CHAPTER VIII
SPECIAL SUGGESTIONS
After having carried the study of color as far as the limits of our plan allow, a few simple, practical suggestions may not come amiss.
Students of painting and design will find Rood’s many experiments with colors in his _Modern Chromatics_ minute and valuable, especially those on the effects of mixing paints and their consequent loss of luminosity. If their time for the scientific study of color be limited, _Colour_, by Church, is well adapted for their purpose, being small, clear, and admirably illustrated. It gives briefly the gist of what has been written heretofore on the subject.
Burnet, in _Colour in Painting_, is helpful on the artistic side. He says, “Harmony arising from the reflection of one color upon the adjoining, so as to produce a blending and union of the several hues, has been practised with the greatest success by many of the Dutch school, producing a chain of connections between the two extremes of hot and cold.”
As to materials for painting, Church’s _Chemistry of Paints and Painting_ gives much useful information as to their substance, permanence, adulteration, and effect upon one another. Recollecting, as we do from experiments with Maxwell’s disks, that neutral colors are simply any one of the six colors diluted or changed by black or white, or black and white, or other colors, it is interesting to know that an ingeniously illustrated book, published in Paris by E. Guichard, _La Grammaire de la Couleur_, gives abundant examples of neutral colors, and printed beside them samples of the colors of which they are made. The author suggests that in embroidery any of these combinations can be made by twisting together threads of each of the colors required to make the neutral color, as by Plates CXVI and CXVII.
In the matter of the choice of draperies and any kind of still life to be used to paint from, one of our leading artists advised his pupils generally to select _old_ things as being usually finer than new ones, because age mellows and refines colors; and also that objects of _one country_ harmonize better with each other than those of different countries, and those of _one period_ of _one country_ still better.
Florists, gardeners, and fruit-dealers will find a large part of Chevreul’s book devoted to color as applied to horticulture, with notes of his experiments in the arrangement of plants and flowers.
While other nations love flowers and use and cultivate them, the Japanese, along with their great skill in growing them, have elaborated an art of arranging them, of which art a full and clear account, admirably illustrated, is given in _The Flowers of Japan, and the Art of Floral Arrangement_, a recent work published in Tokio. Many features of this art are very attractive, and much can be learned from them even if we do not wish to carry it to the same extent of form and ceremony. They make much of common flowers, and while our admiration is mainly given to the blossoms, they value every part of the plant, using stem, leaf, and bud in their arrangements so as to display each to advantage, with the flower as the crowning beauty of the whole. The author writes, “The arrangement of flowers has always been regarded in Japan as an occupation befitting learned men and literati. Ladies of the aristocracy have practised it, as they have other arts, but it is by no means considered as an effeminate accomplishment. Priests, philosophers, and men of rank who have retired from public life have been its most enthusiastic followers. Various virtues are attributed to professors of the art, who are considered to belong to a sort of aristocracy of talent, enjoying privileges of rank and precedence in society to which they are not by birth entitled. A religious spirit, selfdenial, gentleness, and forgetfulness of cares are some of the virtues said to follow from a habitual practice of the art of arrangement of flowers.”[14]
The fact that flowers usually make a focus wherever they may be placed,—on a table, in a room, or in a landscape,—on account of their comparative purity and luminosity of color, increases their beauty and shows the skill of the person who arranges them, but there is also a corresponding disadvantage that if discord there be, the arrangement is all the more prominent, the eye being called to it immediately.
While we speak of the “comparative purity and luminosity” of colors we may at the same time quote from one of a series of interesting articles by F. Schuyler Matthews:[15]
“Even our anxiety to obtain definite names for definite colors is completely overshadowed by the stronger wish to understand the secret of their harmonious relationship.
“Now let us try to discover if we can some small portion of this secret. Why is it that nature nearly always puts yellow stamens in her white flowers? Why is it that nearly all of her white flowers are _not_ a colorless pure white? Why is it difficult for us to find a positively blue or positively yellow flower? What is the reason that there is such a multitude, such an infinity of color tones in the flowers, on the earth, over the sea, in the sky, everywhere? What a perplexing, changeable, evasive thing the whole world of color is! What is the reason of it all? Simply this: Nature abhors the commonplace—she despises crude red, yellow, and blue. Variety she _will_ have; harmony she insists upon; positivism she only employs to emphasize her love of the infinite. Thus we have one rather questionably perfect yellow marigold and a dozen others which have more orange in them than yellow; one scarlet-lake colored gladiolus and an infinity of red roses, which cannot be called anything which is an approach to the pure red color which scarlet-lake nearest resembles. We have the forget-me-not, which is nearly a true blue, but we have a host of so-called blue flowers, every one of which has barely fifty per cent. of the true sky blue in its composition.”
