There are also in the spectrum four secondary colors: orange, green, indigo, and violet. The secondary colors are alternate with the primary in the spectrum, and are formed by a mixture of the two primary nearest them—as orange, formed by a union of red and yellow; green, by a mixture of yellow and blue; indigo and violet, of blue and red. Thus:

Tertiary colors are many more than both primary and secondary. They are hues not found in the spectrum. They are nature's stepchildren rather than children, and many of them might not inappropriately be called children of art; yet although most of them are of inventions that man has sought out, they are at best but shades, and must all look back to the spectrum as their common parent.

Each of the primary colors forms a simple contrast to the other two; thus blue is contrasted by yellow and by red, either of which forms a simple contrast to it; but as it is a law of color that compound contrasts are more effective than simple in the proportion of two to one, it follows that a mixture of either two of the primitive colors is the most powerful contrast possible with the other.

Red and yellow form orange, the greatest and the most harmonious contrast to blue; red and blue form violet or purple, so much admired in contrast with yellow in the pansy; yellow and blue form green, the contrast to red, and the color needed to restore the tone of the optic nerve when strained or fatigued by undue attention to red. This is the most common and admirable contrast in the vegetable kingdom; the brilliant red blossom or fruit, with green leaves, as instance the fiery tulip, the crimson rose, the scarlet verbena, the burning dahlia, the cherry and apple trees, the tomato or loveapple of my childhood, and the scarlet maple and sumach of our American October.

There are two distinct harmonies of color: the harmony of contrast, and the harmony of shading. The former is the harmony of striking diversities found in nature, and the other a mellowing of colors, or blending of similar hues, attributable to art.

From this little synopsis of the effects and uses of the prismatic colors, we shall be enabled the better to understand both the ancient and modern popular ideas as to colors as representatives and correspondences. Colors have a mental, moral, and physical significance—a good and a bad import. The one to which I shall first direct your attention is that which most readily strikes the eye.

RED.

Which Thoreau called the 'color of colors,' in the Hebrew signified to have dominion, and in early art was symbolical or emblematic of Divine love, creative power, etc. The word Adam, we have been taught, signifies red man; it does mean 'the blood,' which, of course, originated 'to be red,' as a secondary signification. Lanci, the great interpreter of Sacred Philology at the Vatican, deems 'The Blusher,' to be the true meaning of the word Adam. God created man, male and female created He them, and called their name Adam. A blush, so becoming on the countenance of feminine beauty, is generally deemed a sign of weakness when visible upon a man's face. But if the above interpretation be correct, a blush is a man's birthright, which no sense of false shame should prevent him from modestly claiming. Red, as signifying perfection, dominion, fruition, was appropriately the name of our first parents, whether we regard the account of the creation to be literally understood, as the old theologians believe, or spiritually and typically, as the modern ones insist.

Red is the color of what is intense, be it love or hatred, kindness or cruelty. It denotes the fulness of strong emotions; alike the glowing of conscious love or the blazing of fierce anger, the fiery ardor of daring and valor, or the fierce cruelty of hatred and revenge. Of our own star-spangled banner, we sing: