[(184)] To sum up, the first chapter suggests a measured color system in place of guess-work. The next describes the three color qualities, and sketches a child’s growth in color perception. The third tells how colors may be mingled in such proportions as to balance. After the impracticability of using spectral color has been shown in the fourth chapter, the fifth proceeds to build a practical color solid. The sixth provides for a written record of color, and the last applies all that has preceded to suggestions for the study of color harmony.
[(185)] Wide gaps appear in this outline. There is much that deserves fuller treatment. But, if the search for refined color and a clearer outlook upon its relations are stimulated by this fragmentary sketch, some of its faults may be overlooked.
[32.] Professor James says there are three classic stages in the career of a theory: “First, it is attacked as absurd; then admitted to be true, but obvious and insignificant; finally it is seen to be so important that its adversaries claim to be its discoverers.”
[33.] “Nature’s most lively hues are bathed in lilac grays. Spread all about us, yet visible only to the fine perception of the colorist, is this gray quality by which he appeals. Not he whose pictures abound in ‘couleurs voyantes,’ but he who preserves in his work all the ‘gris colorés’ is the good colorist.”
Translation from J. F. Rafaelli, in Annales Politiques & Litteraires.
[34.] See Color Blindness in Glossary.
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