It seems as though in the face of these facts it would be hardly possible to designate any special flowers which possess the prismatic colors in an absolutely pure form.
The rules for making harmonies can be made to apply to the arrangements of gardens, shop windows, bouquets and other decorations, as well as to the catalogues of florists, etc. A recently issued catalogue strikes a true color chord in its cover. It shows a bunch of sweet peas and leaves of agreeable colors well balanced by the background of pale neutralized green, thus making a true and tempting harmony to lovers of flowers and color.
Salesmen and women would be helped in their line of work by studying particularly the qualities of colors, and the effect on them of different kinds of artificial light. Knowledge of the contrasts of color will help greatly in showing goods to advantage, as one color may be made to heighten the color of another, and counters and shop windows may be well arranged according to the rules given for different classes of harmonies.
Women in their dress, embroidery, and house decorations have immense opportunities; no art is finer or higher for a woman however placed than that of being a harmonious whole herself, and of making or adding to a harmonious home, in which the unconscious influence of good color holds a large share. To do this it must not be thought that much money is necessary; it adds, of course, to the ability of choice among fine goods, but cheap materials of good colors wisely combined may produce a far happier, we may even say healthier, result, than an unlimited purse without knowledge and taste. This is difficult to overestimate. No woman has a right to say she has no influence, conscious or unconscious, on the world around her. Does not much of the influence for good or ill come from a woman’s dress? It may be cheap, it may be plain, but it should be, and can be, in good taste and in harmony with the character and position of the person who wears it, and knowledge of one’s own coloring and of that suited to it is one of the most important details.
Women in their dress, milliners and dressmakers, would do well to realize that a dress or bonnet may be good in color in itself, when it is a whole, but when worn it becomes only part of a whole and will be harmonious and becoming, or inharmonious and unbecoming, as it does, or does not, suit the coloring of the wearer. To wear anything simply because it is beautiful is unwise; it should first of all be suitable. Study of the law of contrast of color will here help immensely.
For instance, according to that law, red and yellow next to each other make the yellow seem more yellow, the red more red, so if a woman with a sallow, colorless complexion wears pink roses or pink ribbons, the yellow in her skin is intensified and the small amount of pink in her cheeks is lost. As blue is the complement of yellow, a bright blue will have a still worse effect, but let her try a shade of not too intense yellow; the skin will seem to lose _its_ yellow, and whatever pink there may be will be brought out by the contrast. So other peculiarities may be softened or increased by contrast or harmony of color. White hair is made to seem whiter by the contrast of black or a very dark color; black hair and rosy cheeks are made more brilliant by a white surrounding; delicate blonde coloring will be made insipid and colorless by too strong colors, and a plain face may be made attractive by surrounding it with harmonizing coloring.
APPENDICES
APPENDIX A DEFINITIONS
ABSOLUTE COLORS: _see_ Local Colors.
ADVANCING COLORS: those of the longer wave lengths; those that seem to come forward; but each color only advances or recedes according to its relation to some other color. _See_ Luminosity.
ANALOGOUS HARMONY: _see_ Harmony.
BEAM OF LIGHT: a linear portion[16] of light made of a number of rays.
BRIGHTNESS: _see_ Luminosity.
BROKEN COLOR: a color changed by the addition of black and white or gray.
COLD COLORS: those of the shorter wave lengths, such as green, blue, and violet.
COLOR: an internal sensation, produced by various causes, chiefly by waves of incomplete light acting on the eye; as used by artists, the rich, harmonious effect, or full appearance produced by certain combinations of colors.
COLOR CHART: a systematic arrangement of colors in a geometrical design such that every variation and combination of hue, tint, and shade is in its proper place and in correct relation to all other hues, tints, and shades.
