We are here to forget everything that borders on yellow or blue. We are to imagine an absolutely pure red, like fine carmine suffered to dry on white porcelain. We have called this colour "purpur" by way of distinction, although we are quite aware that the purple of the ancients inclined more to blue.
Whoever is acquainted with the prismatic origin of red, will not think it paradoxical if we assert that this colour partly actu, partly potentiâ, includes all the other colours.
We have remarked a constant progress or augmentation in yellow and blue, and seen what impressions were produced by the various states; hence it may naturally be inferred that now, in the junction of the deepened extremes, a feeling of satisfaction must succeed; and thus, in physical phenomena, this highest of all appearances of colour arises from the junction of two contrasted extremes which have gradually prepared themselves for a union.
As a pigment, on the other hand, it presents itself to us already formed, and is most perfect as a hue in cochineal; a substance which, however, by chemical action may be made to tend to the plus or the minus side, and may be considered to have attained the central point in the best carmine.
The effect of this colour is as peculiar as its nature. It conveys an impression of gravity and dignity, and at the same time of grace and attractiveness. The first in its dark deep state, the latter in its light attenuated tint; and thus the dignity of age and the amiableness of youth may adorn itself with degrees of the same hue.