver not having, at least at present, models painted on this
system, has to make, not only, as we say, _a translation_, but also
_a free and not a literal translation_, of the model; and it is this,
in my opinion, which distinguishes the artist-weaver from the mere
_workman_. Far from contending, then, with painting, the weaver, on the
contrary, must study the circumstances in which he should yield in the
struggle, so that he may avoid the difficulties with the means at his
disposal; and when, especially, he must deviate from his model.
_Tapestries for Furniture._
626. The preceding consideration respecting the size of objects that
figured tapestries should reproduce, is not applicable to tapestry for
furniture, seeing that the threads of the warp produce lines which, far
from being disagreeable, are often imitated by the paperstainer.
627. These fabrics being intended for chairs, couches, curtains,
screens, &c., the painter charged with composing designs for this class
of works, must never forget that tapestries may occupy dark places,
where they are imperfectly and often indistinctly seen; consequently
he must select simple and elegant forms, in harmony of colour with the
tapestry, &c., in the apartment. These models, even more than those for
tapestries with human figures, must assimilate with painting in flat
tints.
From among the facts I could quote to support this opinion, I shall
select the following. There was a deep rose-red curtain, the centre
representing a large bouquet of flowers of various colours, framed, as
it were, in a garland of white roses. The artist had painted the model
under the idea of executing this garland with silver thread; but this
metal being objectionable, on account of its tarnishing by various
exhalations, preference was given to white and grey silk, imitating
the tones yielded by a silver object in relief. An experiment showed
that it could not be attained by these means, because the contrast of
the ground made all the half-tints appear _green-grey_, and these in
their turn made the lights appear rusty-pink, in consequence of the
greenish colour of their contrast. This annoyance being communicated
to me, I advised M. Deyrolle, in reproducing the model, to make use
of only three light tones of the rose scale in silk, and a white
linen thread. By this means I expected that the complementary of the
ground, neutralizing the rose, would produce a greyish half-tint, well
adapted to set off the white. The result was such as I had foreseen. A
second copy, made with a mixture of the light tones of the pure rose
scale, slightly broken, gave an image less white, less _silvery_ than
the preceding; or, in other terms, appearing a little greenish when
compared with the first, and more harmonious. It resembled the effect
obtained with rose-red under lace or tulle, which permits little of the
ground to be seen. This example indicates the means of executing white
designs upon any kind of ground.
_Savonnerie Carpets._
628. Carpets are larger than the tapestries for hangings; on the other
hand, being liable from their position to be soiled by the feet, and
to receive furniture on some part, they are in a less favourable
condition than tapestries for being distinctly seen. This, then, is one
reason why we should choose models, of design and colour adapted to
the circumstances necessitated by custom, and in harmony with what is
around.
_Mosaics._
629. Mosaics being composed of minute prisms, and of materials
susceptible of polish, we can rigorously copy very small objects,
and, consequently, approach much nearer to painting in chiaro-’scuro
than by employing threads. But to arrive at this result, without
being unfaithful to the peculiarity of the art, the materials must be
sufficiently solid, and joined together so intimately as to resist
the agencies which would destroy a painting; for if this end be not
attained, we cannot see the use of copying a picture in mosaic. So that
to justify the production of such works, we must make sure that, in the
situations in which they are placed, they will resist the agents which
would destroy the works of the painter.
_Windows of Coloured Glass._
630. A work executed in small prisms of transparent coloured glass, in
imitation of painting in chiaro-’scuro, would be a true transparent
mosaic. I do not know that such an imitation has ever been executed.
All the coloured glass windows which I have spoken of as decorations of
Gothic churches, are composed exclusively of small pieces of glass of
uniform colour, united by strips of lead or of iron; or altogether of
these small pieces of glass, and of glass upon which we have applied
with a pencil materials which afterwards have been vitrified: we can
only entertain the question of the latter in this article.
We may propose two different objects in the production of these
windows: either the coloured pieces are altogether secondary in the
work, that is to say, occupying a much smaller extent of surface than
the others, they do not attain to the perfection of painting,—such
is the case with the greater part of the windows of large Gothic
churches,—or else these pieces are the principal parts, which,
predominating over the others, we attach great importance to the design
and to the gradation of tints; such are several windows executed at the
Royal Manufactory at Sèvres. The more such works resemble the preceding
windows by the effect of their variety, brilliancy, and apposition of
colours, the more they attain the object they must essentially fulfil.
_Tapestries, Carpets, Mosaics, and Coloured Glass
Windows, corresponding to Painting in Flat
Tints.—Tapestries with Human Figures._
631. Although I have advised for tapestry models executed on the system
of painting in chiaro-’scuro to resemble painting in flat tints, yet I
shall not recommend taking the models entirely according to this latter
system.