_Advancing_ _Colors_, see under Advancing; _Bright_ „ „ „ Brightness; _Broken_ „ „ „ Broken; _Cold_ „ „ „ Cold; _Complementary_ „ „ „ Complement; _Complements of_ „ „ „ „ _Constants of_ „ „ „ Constants; _Contrast of_ „ „ „ Contrast; _Harmony of_ „ „ „ Harmony; _Hue of_ „ „ „ Hue; _Intense_ „ „ „ Saturated; _Local_ „ „ „ Local; _Luminosity of_ „ „ „ Brightness; _Luminous_ „ „ „ Luminous; _Neutral_ „ „ „ Neutral; _Normal_ „ „ „ Normal; _Opaque_ „ „ „ Opaque; _Pigment_ „ „ „ Pigment; _Primary_ „ „ „ Primary; _Prismatic_ „ „ „ Prismatic; _Pure_ „ „ „ Pure; _Quality of_ „ „ „ Constants; _Saturated_ „ „ „ Saturated; _Secondary_ „ „ „ Secondary; _Spectral_ „ „ „ Normal; _Tertiary_ „ „ „ see under Tertiary; _Transparent_ „ „ „ Transparent; _Value of_ „ „ „ Values; _Warm_ „ „ „ Warm.
COMPLEMENTS or
COMPLEMENTARY COLORS: any color and the color of its after-image; any two colors which when mixed make white.
COMPOUND or MIXED COLOR: a color changed or neutralized by the addition of another color or colors.
CONSTANTS or QUALITIES OF COLORS: Hue, Purity, and Luminosity.
CONTRAST: _see_ Simultaneous Contrast, page 53.
CONTRASTED HARMONY: _see_ Harmony.
DIFFRACTION GRATING: a polished metal or brass surface ruled with fine lines and used instead of a prism to divide a ray of light and produce a spectrum.
DOMINANT HARMONY: _see_ Harmony.
DOMINANT HUE: _see_ Hue.
HARMONY: the pleasing effect due to the action upon each other of colors improved and made more beautiful by being put together; such an agreement between the different hues, tints, or shades of a design as will produce unity of effect.
_Analogous Harmony_: an agreeable combination of colors that are related to a fundamental color.
_Complex Harmony_: an agreeable combination of three or more colors, or with the addition of black or white, or gray, or gold, or silver, or any or all of them.
_Contrasted or Complementary Harmony_: an agreeable combination of any pair of complementary colors, or of their tints or shades, or tints and shades.
_Dominant Harmony_: an agreeable combination of colors in which one color predominates by modifying all the other colors, by serving as a ground, or by being added in small portions all over the design.
_One-color Harmony, also called a Harmony of Self-tones_: an agreeable combination of one color used in tints or shades, or tints and shades, or hue and tints, or hue and shades, or hue, tints, and shades.
HUE: color, by wave length, much the same as color; the chief quality by which one color differs from another color, as red differs from blue or green.
_Dominant Hue_: the hue which predominates through the larger part of a design or composition.
INTENSE: _see_ Saturated.
LIGHT: the chief agent that produces vision.
LOCAL COLOR: the actual color of an object unaffected by shadows or reflected lights.
LUMINOSITY: the strength of the light sent to the eye by any color; a luminous color sends more than a non-luminous one.
LUMINOUS COLORS: those which reflect light in large quantities; the colors of the long wave lengths are more luminous than those of the short ones.
NEUTRAL COLORS: a term often incorrectly applied to black, white, gray, gold, and silver.
NORMAL, SPECTRAL, PRIMITIVE, or PRISMATIC COLORS: those seen in the rainbow and the solar spectrum are generally accepted as such and are used as the standard for the study of colors. Pigment colors can only imitate these colors imperfectly.
OIL COLORS: pigments ground in oil.
OPAQUE COLORS: pigment colors which are so thick that paper or canvas cannot be seen through them.
PIGMENTS: materials from which paints, inks, dyes, and stains are made.
PIGMENT COLORS: paints, inks, dyes, and stains used in the fine and industrial arts.
PRIMARY COLORS: red, blue, and yellow; so called because it was supposed that all other colors could be made from them.
PRIMITIVE COLORS: _see_ Normal Colors.
PRISM: a triangular or three-sided bar of clear glass.
PRISMATIC COLORS: those that appear when a ray of white light shines through a prism. _See_ Normal Colors.
PURE COLORS: those unmixed with white light or any other color; those of the spectrum.
PURITY OF COLORS: the absence of an admixture of any other color or colors, or white or black.
QUALITIES OF COLORS: _see_ Constants of Colors.
RAY OF LIGHT: a small linear portion or streak of light which may be white or any color.
RECEDING COLORS: those which seem to retire or recede from the eye; those of the short wave lengths.
RETINA: a thin inner lining of the eye. _See_ page 20.
SATURATED or INTENSE COLORS: colors that are pure and luminous to their greatest extent; without any mixture of white light.
SECONDARY COLORS: orange, green, and violet; so called because it has been thought they were made from combinations of the primary colors.
SELF-TONES: _see_ Tone.
SHADE: a tone of a color darkened by the addition of black pigments to paints, inks, dyes, and stains, or by the action of diminished light on immaterial colors.
SHADOW: about the same as _shade_, as generally used, but for the sake of clearness it is best to designate by _shadow_ those parts of an object which do not receive any direct rays of light, while those surfaces which receive but little direct light, and are thus intermediate in value between the light and the shadow, are called _shade surfaces._ Then the term _cast-shadow_ denotes the shadow projected by one body on another body or surface.
SOLAR SPECTRUM: _see_ Spectrum.
SPECTRAL COLORS: _see_ Normal Colors.
SPECTRUM: the result of the decomposition of a ray of sunlight into all the colors which form it; the streak of colors formed by a ray of light that has passed through a prism or over a Diffraction Grating.
STANDARD COLORS: those of the spectrum.
TERTIARY COLORS: citrine, olive, and russet, so called because it has been thought that they were made from combinations of the secondary colors.
TINT: a tone of a color produced by the addition of white to oil, water to water, and white light to immaterial colors.
TONE: the given state of a color as it may be pure, luminous, broken, compound, a tint, or a shade.
_Self-tones_: tones of the same color.
TRANSPARENT COLORS: those in which the color tints the paper or canvas, which shows through the color, thus helping to produce the effect.
VALUES: the relative amount of light contained in the different colors of a picture, design, or composition; the lightest or most luminous being called the highest in value.
WARM COLORS: those of the longer wave lengths, as yellow, orange, and red.
WATER COLORS: pigments prepared to be used with water.
WAVE LENGTHS OF COLORS: objects having no color in themselves possess the power of reflecting waves of light; waves of light of varying lengths give us the effect of color. Either the amount of motion of the ether, or _height_ of the wave, produces the intensity or brightness of the light, and the _length_ of the wave produces the color; _red_ has a wave length of about 7000/250,000,000 of an inch, _orange_ 5979/250,000,000, _yellow_ 5802/250,000,000, _green_ 5272/250,000,000, _blue_ 4732/250,000,000, and _violet_ 4059/250,000,000.
APPENDIX B
As whatever may be of value in this little work on a theme so large and complex as color must of necessity be drawn largely from what has been written before, the following list of books and authors is given, partly as having been referred to during its preparation, and partly as a suggestion for further reading to any student of color who can afford the time and labor necessary to the acquisition of a larger and wider comprehension of a subject which can be treated only scantily enough within the scope of a single small volume.
Although no pretence is here made to completeness as bibliography, yet it is believed that the fifty works enumerated below fairly cover the history of color and of its ever-growing relation to Art and Manufacture. For the sake of convenience the list is chronologically arranged.
A TREATISE ON PAINTING. By Leonardo da Vinci. (London, 1835: Nichols & Sons.) (Translation.)
COLOUR. By M. E. Chevreul. (London, 1839: Geo. Bell & Sons.) (Translation.)
THEORY OF COLOUR. By J. W. von Goethe. (London, 1840: J. Murray.) (Translation, with notes, by Sir Chas. Eastlake.)
RUDIMENTS OF THE PAINTER’S ART; OR A GRAMMAR OF COLOURING. By George Field. (London, 1850: Weale.)
DARSTELLUNG DER FARBENLEHRE UND OPTISCHE STUDIEN. By W. H. Dove. (Berlin, 1853.)
RESEARCHES ON COLOUR-BLINDNESS. By G. Wilson. (Edinb., 1855: Sutherland & Knox.)
GRAMMAR OF ORNAMENT. By Owen Jones. (London, 1856.)
ON COLOUR (ETC.). By Sir J. S. Wilkinson. (London, 1858: J. Murray.)
DIE FARBENHARMONIE IN IHRER ANWENDUNG AUF DIE DAMENTOILETTE. By R. Adams. (Leipzig, 1862: J. J. Weber.)
PRACTICAL HINTS ON COLOUR IN PAINTING. By John Burnet. (London, 1865: J. & J. Leighton.)
DES COULEURS AU POINT DE VUE PHYSIQUE, PHYSIOLOGIQUE ARTISTIQUE ET INDUSTRIEL. By Ernst Bruecke. (Paris, 1866: J. B. Baillière & fils.)
THE PRINCIPLES OF THE SCIENCE OF COLOUR. By William Benson. (London, 1868: Chapman & Hall.)
COLOR. By M. É. Cavé. (New York, 1869.) (Translation.)
MANUAL OF THE SCIENCE OF COLOUR. By W. Benson. (London, 1871: Chapman & Hall.)
THE THEORY OF COLOURING. By J. Bacon. (London, 1872: G. Rowney & Company.)
L’ORNEMENT POLYCHROME. By A. Racinet. 2 vols. F^o. (Paris, 1873–86: Firmin Didot.)
A GRAMMAR OF COLOURING APPLIED TO DECORATIVE PAINTING AND THE ARTS. By George Field. (London, 1875: Lockwood & Company.)
THEORY OF COLOR. By Dr. Wilhelm von Bezold. (Boston, 1876: L. Prang & Company.) (Translation.)
DIE GESCHICHTLICHE ENTWICKELUNG DES FARBENSINNES. By Hugo Magnus. (Leipzig, 1877: Veit.)
THE PRINCIPLES OF LIGHT AND COLOR. By E. D. Babbitt. (New York, 1878: Babbitt & Company.)
COMPLÉMENT DES ÉTUDES SUR LA VISION DES COULEURS PAR E. CHEVREUL. By M. E. Chevreul. (_In_ Institut de France. _Académie des Sciences_—Memoires. T. 41, partie 2.) (Paris, 1879.) (English translations exist.)
MODERN CHROMATICS, WITH APPLICATION TO ART AND INDUSTRY. By O. N. Rood. (New York, 1879: D. Appleton.)
THE COLOUR SENSE: ITS ORIGIN AND DEVELOPMENT. By Grant Allen. (London, 1879: Trübner & Company.)
COLOR-BLINDNESS. By B. Joy Jeffries. (London, 1879.)
A HANDBOOK FOR PAINTERS AND ART STUDENTS ON THE CHARACTER AND USE OF COLOURS. By W. J. Muckley. (London, 1880: T. & C. Baillière.)
SIGHT; AN EXPOSITION OF MONOCULAR AND BINOCULAR VISION. By Joseph Le Conte. (New York, 1881: D. Appleton & Company.)
UNTERSUCHUNGEN ÜBER DEN FARBENCONTRAST VERMITTELST ROTIRENDER SCHEIBEN. By G. B. T. Schmerler. (Leipzig, 1882: W. Engelmann.)
LA GRAMMAIRE DE LA COULEUR. By E. Guichard. 3 vols. (Paris, 1882: H. Cagnon.)
DIE FARBENWELT. By Max Schasler. (Berlin, 1883: C. Habel.)
THE LAWS OF CONTRAST OF COLOUR AND THEIR APPLICATION TO THE ARTS AND MANUFACTURES. By M. E. Chevreul. (London, 1883: Routledge.) (Translation.)
COLOUR. By A. H. Church. (London, 1887: Cassell & Company.)
IL LIBRO DEI COLORI. SEGRETI DEL SECOLO XV. Da O. Guerrini & C. Ricci. (Bologna, 1887: Romagnoli Dall’ Acqua.)
COLOUR, AN ELEMENTARY TREATISE. By C. T. Whitmell. (Cardiff, 1888: W. Lewis.)
F. C. SCHROEDER’S “SYSTEMATIC INDEX.” By F. C. Schroeder. (Boston, 1888: F. C. Schroeder.)
IRIS: STUDIES IN COLOUR AND TALKS ABOUT FLOWERS. By A. F. Dielitzsch. (Edinburgh, 1889: T. & T. Clark.) (Translation.)
RÉPERTOIRE CHROMATIQUE. By Charles La Couture. (Paris, 1890: Gauthier, Villars & Fils.)
THE CHEMISTRY OF PAINTS AND PAINTING. By A. H. Church. (London, 1890: Seeley & Company.)
COLOUR IN WOVEN DESIGN. By R. Beaumont. (London, 1890: Whittaker & Company.)
COLOUR-BLINDNESS AND COLOUR-PERCEPTION. By F. W. Edridge Green. (London, 1891: Kegan Paul, Trench, Trübner & Company.)
A TEXT-BOOK OF PHYSIOLOGY. By M. Foster. (London, 1891: Macmillan & Company.)
FLOWERS OF JAPAN AND THE ART OF FLORAL ARRANGEMENT. By Condor. (Yokohama, 1891: Kelly & Walsh.)
COLOUR MEASUREMENT AND MIXTURE. By W. de W. Abney. (London, 1891.)
