Yellow [306]
Red-Yellow [308]
Yellow-Red [309]
Blue [310]
Red-Blue [312]
Blue-Red [313]
Red [313]
Green [316]
Completeness and Harmony [316]
Characteristic Combinations [321]
Yellow and Blue [322]
Yellow and Red [322]
Blue and Red [322]
Yellow-Red and Blue-Red [323]
Combinations Non-Characteristic [324]
Relation of the Combinations to Light and Dark [325]
Considerations derived from the Evidence of Experience
and History [326]
Æsthetic Influence [330]
Chiaro-Scuro [331]
Tendency to Colour [334]
Keeping [335]
Colouring [337]
Colour in General Nature [337]
Colour of Particular Objects [338]
Characteristic Colouring [339]
Harmonious Colouring [341]
Genuine Tone [342]
False Tone [342]
Weak Colouring [343]
The Motley [344]
Dread of Theory [344]
Ultimate Aim [345]
Grounds [345]
Pigments [348]
Allegorical, Symbolical, Mystical Application of Colour [350]
Concluding Observations [352]
[OUTLINE OF A THEORY OF COLOURS.]
"Si vera nostra sunt aut falsa, erunt talia, licet nostra per vitam defendimus. Post fata nostra pueri qui nunc ludunt nostri judices erunt."
[INTRODUCTION.]
The desire of knowledge is first stimulated in us when remarkable phenomena attract our attention. In order that this attention be continued, it is necessary that we should feel some interest in exercising it, and thus by degrees we become better acquainted with the object of our curiosity. During this process of observation we remark at first only a vast variety which presses indiscriminately on our view; we are forced to separate, to distinguish, and again to combine; by which means at last a certain order arises which admits of being surveyed with more or less satisfaction.