_Tapestry for Furniture._
It is quite otherwise with patterns of tapestry for furniture. I
believe that we can make some very beautiful works by copying patterns
in flat tints; and that, in the decoration of large apartments, we may
obtain an excellent effect from this kind of tapestry. I believe, also,
that it would be more suitable for forming part of a general system of
decoration, than the kind of tapestry of which I have spoken in the
preceding article. Moreover, it is more favourable than the latter to
the splendour of the colours.
The preceding observations are entirely applicable to the production of
carpets.
_Mosaics._
632. Mosaics being composed of more rigid and coherent coloured
materials than are employed in the arts which combine coloured
materials, I believe that it will be requisite, in judging works of
this sort, to consider the power of the materials to resist the effects
of friction, water, and atmospheric agents as essential qualities; the
colour will follow.
_Windows of Coloured Glass._
633. Considering coloured glass windows under the threefold relation
of transmitting light into large Gothic churches, of their accordance
with the decoration of objects consecrated to the rites of the Church,
of transmitting a coloured light entirely in unison with the religious
sentiments, I prescribe a uniform colour for rose windows and straight
windows with circular or pointed tops, the smallest number of colours
in the glass, glass of uniform colour predominating over the other to
produce the best possible effects of colour.
OF THE DISPOSITION OF THE MIND OF THE SPECTATOR IN
RESPECT TO THE JUDGMENT HE FORMS OF AN OBJECT OF
ART WHICH ATTRACTS HIS EYE.
634. It is not enough to have indicated the rules to be followed
and the principles to be observed in the production of effects, and
the judgment of them in relation to art; we must also speak of the
disposition of the spectator for receiving, more or less intensely,
the impression of those effects. To take no notice of this disposition
would be to display ignorance of human nature, and of the utility
of the examination, which should be impartially pursued also by the
critic, who may exaggerate blame as well as praise.
Without examining the influence that the passions exercise in opinions
formed on works of art, I will say a few words upon a predisposition
which may be remarked in a portion of the public, at least at certain
epochs, and which has its source in man’s vanity; then I will point
out the part which the association of ideas performs in our adoption
of opinions.
635. When a body of painters, called a _school_, has produced some
_chefs-d’œuvre_, it frequently happens that a great number of mediocre
works, executed under the pretence of continuing them, far from being
favourable, are, with a portion of the public, injurious to them, on
account of the monotony resulting from an imitation, more or less
servile, of their form, colour, and even of their subjects. The
public, under these circumstances, are ready to applaud any innovation
that will excite emotions which it has not for some time found in
contemporary painting, and it is then that amongst the public, voices
are raised against great works, which have nothing in common with the
tame imitations of them produced by mediocrity. Indeed, there comes
an epoch when innovation, losing the only advantage it possessed of
presenting to the eye images differing from those which it had been a
long time accustomed to see, the public returns to the _chefs-d’œuvre_,
and forgets all the feeble works composed in imitation of them by
feeble pupils; and we will add that, if works _professing to be of the
new school_, and endowed with undeniable merit, should exist, they
would, in the estimation of connoisseurs, take the places they ought to
occupy; whilst those which had arrested attention by innovation only,
would disappear for ever.
636. Finally, to notice the effect which associations of ideas have
on our opinions. For example, he who arrives at Versailles, full of
admiration for the age of Louis XIV., repeoples the gardens with all
the great men that have frequented them, and his thoughts recurring to
the _fêtes_ given by an elegant and polished court, the admiration
of Europe, he will judge the work of Lenôtre more favourably than he
who, without being hostile to the _grand siècle_, will see nothing but
a garden subordinate to a palace. And the Christian who associates in
his mind the architectural form, the brilliancy of the coloured glass,
and the religious ceremonies of the Gothic Church, all which he has
venerated from his childhood, will be in a disposition to prefer the
cathedral of Cologne to that of St. Peter’s at Rome; while the latter
would be associated with the profoundest veneration in the mind of a
Christian of Rome.
ON THE COLOURS OF MILITARY UNIFORMS.
The following section, in which are described the advantages of
contrast with regard to the heightening and purifying of the colour of
cloths for dress, properly belongs to the chapters on clothing, pp.
165, &c. But, as in the present day, the colours of men’s ordinary
dress are not usually very various or strongly contrasted, this portion
of the work has a more special application to military uniforms; the
choice of colours being regulated by the principles laid down and
exemplified throughout the work.
And, independently of economical considerations, the selection and
arrangement of colours for military uniforms demand investigation as
to the prominence or obscurity resulting from their combination, as
well as to their æsthetical effect.
_Of Uniforms composed of Complementary Colours._
By the law of contrast, red and green of similar tone in the same
uniform, will heighten each other. Let us suppose the augmentation of
colour by juxtaposition to equal one-tenth, its optical effect may be
stated as 1¹/₁₀. If a single coloured uniform, by one year’s wear lose
one-tenth of its colour, it is clear that the uniform of the above two
colours after being worn the same time will be as effective as the
single colour was originally.
Similar reasoning may be applied to all colours that are complementary,
as orange and blue, violet and greenish yellow, &c.; it is necessary
however to take into consideration their difference of tone.