HARMONIOUS COLOURING. 3 vols. F^o. By C. H. Wilkinson. (Manchester, 1891: Harmonious Colouring Company.)
COLOUR VISION. By E. Hunt. (Glasgow, 1892: Smith.)
ON A COLOR SYSTEM. By O. N. Rood. (New Haven, 1892.)
STUDENTS’ TEXT-BOOK OF COLOR; OR, MODERN CHROMATICS. By O. N. Rood. (New York, 1892: D. Appleton & Company.)
COLOUR VISION. By W. de W. Abney. (London, 1895; Low.)
COLOR-VISION AND COLOR-BLINDNESS. By J. E. Jennings. (Phila., 1896: Davis Company.)
COLOUR IN NATURE. A STUDY IN BIOLOGY. By M. I. Newbegin. (London, 1898: J. Murray.)
TABLE OF SPECTRAL COLORS ┌──────┬───────────────┬──────┬────────────────────┬──────────┬───────┐ │Names │Paints used │ Wave│Purity │Luminosity│Warm or│ │ │ │length│ │ │Cold │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Violet│French Blue and│ 4.059│As great as can be │ 6 │Cold │ │ │Crimson Lake │ │given by pigments │ │ │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Blue │French Blue │ 4.732│ „ │ 5 │Cold │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Green │Emerald Green │ 5.271│ „ │ 3 │Cold │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Yellow│Aurora Yellow │ 5.808│ „ │ 1 │Warm │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Orange│Vermilion and │ 5.972│ „ │ 2 │Warm │ │ │Cadmium │ │ │ │ │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Red │Vermilion and │ 7.000│ „ │ 4 │Warm │ │ │Crimson Lake │ │ │ │ │ └──────┴───────────────┴──────┴────────────────────┴──────────┴───────┘
(a) In their order of Luminosity
(b) Pure and Grayed
COLOR ANALYSIS FROM TEACUP AND SAUCER Yellow Tint 65 Yellow Shade 5 Blue Tint 20 Spectral Blue 10 ——— 100
COLOR ANALYSIS OF A BOOK ADVERTISEMENT White 60 Black 22 Yellow 18 ——— 100
COLOR ANALYSIS FROM ASSYRIAN TILES Blue-Green Ground 60 Greenish Yellow 3 Orange 6 Purple-Brown 6 White 20 ——— 100 The variation of color in the blue-green tiles is especially fine.
COLOR ANALYSIS FROM ASSYRIAN TILES Blue 35 Yellow 30 White 15 Dull Red 10 Black 10 ——— 100
COLOR ANALYSIS FROM ASSYRIAN TILES Blue 69 Deep Yellow 20 Light Yellow 10 White 1 ——— 100
COLOR ANALYSIS FROM A MUMMY COVER Pale Yellow 34 Green 27 Blue 25 Red 6 Gold 4 Black 2 White 2 ——— 100
COLOR ANALYSIS FROM AN EGYPTIAN MUMMY CASE Black Ground 63 Yellow (all through design) 17 Green 9 Red 4 Light Red 3 Blue 3 White 1 ——— 100
COLOR ANALYSIS FROM A MUMMY CASE Green 36 Blue-Green 24 Yellow 14 Red 11 White 10 Dull Red 3 Black 2 ——— 100 Much like a parrot’s plumage.
COLOR ANALYSIS FROM A MUMMY CLOTH Purple Red 91 Black 5 Pale Gray 4 ——— 100 Dull yellow ground.
COLOR ANALYSIS FROM A MUMMY CLOTH Dull Green 29 Bright Green 10 Red 10 Blue 5 Orange 4 Yellow 2 Ground Color 40 ——— 100
COLOR ANALYSIS FROM A MUMMY CLOTH Deep, Dull Blue 50 Gray 43 Green 3 Dull Red 2 Pale Red 1 Yellow 1 ——— 100
COLOR ANALYSIS FROM A MUMMY CLOTH Light Blue 32 Dark Blue 17 Light Red 33 Dark Red 12 Black Stems 5 ——— 100 Gray ground; the ornament a stripe of embroidered leaves and stems.
COLOR ANALYSIS FROM A MUMMY CLOTH Red 25 Green 25 Yellow 25 Blue 25 ——— 100 Gray ground.
COLOR ANALYSIS FROM A MUMMY CLOTH Red 50 Green 24 Blue 20 Orange 6 ——— 100 Light gray ground.
COLOR ANALYSIS FROM A MUMMY CLOTH Maroon 92 Dull Yellow 5 Cream White 3 ——— 100 Green linen ground with red border. Cream and yellow runs through design in small portions.
COLOR ANALYSIS FROM AN EARLY GREEK VASE Gray 72 Black 21 Dull Red 7 ——— 100
COLOR ANALYSIS FROM A GREEK VASE Light Red 35 Dark Red 19 Black 45 White 1 ——— 100 The Ground partly red, partly black, white in fine outlines or small dotted outlines.
COLOR ANALYSIS FROM A GREEK VASE Dull Orange 60 Dull Red 10 Black 30 ——— 100
COLOR ANALYSIS FROM A GREEK VASE Gray Ground 71 Black 24 Red 5 ——— 100
COLOR ANALYSIS FROM ARAB MOSAICS Black 33 White 26 Light Red 21 Dull Red 20 ——— 100
COLOR ANALYSIS FROM ARABIAN ILLUMINATION Blue 20 Green 20 Red 20 Pale Red 10 Gray 8 Gold 10 White 12 ——— 100
COLOR ANALYSIS FROM MOORISH TILES Olive-Green 30 White 20 Yellow 20 Violet 30 ——— 100
COLOR ANALYSIS FROM A PANEL OF THE ALHAMBRA Blue 40 Red 30 Gold 24 White 6 ——— 100
COLOR ANALYSIS FROM A PANEL OF THE TAJ MAHAL, INDIA White Ground 52 Pale Yellow 10 Deep Yellow 7 Red 5 Pale Green 10 Medium Green 5 Dark Green 5 Black 3 Pale Pink 3 ——— 100 Lilies and leaves on white ground.
COLOR ANALYSIS FROM DAMASCUS TILES Pale Yellow Ground 40 Deep Cool Blue 25 Light Blue 20 Green 13 Brown 2 ——— 100
COLOR ANALYSIS FROM CELTIC ORNAMENT Green 50 Red 18 Yellow 17 Black 7 White 8 ——— 100
COLOR ANALYSIS FROM ITALIAN MAJOLICA VASE White Ground 38 Deep Blue 34 Yellow 16 Dark Yellow 6 Green 6 ——— 100
COLOR ANALYSIS FROM PANEL OF DUTCH INLAID CABINET OF THE 15TH CENTURY Brown Wood 58 Light „ 19 Yellow „ 5 Green „ 15 Dull Red „ 2 Black „ 1 ——— 100
COLOR ANALYSIS FROM SPANISH EMBROIDERY Black Ground 50 Yellow Design 40 Red in Design 10 ——— 100
COLOR ANALYSIS FROM SPANISH EMBROIDERY A harmony of contrast. Blue Ground 45 Dark Neutral Yellow 30 Pale Yellow 20 Gold 5 ——— 100
COLOR ANALYSIS FROM AN ANTIQUE PERSIAN RUG Old Rose 55 Old Yellow 40 Black 5 ——— 100 The black was used in fine outlines between the rose and yellow to harmonize them.
The following eight examples have had their harmony greatly increased by time which has toned their colors.
ANALYSIS FROM AN ANTIQUE RUG Old Yellow 70 Old Rose 15 Green-Blue 9 Black 6 ——— 100
COLOR ANALYSIS FROM AN ANTIQUE RUG Pale Green Tint Ground 50 Yellow-Pink 15 Yellow 13 Blue 10 Black 7 White 5 ——— 100 Black used in fine lines.
COLOR ANALYSIS FROM AN ANTIQUE RUG Camel’s-Hair Gray 50 Cool Blue Tint 20 Green 20 Yellow 10 ——— 100
COLOR ANALYSIS FROM AN ANTIQUE RUG Green-Blue Ground 50 Red Tint 25 Yellow 25 ——— 100
COLOR ANALYSIS FROM AN ANTIQUE RUG Blue Shade 50 Yellow Shade 25 Red 15 Light Blue Tint 10 ——— 100
COLOR ANALYSIS FROM AN ANTIQUE RUG Neutral Red 65 Cold Blue 20 Silver 15 ——— 100
ANALYSIS OF AN ANTIQUE RUG (See Plate LXXXIV) Dull Blue Shade 62 Dull Yellow Shade 38 ——— 100
COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY Old Gold Ground 77.5 Blue 8 Brown 5 Light Brown 1 Gray 1 Dark Green 1 Light Green 1 Gray-Green 1 Dull Red 1 Light Red .5 Gold 2 White 1 ——— 100
COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY Gray Ground 64 Dark Blue 8 Light Blue 7 Gray-Blue 10 Brown 10 Green 1 ——— 100
COLOR ANALYSIS FROM JAPANESE SILK BROCADE Yellow-Gray Ground 60 Blue-Gray Leaves 15 White Daisies 16 Pink Tips to Daisies 5 Gold Veins to Leaves and Centres to Daisies 4 ——— 100
COLOR ANALYSIS FROM BORDER OF JAPANESE CLOISONNÉ VASE, Pl. XC Greenish White 66 Blue 34 ——— 100
COLOR ANALYSIS FROM JAPANESE CLOISONNÉ VASE Green-Blue Ground 43 Dark Blue 14 Black 7 Red 9 Yellow 5 Violet 4 White 4 Light Red 3 Lightest Red 3 Greenish Blue 3 Green 2 Gray 1 Brass 2 ——— 100 The fine brass outlines add much to the harmony.
