The laws of contrast of colour

INDEX.

A.
Aërial perspective, 83.
Analogy, harmonies of, 48.
Arabesques, varieties of, 164.
Architecture, Egyptian, employment of colours in, 138;
Greek, 139;
Gothic, 141;
application of colours to the interior of edifices, 143.
Art, judgment which a spectator forms as to an object of, 225;
associations of ideas connected therewith, 226.
Arts, which address the eye by employing coloured materials,
considered relatively, 218;
as coloured tapestries, carpets, mosaics, &c. 219 et seq.;
coloured materials in flat tints, 224.
Association of ideas in judging of a work of art, 226.
Assortments of different colours, red, orange, yellow, green,
blue, and violet, with white, black, and grey, 49 et seq.;
binary and tertiary, 50.
Author’s inquiries, history of the, 201.
B.
Beauvais, tapestries of, 102;
difference of from the Gobelins, 113.
Binary assortments of colours, 50, 59.
Binary combinations of primary colours with black, 54, 55.
Binary mixture of primary colours, 104.
Black, juxtaposition of coloured bodies with, 19;
assortments of different colours with, 54, 63 et seq.;
binary combinations of colours complementary with, 55;
not complementary with, 56;
its association with luminous colours, 64;
inferior to white in certain assortments, 65.
Black and white, effects of their juxtaposition, 19.
Black draperies, 171.
Blue, complementary to orange, 16, 17, 18, 20;
placed beside greenish-blue, 25;
subtracted from green and from violet, 44;
its arrangement with a binary colour, 63.
Blue and black, effects of juxtaposition of, 20;
combinations of, 55.
Blue and grey, effects of juxtaposition of, 22.
Blue and orange, assortments of, with white, 51;
with black, 55;
with grey, 60.
Blue and violet, assortments of with white, 53;
with black, 58;
with grey, 62.
Blue and white, effects of their juxtaposition, 18.
Blue draperies, 170.
Blue light, modifications produced by, 71.
Bonnets, coloured, effect of upon the complexion, 171-4;
rose-coloured, 173;
green, yellow, violet, sky-blue, and orange, 174;
colours of, suited for fair-haired women, 175;
for black hair, 176.
Borders, coloured, of paper-hanging, 123;
flowered, 130, 131, 133.
Broken colours, 35.
Browns of wool and silk employed in tapestry and carpets,
effect of contrast on the, 208.
C.
Calico-printing, colours of, 118;
false judgment of the value of recipes for colouring
compositions, 119;
laws of contrast demonstrated in, 119, 120;
modifications which colours undergo on different
coloured grounds, 120.
Carmelite mixture, 108.
Carpets, of Savonnerie, 102, 222;
assortment of colours for, 161;
corresponding to paintings in chiaro-’scuro, 219, 222;
in flat tints, 224;
effect of contrast on the browns and lights of, 208.
Chairs, colour of, for harmonizing with the interior
of a house, 157.
Chemical nature of coloured bodies, 23.
Chiaro-’scuro, art of painting on the system of, 69;
various modifications of coloured light, 69, 70;
of white light, 75 et seq.;
difficulties of, 85, 86;
paintings in, 219 et seq.
Chromatic diagrams, 37;
their construction, 39;
their uses, 41 et seq.
Chromatic hemisphere, principles of the, 203.
Churches, coloured glass windows in, 113 et seq., 147, 223;
general decoration of the interior of, 147;
white glass windows, 148.
Clothing, harmony and contrast of colours in, 165;
of men, ib.;
of women, 167.
Coloured light, modifications of, 69 et seq.
Colouring in painting, 82 et seq.
(See Painting.)
Colours, Harmony and
Contrast of, 1 et seq.;
simultaneous contrast of, 4, 8, 9, 10;
effects of juxtaposition of, 11, 18, 21, 24;
primary and secondary, 25;
various kinds of contrast, 29;
definitions of terms, 34;
different distinctions of, 35;
chromatic diagrams, 37 et seq.;
general harmony of, 46;
assortments of, 49 et seq.;
modifications and effects of coloured light, 69 et seq.;
in painting, 82;
in aërial perspective, 83;
harmony of local colours, 85;
the laws of contrast, 89, 95;
distribution of, 101;
of textile fabrics, 102, 105;
of glass windows, 113, 147;
colour printing of calicos, papers, &c., 118 et seq.;
of clothing, 165;
application of to horticulture, plants, flowers,
&c., 179 et seq.;
employment of in architecture, 138-143;
general principles of, 197;
sight of, 198, 200;
study of, 199;
contiguous, 205;
influence of one colour upon another, 206, 207;
binary associations of, critically considered, 210;
combination of, ib.;
complex associations of, 214;
of tapestries, carpets, mosaics, &c. 219 et seq.
Combinations of colours, 55.
Complementaries of colours, 18-23, 43, 45.
Complementary colours, mixture of, for threads, 105;
combination of, 210.
Complexions of women, colours of, in association with
the drapery, 169-171;
effect of head-dresses upon the, 171-4, 175, 176;
results of dress as applicable to portrait painting, 178;
dissimulating a tint of the, ib.