Among colours which are not complementary, but which produce an
agreeable contrast, may be mentioned particularly blue and yellow, blue
and scarlet, green and yellow.
_Blue and Yellow._—These two colours harmonize well, the blue imparting
to the yellow an orange tint so much the deeper as the tone of the blue
is raised, while the yellow communicates to the blue a beautiful tint
of violet, or if the blue have any unpleasant greenish tint the yellow
will neutralize it. If, however, there be a great difference in the
tone of the two colours, contrast arising from this difference might
destroy the effect of the contrast of colours; so that a deep blue
might appear black or less violet, while the yellow, being enfeebled,
might seem greenish.
_Blue and Scarlet._—Deep blue and scarlet make a beautiful assortment,
the blue giving fire to the scarlet; the latter rendering the blue more
pure. There is no doubt that for effect a clearer blue and a fresh
orange would be preferable, if there be no white in the uniform.
_Green and Yellow._—This combination pleases by its gaiety, which suits
cavalry of the line. But the green should be yellower and clearer than
that which associates well with red; for the twofold reason that the
yellow, by neutralizing a portion of the yellow in the green, raises
the colour of the blue, and consequently lessens the brilliancy of the
green. Besides, this effect tends constantly to increase, as the yellow
of the green fades sooner than its blue. On the other hand, the yellow
cloth receiving red from the green, must not be taken too deep. This
case furnishes a good example of the economical advantage of contrasts
of colour generally; and it will be seen that good arrangements are
so much more difficult to make, as we depart from the contrast of
complementary colour.
_Of a single Colour and White._
We must refer to our preceding observations with respect to the
juxtaposition of white with colours (178) to reason upon these
combinations in uniforms. Colours are heightened, their complementaries
are added to the white, and effects are produced which are so much
the more perceptible as the colours are less raised in tone. If the
white is rusty the juxtaposition of blue will heighten its tint;
violet placed beside it will clear it, rendering it yellow; green
will increase its redness; yellow, and especially orange yellow, will
enfeeble it.
A white uniform has a good effect, not only when white pantaloons are
worn with a white coat, or with facings, collar, &c. of white to a
light coloured coat; but it has a good effect also with light trousers;
for instance, light blue and white coat, or collar and facings. White
trousers also do well with a uni-coloured coat.
_Bi-coloured Uniforms with White._
White produces a really good effect only with blue and orange, or blue
and red, being much inferior with green and yellow, or blue and yellow.
It is, however, very suitable for trousers, with any combination of
two agreeable colours in the coat. Nothing more clearly demonstrates
the advantage of blue or red with white, than the difference between
a uniform of deep red and blue without white, and the same with white
facings and buff-skin belt, &c.
_Bi-coloured Uniforms with Black._
Black enters advantageously into the composition of many uniforms of
two luminous colours, such as scarlet, orange, yellow, or bright green.
A scarlet coat with facings of greenish, rather than orange, yellow,
is perfectly adapted to black trousers. And black trousers may be
associated with sombre colours in the other parts of the dress for a
uniform which is not to be conspicuous or seen far off.
_Uniform of more than two Colours, not comprising Black and White._
Although three colours may be combined without producing a bad effect,
yet I give the preference to a bi-coloured dress with a mixture of
black and white. And I may remark here that if the sight of several
colours be more agreeable than of one only, there are disadvantages in
the union of many colours, especially if the colours are scattered on
different objects, or several parts of the same object.
_Uniform of several Shades of the same Colour._
Strictly speaking, it is possible to make an agreeable arrangement
of colours belonging to the same or neighbouring scales; yet the
difficulty of doing this, and the chances of success where there is
a contrast of colour, determine me to reject the former, at least
whenever brilliant colours are employed; but for sombre-coloured
arrangements they may be employed. In proof of this, I will mention the
bad effect of those French uniforms, in which there is a juxtaposition
of madder and of cochineal reds.
_Uniforms of two Tones of the same Scale._
This arrangement is not successful, for the lighter loses its colour,
and if the deep tone acquire it, it is scarcely ever advantageous.[3]
We will not therefore dwell upon it.
[3] It must be remembered that Chevreul speaks here of colours
exclusively as to their optical effect, and that the very objection
which he states to such an arrangement of colours, would be one of its
best recommendations to the advocates of an obscure, in preference to a
conspicuous uniform, as for Rifle Corps.
_Of a Mono-coloured Uniform._
If uniforms of contrasted colours are advantageous in an economical
point of view, if light coloured uniforms present advantages when
it is desirable to exhibit to the enemy the numbers who oppose him,
there are many cases in which the object is rather to conceal and
dissimulate their presence, than to display them. Well, for such
purposes, or if there is to be established a sort of hierarchy among
the various corps, by means of dress, we may have recourse to a single
and sombre-coloured uniform.