COLOR ANALYSIS FROM A JAPANESE SKIRT PANEL
BORDER White Ground 23 Black 11 Gold Edge 2 Purple-Blue 4 Dull Gold 6 Dull Pink 4
CENTRE Green Ground 26 Shades of Red 11 Yellow 2 Blue 2 Greens 4 Lavender 1 Gold Edge 1 Black 1 Orange 2 ——— 100
COLOR ANALYSIS FROM JAPANESE BROCADE Brown 50 Red 10 Dark Blue 8 Dark Green 8 Light Blue 7 Light Green 7 Light Brown 5 White 5 ——— 100 Fine example of a harmony of a dominant hue.
COLOR ANALYSIS FROM CHINESE PORCELAIN Deep Lapis Lazuli Blue Ground 50 Turquoise Blue 29 Ochre Yellow 12 Violet 9 ——— 100 Plates XCIII to XCVII inclusive are from Chinese porcelain, the colors having remained brilliant.
COLOR ANALYSIS FROM A “BLACK HAWTHORN VASE” Black Ground 30 Green-White Flowers 26 Green Leaves 20 Yellow-Green Leaves 10 Brown Stems 3 Pale Red Flowers 5 Yellow „ 6 ——— 100
COLOR ANALYSIS FROM A ROSE-COLORED VASE Rose Ground 50 White Panel 23 Blue-Green 10 Yellow-Green 3 Yellow 7 Deep Pink 5 Blue 2 ——— 100
COLOR ANALYSIS FROM YELLOW CHINESE PORCELAIN VASE Yellow Ground 44 Light Green Leaves 23 Dark Green „ 8 Cream White Flowers 16 Brown Stems 9 ——— 100
COLOR ANALYSIS FROM A CHINESE “EGGSHELL” PLATE Blue 18 Yellow 18 White 18 Green 18 Pink 18 Dark Pink 3 Dark Green 3 Black 2 Gold 2 ——— 100 Pale tints with delicate decoration in strong tones.
COLOR ANALYSIS FROM A BUTTERFLY Dark Yellow Shade 30 Medium Yellow 25 Light Yellow 20 Silver 15 Black 10 ——— 100 The black was well placed to contrast with the light tones, the silver to contrast with the dark tone.
COLOR ANALYSIS FROM A STONE Pale Gray-Green 40 Gray-Green 35 Pale Red 25 ——— 100 Ground, pale green.
Footnote 1:
Church, _Colour_.
Footnote 2:
Rood, _Modern Chromatics_.
Footnote 3:
“Mind,” n.s., Vol. II. 1893.
Footnote 4:
The use of this suggestion as to colored glass is strongly urged by the author, as it is a capital way of seeing how the world would look were everything in it blue, or any other color.
Footnote 5:
_The Chemistry of Paints and Painting._
Footnote 6:
Church.
Footnote 7:
Chevreul.
Footnote 8:
COLOUR. By A. H. Church. Ch. X., p. 116.
Footnote 9:
MODERN CHROMATICS. By Prof. O. N. Rood. Ch. XVI.
Footnote 10:
COLOUR. By A. H. Church. Ch. XI., p. 144.
Footnote 11:
F. Schuyler Matthews.
Footnote 12:
Lectures and Lessons on Art. F. W. Moody. P. 131.
Footnote 13:
Rood.
Footnote 14:
FLORAL ART OF JAPAN. By Condor.
Footnote 15:
In THE AMERICAN FLORIST.
Footnote 16:
NOTE.—“A streak of light.”—_Rood._
TRANSCRIBER’S NOTES
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