_The Influence of Superficial Extent upon Combinations of Colours in
Polychromous Uniforms._
I have already several times had occasion to speak of the influence
of extent in the proportions of colours even when well associated,
I must now add that it is not enough merely to make a satisfactory
combination, but that _to produce the best results from colours, they
must be employed in suitable respective proportions_.
When a colour is in feeble proportion to another, it must be spread as
equally as possible throughout the garment; as, for example, in the
uniform of the artillery, blue and scarlet; the latter, although far
less in superficial proportion, produces a very good effect, because it
is distributed throughout the uniform.
In a polychromous uniform, where one colour is found in several
garments, we must avoid confounding the colour with the superposed or
contiguous parts, so as to make one portion seem to belong to another.
For example, the French regiments wear red trousers, with a blue coat
turned up with the same red as the trousers. What happens? At a certain
distance the one seems a part of the other, and the blue coat-tails
seem far too narrow. It would be easy to remedy this defect by putting
blue with red braid for the portions of the coat turned up.
From the above, I admit the two following principles:—1. Whenever the
coat and trousers are of the same colour, and there is a second colour
put upon the coat in feeble proportion, it must be repeated on the
trousers, in a broad band, if the soldier wear boots, or in a braid,
if he wear shoes. 2. Whenever the trousers are not of the colour which
forms the basis of the coat, but of facings or distinctive parts, a
band or simple braid of the main colour of the coat will restore to the
trousers their distinctness.
* * * * *
These remarks show how desirable it is that the choice of colours, and
especially of those which are distinctive of regiments or corps, should
be the result of rules, established by their adaptation to the duties
to be rendered by the regiments wearing them.
INDEX.
A.
Aërial perspective, 83.
Analogy, harmonies of, 48.
Arabesques, varieties of, 164.
Architecture, Egyptian, employment of colours in, 138;
Greek, 139;
Gothic, 141;
application of colours to the interior of edifices, 143.
Art, judgment which a spectator forms as to an object of, 225;
associations of ideas connected therewith, 226.
Arts, which address the eye by employing coloured materials,
considered relatively, 218;
as coloured tapestries, carpets, mosaics, &c. 219 _et seq._;
coloured materials in flat tints, 224.
Association of ideas in judging of a work of art, 226.
Assortments of different colours, red, orange, yellow, green,
blue, and violet, with white, black, and grey, 49 _et seq._;
binary and tertiary, 50.
Author’s inquiries, history of the, 201.
B.
Beauvais, tapestries of, 102;
difference of from the Gobelins, 113.
Binary assortments of colours, 50, 59.
Binary combinations of primary colours with black, 54, 55.
Binary mixture of primary colours, 104.
Black, juxtaposition of coloured bodies with, 19;
assortments of different colours with, 54, 63 _et seq._;
binary combinations of colours complementary with, 55;
not complementary with, 56;
its association with luminous colours, 64;
inferior to white in certain assortments, 65.
Black and white, effects of their juxtaposition, 19.
Black draperies, 171.
Blue, complementary to orange, 16, 17, 18, 20;
placed beside greenish-blue, 25;
subtracted from green and from violet, 44;
its arrangement with a binary colour, 63.
Blue and black, effects of juxtaposition of, 20;
combinations of, 55.
Blue and grey, effects of juxtaposition of, 22.
Blue and orange, assortments of, with white, 51;
with black, 55;
with grey, 60.
Blue and violet, assortments of with white, 53;
with black, 58;
with grey, 62.
Blue and white, effects of their juxtaposition, 18.
Blue draperies, 170.
Blue light, modifications produced by, 71.
Bonnets, coloured, effect of upon the complexion, 171-4;
rose-coloured, 173;
green, yellow, violet, sky-blue, and orange, 174;
colours of, suited for fair-haired women, 175;
for black hair, 176.
Borders, coloured, of paper-hanging, 123;
flowered, 130, 131, 133.
Broken colours, 35.
Browns of wool and silk employed in tapestry and carpets,
effect of contrast on the, 208.
C.
Calico-printing, colours of, 118;
false judgment of the value of recipes for colouring
compositions, 119;
laws of contrast demonstrated in, 119, 120;
modifications which colours undergo on different
coloured grounds, 120.
Carmelite mixture, 108.
Carpets, of Savonnerie, 102, 222;
assortment of colours for, 161;
corresponding to paintings in chiaro-’scuro, 219, 222;
in flat tints, 224;
effect of contrast on the browns and lights of, 208.
Chairs, colour of, for harmonizing with the interior
of a house, 157.
Chemical nature of coloured bodies, 23.
Chiaro-’scuro, art of painting on the system of, 69;
various modifications of coloured light, 69, 70;
of white light, 75 _et seq._;
difficulties of, 85, 86;
paintings in, 219 _et seq._
Chromatic diagrams, 37;
their construction, 39;
their uses, 41 _et seq._
Chromatic hemisphere, principles of the, 203.
Churches, coloured glass windows in, 113 _et seq._, 147, 223;
general decoration of the interior of, 147;
white glass windows, 148.
Clothing, harmony and contrast of colours in, 165;
of men, _ib._;
of women, 167.
Coloured light, modifications of, 69 _et seq._
Colouring in painting, 82 _et seq._
(See PAINTING.)
COLOURS, HARMONY and
CONTRAST of, 1 _et seq._;
simultaneous contrast of, 4, 8, 9, 10;
effects of juxtaposition of, 11, 18, 21, 24;
primary and secondary, 25;
various kinds of contrast, 29;
definitions of terms, 34;
different distinctions of, 35;
chromatic diagrams, 37 _et seq._;
general harmony of, 46;
assortments of, 49 _et seq._;
modifications and effects of coloured light, 69 _et seq._;
in painting, 82;
in aërial perspective, 83;
harmony of local colours, 85;
the laws of contrast, 89, 95;
distribution of, 101;
of textile fabrics, 102, 105;
of glass windows, 113, 147;
colour printing of calicos, papers, &c., 118 _et seq._;
of clothing, 165;
application of to horticulture, plants, flowers,
&c., 179 _et seq._;
employment of in architecture, 138-143;
general principles of, 197;
sight of, 198, 200;
study of, 199;
contiguous, 205;
influence of one colour upon another, 206, 207;
binary associations of, critically considered, 210;
combination of, _ib._;
complex associations of, 214;
of tapestries, carpets, mosaics, &c. 219 _et seq._
Combinations of colours, 55.
Complementaries of colours, 18-23, 43, 45.
Complementary colours, mixture of, for threads, 105;
combination of, 210.
Complexions of women, colours of, in association with
the drapery, 169-171;
effect of head-dresses upon the, 171-4, 175, 176;
results of dress as applicable to portrait painting, 178;
dissimulating a tint of the, _ib._
Composition, predominance of a certain colour in, 100;
distribution of colours in, 101.
Compound colours, 26, 27, 28.
CONTRAST of COLOURS, 1, 4, 8;
law and formulæ of, 8, 9, 10, 29 _et seq._;
simultaneous and successive, 29, 87;
mixed, 29-33, 88;
law of, 34;
harmonies of, 48, 217;
lectures on, at the Gobelins, 80;
uses of the law of, 89 _et seq._;
principles of, 91;
results of, 93;
applications of the law of, 95 _et seq._;
principles of in connexion with the production of tapestry, 109;
law of demonstrated in calico-printing, 119-121;
advantages of with regard to clothing, 165;
harmonies of in gardening, 182, 183, 184;
in the arrangement of plants and flowers, 194;
effect of upon the browns and lights of wool and silk employed
in tapestry and carpets, 208.
Cornices for the interior of a house, 157.
D.
Daylight, modifications produced by the, 73.
Definitions of terms of art, 34.
Diagrams, chromatic, 36-46.
Distribution of colours in a composition, 100, 101.
Draperies of women as associated with complexion, 169-171;
rose-red, _ib._;
delicate green, yellow, violet, and blue, 170;
orange, white, and black, 171;
results applicable to portrait painting, 178.
Dress of women, assortment of colours in the, 177.
E.
Egyptians, various colours used by the, 138.
Eye, different states of the, in seeing colours, 200, 201, 202.
F.
Females, colours of their clothing, 167;
the dress assorting with fair skins, _ib._;
colours of the hair and head-dress of, 168;
of the complexion and the contiguous drapery, 169.
Figures, coloured, in paper-hangings, 121-3.
Flat tints, painting on the system of, 69, 81, 82, 217;
for ornamenting boxes, tables, screens, &c., 218.
Flowers, Coloured, in paper-hangings, 121;
arrangement of according to their colours, 180;
assortments of, when the plants are apart, 181;
when they are indiscriminately mixed, 182;
assortments of, as to harmonies of contrast and analogy, 182, 183;
small masses of designated a bed, 187;
law of contrasts in the arrangement of, 194.
Foliage of ligneous plants, assortment of according
to their colour, 184.
Forest, definition of a, 186.
Form, its influence in the effect of contrast of two colours, 213.
Formulæ which represent the law of simultaneous contrast of colours, 8.
French gardening, 191.
Furniture, tapestries for, 220.
G.
Galleries of the Fine Arts, on the interior decoration of, 150.
Gardening, applications of colour to, 179 _et seq._
(See HORTICULTURE.)
Glass, Coloured, in Gothic church windows, 113 _et seq._, 147;
beautiful effects of, 116;
employment of, 117;
corresponding to paintings in chiaro-’scuro, 219, 223;
in flat tints, 224, 225.
Gloss of wool and silk, its influence in the effect of contrast
of two colours, 213.
Gobelins, lectures at the, 80;
tapestries of the, 102, 104;
qualities which they must possess, 111;
difference of, from the Beauvais, 113.
Gothic architecture, employment of colours in, 141.
Greek architecture, employment of colouring in, 139.
Greek painters, 94.
Green, complementary to red, 15, 17, 18, 20;
to violet, 44.
Green and black, effects of juxtaposition of, 20.
Green and blue, change by juxtaposition, 27;
assortments of with white, 53;
with black, 58;
with grey, 62.
Green and grey, effects of juxtaposition of, 22.
Green and violet, change by juxtaposition, 26;
assortments of with white, 53;
with black, 58.
Green and white, effects of their juxtaposition, 18.
Green and yellow, change by juxtaposition, 27.
Green draperies, 170.
Green light, modifications produced by, 71.
Greenish yellow, complementary to violet, 3, 16, 17, 21.
Greenish yellow and black, effects of juxtaposition of, 20.
Greenish yellow and white, effects of their juxtaposition, 18.
Grey, juxtaposition of coloured bodies with, 21;
assortments of different colours with, 58, 63 _et seq._;
its association with luminous and sombre colours, 65, 66.
Grounds, black, of paper-hangings, 125;
various coloured ones, 126-135.
Grove, definition of a, 187.
H.
Hair, black, colours of bonnets suited for, 176.
Hair, fair, colours of bonnets suited for, 175.
Hair and head-dresses of women, colours of the, 168.
Hangings, coloured, for the interior of a house, 152-7;
colour of the wainscoting, relation to the, 155.
Harmonies of contrast, 48, 217;
analogy of in gardening, 182, 183, 184.
Harmony of colours, 46;
distinct kinds of, 48;
law of, 95;
between masses of trees in gardening and plantations, 192.
Harmony and contrast of colours, 1 _et seq._
(See COLOURS.)
Head-dresses of women, colours of the, 171;
effect of upon the complexion, 171-4.
Hieroglyphics, Egyptian, colouring of, 139.
HORTICULTURE, applications of colour to, 179;
how to derive the greatest advantage from the various
colours of flowers, 180;
assortments of flowers, so far as they relate to the harmonies
of contrast of colours, 181;
contrast of hues, 182;
harmonies of analogy, 182, 183;
assortments of
plants, 184;
distribution of trees, 185;
lines of plants, 187, 188;
homogeneous masses of plants, 189;
varied and isolated masses, 190;
harmony between masses distant from each other, 192;
arrangement of plantations, 193;
symmetry and general harmony, 196;
general principles of, 197 _et seq._
Houses, decorations for the interior of, 152;
hangings, 152-7;
cornices, 157;
chairs, sofas, &c., _ib._;
on decorating the different rooms of the, 159;
and their appropriate assortments, 160;
carpets, 161;
pictures, 162.
Hues, definition of, 34, 35;
harmony of, 48;
harmony of contrast, _ib._;
harmonies of contrast in flowers, 182;
analogy of, 183.
Human figures, tapestries for, 219.
I.
Imitation of colouring, 101.
Indigo, complementary to orange-yellow, 3, 16, 17.
Indigo and black, effects of juxtaposition of, 21.
Indigo and grey, effects of juxtaposition of, 22.
Indigo and red, changed by juxtaposition, 27.
Indigo and violet, changed by juxtaposition, 27.
Indigo and white, effects of their juxtaposition, 19.
Interiors of buildings, painters of, 101;
various assortments of colours in, 143;
stuffs with the wood of seats, _ib._;
frames for pictures and engravings, _ib._;
of churches, 147;
of museums and galleries, 149;
of houses, 152 _et seq._;
when the walls are panelled, or covered with marble or stucco, 163.
J.
Juxtaposition of colours, 11, 211, 212;
of coloured surfaces with white, 18;
with black, 19;
with grey, 21;
of coloured bodies belonging to the same group of coloured rays, 24.
L.
Landscape, colours used in, 95;
in paper-hangings, 121-3.
Landscape gardening, 179.
(See HORTICULTURE.)
Light, different rays of, 1;
its combinations of colour, 55.
Light, modifications of, 69 _et seq._
Light, influence of on printed or written paper, 137;
contrast of tone in, 138.
Lights of wool and silk employed in tapestry and carpets,
effects of contrast on the, 208.
Lines of plants, their arrangement, 187, 188.
Luminous colours, 50;
their association with black, 64;
with grey, 65, 66.
M.
Marbles, in the interior of a building, assortment of colours for, 164.
Men’s clothing, colours of, 165, 166.
Mixed contrast of colours, 29-33, 88.
Mixtures, of the three primary colours, 108.
Modifications of coloured light, 69, 70 _et seq._;
of white light, 75 _et seq._
Mosaics, corresponding to paintings in chiaro-’scuro, 219, 222;
in flat tints, 224.
Museums, on the interior decoration of, 149, 151.
N.
Natural History, museums of, on the interior decoration of, 151.
Non-complementary colours, combination of, 210, 211.
O.
Opposition of colours, 67.
Orange complementary to blue, 3, 16, 17, 18, 20;
placed in juxtaposition with scarlet-red, 24;
complementary to green, 43;
to violet, 44;
effects of its predominance in a picture, 100.
Orange and black, effects of juxtaposition of, 20.
Orange and blue, mixture of for coloured threads, 106.
Orange and green, change by juxtaposition, 26.
Orange and green, assortments of with white, 52;
with black, 57;
with grey, 61.
Orange and grey, effects of juxtaposition of, 22.
Orange and indigo, change by juxtaposition, 26.
Orange and red, change by juxtaposition, 26.
Orange and violet, assortments of with white, 52;
with black, 57;
with grey, 61.
Orange and white, effects of their juxtaposition, 18.
Orange and yellow, change by juxtaposition, 27;
assortments of with white, 52;
with black, 57;
with grey, 61.
Orange draperies, 171.
Orange light, modifications produced by, 70.
Orange-yellow, complementary to indigo, 16, 17, 21.
P.
Painters, Ancient, of Italy, their excellences, 87.
Painting, Art of, 69;
two systems of—chiaro-’scuro and flat tints, _ib._;
on colouring in, 82;
of aërial perspective, 83;
harmony of the colours, 85, 95;
simultaneous contrast of colours in, 87;
modification of light, 89;
application of the law of contrast, 97-99;
distribution of colours, 101;
painters of interiors, _ib._;
imitation of coloured objects, 102
(see GOBELINS TAPESTRY);
difference of from tapestry, 111;
relations existing between the subjects of, and the
harmonies they admit of, 216;
in the flat tints, 217;
in chiaro-’scuro tapestries, carpets, mosaics, and coloured
glass windows, corresponding to, 219 _et seq._
Panelling in the interior of a building, assortment
of colour for, 163.
Paper, printed or written, influence of light on, 137;
contrast of tone, 138.
Paper-hangings, colours for printing, 118, 121;
designs for, 121;
simultaneous contrast of colours in relation to, 121, 123, 124;
borders, 123, 130-3;
black ground, 125;
various coloured grounds, 126 _et seq._;
metallic gilt ornaments, 126, 129;
printed or written characters, 136.
Park, definition of a, 187.
Picture Galleries, on the interior decoration of, 150.
Pictures in the interior of buildings, assortment
of colours for, 145;
assortment of, for the interior of a house, 162.
Plantations, arrangements of, 193;
lines of, _ib._
PLANTS, Ornamental, art of arranging according to
the colours of their flowers, 180, 181;
assortments of, according to the harmonies of contrast
and analogy, 182, 183;
according to their foliage, 184;
distribution of, 185;
lines of, 187, 188;
screens of, 188, 189;
masses of, 189, 190;
different names of, when employed to form a landscape, forest,
wood, park, grove, group, thicket, &c., 186, 187;
isolated ones, 190;
arrangement of into plantations, 193 _et seq._;
repetition of the same species, 194, 195;
variety of arrangement, 195;
symmetry of parts, and their general harmony, 196.
Portrait Painting, predominating colour in, 97;
hints respecting the colour of the drapery, 169-171;
results of dress and complexion applicable to, 178;
dissimulating a tint of the complexion, _ib._
Position, varied, effects of, 75.
Prepossessions, influence of, 225.
Primary Colours, 25, 36;
arrangements of, 63;
binary mixture of, 104;
mixture of, in such proportions that they do not become
neutralized, 108.
Printing in colours, 118;
of calico patterns and paper-hangings, 118, 121, 123;
of carpets, 161.
Pure colours, modifications of, 42, 45.
R.
Rays of solar light, 1.
Rays, Coloured, juxtaposition of coloured bodies with, 24.
Reading, on the assortment of colours for,
by diffused daylight, 138.
Red, complementary to green, 3, 15, 16, 18, 20;
placed in contact with orange-red, 24;
its arrangement with a binary colour, 63.
Red and black, effects of juxtaposition of, 20.
Red and blue, change of by juxtaposition, 27;
assortments of with white, 52;
with black, 56;
with grey, 60;
mixture of, for coloured threads, 105.
Red and green, assortments of with white, 51;
with black, 55;
with grey, 59;
mixture of, for coloured threads, 106.
Red and grey, effects of the juxtaposition of, 21.
Red and violet, assortments of with white, 52;
with black, 56;
with grey, 61.
Red and white, effects of their juxtaposition, 18.
Red and yellow, change by juxtaposition, 27;
assortments of with white, 52;
with black, 56;
with grey, 60;
mixture of for coloured threads, 104.
Reflection, laws of, 75.
Rose-red draperies, 169.
S.
Savonnerie carpets, 102, 222.
Scales of colours, definition of, 34;
chromatic, 36 _et seq._;
their different tones, 47;
harmony of, 48;
harmony of contrast of, _ib._;
of wool and silk employed in tapestry and carpet, 208.
School of painters, 226.
Screen of plants, 187, 188.
Sculpture Galleries, on the interior decoration of, 150.
Seats in the interior of buildings, assortment of colours for, 143.
Secondary colours, 25, 26.
Shrubs, small masses of, designated a bed, 187.
Sight of colours, 198, 200.
Silk employed in tapestry and carpets, effect of contrast upon
the browns and lights of, 208.
Simple colours, pass by juxtaposition into compound colours, 25.
Simultaneous contrast of colours, 4, 8, 9, 10, 29;
application of the law of, 34;
in painting, 87;
in calico-printing, 119, 121;
principles of, 205.
Skin, the coloured rays which may reflect upon the, 171.
Skins, copper-coloured, black, or olive, assortment of dress
suited for each, 177.
Sofas, colour of, for harmonizing with the interior of a house, 157.
Solar light, rays of, 1.
Sombre colours, 50;
proportion of to luminous ones, 66.
Spotty, use of the term, 101.
Stained glass windows, 113 _et seq._, 147.
(See GLASS.)
Stripes, Coloured, juxtaposition of, 24.
Stuffs, Coloured, modifications of, 78, 79;
in the interior of buildings, assortment of colours for, 143.
Successive contrast of colours, 29.
Sun, modifications produced by the light of the, 73.
T.
Tapestries, 102;
of the Gobelins and of Beauvais, 102, 104;
qualities which they must possess, 111;
difference of from the Beauvais, 113;
principle of contrast in the production of, 109;
difference of, from painting, 111;
requisites for assimilating it to painting, 112;
patterns for, _ib._;
effect of contrast on the browns and lights of, 208;
principles involved in the colours of, 219;
with human figures, 219, 224;
for furniture, 220, 224;
critical remarks on, 221;
corresponding to paintings in chiaro-’scuro, 219;
in flat tints, 224.
Ternary assortments of colours, 50, 51, 59.
Ternary combinations of colours complementary with black, 55;
not complementary, 56.
Textile fabrics, colour printing on, 118.
Thickets of trees, different kinds of, 187.
Threads, coloured to make mixtures of, 102, 104 _et seq._;
red and yellow, _ib._;
red and blue, 105;
yellow and blue, _ib._;
mixture of complementary colours, 105.
Tint of the complexion, how to dissimulate it in
portrait painting, 178, 179.
Tone, contrast of, 4;
experimental demonstrations, 7;
the height of to be considered, 66;
contrast of on written or printed paper, 138.
Tones, definition of, 34;
of the same scale of colour, 47;
of the scales of wool and silk, judging their equidistance, 209.
Trees, assortment of in gardens according to the colour of
their foliage, 184;
distribution and planting of, in masses, 185;
different terms applied to groups of, when employed to form
a landscape, 186, 187;
harmony between masses of, 192.
V.
Vandyke, masterpieces of, 99.
Violet, complementary to greenish-yellow, 16, 17, 18, 20;
placed in juxtaposition with scarlet-red, 24.
Violet and black, effects of juxtaposition of, 21;
combinations of, 55.
Violet and blue, change by juxtaposition, 27.
Violet and grey, effects of juxtaposition of, 22.
Violet and red, change by juxtaposition, 26.
Violet and white, effects of their juxtaposition, 19.
Violet draperies, 170.
Violet light, modifications produced by, 72.
W.
Wainscoting for the interior of buildings, 151;
colour of, 155, 156.
White, juxtaposition of coloured surfaces with, 18;
modifications of, 19;
assortments of different colours with, 50, 63;
ternary assortments of colours not complementary with white, 51.
White draperies, 171.
White light, various modifications of, 75 _et seq._
Windows, of coloured glass, 113 _et seq._, 219, 223;
in churches, 147, 149;
of white glass, 148, 149.
Women’s clothing, colours of, 167;
assortment of colours in, according to complexion, 177.
Wood, in the interior of a building, assortments of
colours for, 164.
Wood, definition of a, 186.
Wool, employed in tapestry and carpets, effect of contrast
upon the browns and lights of, 208.
Y.
Yellow, placed beside orange-yellow, 24;
its arrangement with a binary colour, 63.
Yellow and blue, changed by juxtaposition, 27;
assortments of with white, 53;
with black, 57;
with grey, 62;
mixture for coloured threads, 105.
Yellow and green, assortments of with white, 53;
with black, 57;
with grey, 61.
Yellow and grey, effects of juxtaposition of, 22.
Yellow and violet, assortments of with white, 51;
with black, 56;
mixture of, for coloured threads, 107.
Yellow draperies, 170.
Yellow light, modifications produced by, 71.
Yellowish-green, complementary to violet, 19.
Yellowish-orange, complementary to indigo, 19.
THE END.
LONDON:
SAVILL AND EDWARDS, PRINTERS,
CHANDOS STREET,
COVENT GARDEN.Project Gutenberg
The laws of contrast of colour : $b and their application to the arts of painting, decoration of buildings, mosaic work, tapestry and carpet weaving, calico printing, dress, paper staining, printing, military clothing, illumination, landscape, and flower gardening, &c.
Chevreul, M. E. (Michel Eugène)
Chimera64
Academic