Composition, predominance of a certain colour in, 100;
distribution of colours in, 101.
Compound colours, 26, 27, 28.
Contrast of Colours, 1, 4, 8;
law and formulæ of, 8, 9, 10, 29 et seq.;
simultaneous and successive, 29, 87;
mixed, 29-33, 88;
law of, 34;
harmonies of, 48, 217;
lectures on, at the Gobelins, 80;
uses of the law of, 89 et seq.;
principles of, 91;
results of, 93;
applications of the law of, 95 et seq.;
principles of in connexion with the production of tapestry, 109;
law of demonstrated in calico-printing, 119-121;
advantages of with regard to clothing, 165;
harmonies of in gardening, 182, 183, 184;
in the arrangement of plants and flowers, 194;
effect of upon the browns and lights of wool and silk employed
in tapestry and carpets, 208.
Cornices for the interior of a house, 157.
D.
Daylight, modifications produced by the, 73.
Definitions of terms of art, 34.
Diagrams, chromatic, 36-46.
Distribution of colours in a composition, 100, 101.
Draperies of women as associated with complexion, 169-171;
rose-red, ib.;
delicate green, yellow, violet, and blue, 170;
orange, white, and black, 171;
results applicable to portrait painting, 178.
Dress of women, assortment of colours in the, 177.
E.
Egyptians, various colours used by the, 138.
Eye, different states of the, in seeing colours, 200, 201, 202.
F.
Females, colours of their clothing, 167;
the dress assorting with fair skins, ib.;
colours of the hair and head-dress of, 168;
of the complexion and the contiguous drapery, 169.
Figures, coloured, in paper-hangings, 121-3.
Flat tints, painting on the system of, 69, 81, 82, 217;
for ornamenting boxes, tables, screens, &c., 218.
Flowers, Coloured, in paper-hangings, 121;
arrangement of according to their colours, 180;
assortments of, when the plants are apart, 181;
when they are indiscriminately mixed, 182;
assortments of, as to harmonies of contrast and analogy, 182, 183;
small masses of designated a bed, 187;
law of contrasts in the arrangement of, 194.
Foliage of ligneous plants, assortment of according to their colour, 184.
Forest, definition of a, 186.
Form, its influence in the effect of contrast of two colours, 213.
Formulæ which represent the law of simultaneous contrast of colours, 8.
French gardening, 191.
Furniture, tapestries for, 220.
G.
Galleries of the Fine Arts, on the interior decoration of, 150.
Gardening, applications of colour to, 179 et seq.
(See Horticulture.)
Glass, Coloured, in Gothic church windows, 113 et seq., 147;
beautiful effects of, 116;
employment of, 117;
corresponding to paintings in chiaro-’scuro, 219, 223;
in flat tints, 224, 225.
Gloss of wool and silk, its influence in the effect of contrast
of two colours, 213.
Gobelins, lectures at the, 80;
tapestries of the, 102, 104;
qualities which they must possess, 111;
difference of, from the Beauvais, 113.
Gothic architecture, employment of colours in, 141.
Greek architecture, employment of colouring in, 139.
Greek painters, 94.
Green, complementary to red, 15, 17, 18, 20;
to violet, 44.
Green and black, effects of juxtaposition of, 20.
Green and blue, change by juxtaposition, 27;
assortments of with white, 53;
with black, 58;
with grey, 62.
Green and grey, effects of juxtaposition of, 22.
Green and violet, change by juxtaposition, 26;
assortments of with white, 53;
with black, 58.
Green and white, effects of their juxtaposition, 18.
Green and yellow, change by juxtaposition, 27.
Green draperies, 170.
Green light, modifications produced by, 71.
Greenish yellow, complementary to violet, 3, 16, 17, 21.
Greenish yellow and black, effects of juxtaposition of, 20.
Greenish yellow and white, effects of their juxtaposition, 18.
Grey, juxtaposition of coloured bodies with, 21;
assortments of different colours with, 58, 63 et seq.;
its association with luminous and sombre colours, 65, 66.
Grounds, black, of paper-hangings, 125;
various coloured ones, 126-135.
Grove, definition of a, 187.
H.
Hair, black, colours of bonnets suited for, 176.
Hair, fair, colours of bonnets suited for, 175.
Hair and head-dresses of women, colours of the, 168.
Hangings, coloured, for the interior of a house, 152-7;
colour of the wainscoting, relation to the, 155.
Harmonies of contrast, 48, 217;
analogy of in gardening, 182, 183, 184.
Harmony of colours, 46;
distinct kinds of, 48;
law of, 95;
between masses of trees in gardening and plantations, 192.
Harmony and contrast of colours, 1 et seq.
(See Colours.)
Head-dresses of women, colours of the, 171;
effect of upon the complexion, 171-4.
Hieroglyphics, Egyptian, colouring of, 139.
Horticulture, applications of colour to, 179;
how to derive the greatest advantage from the various
colours of flowers, 180;
assortments of flowers, so far as they relate to the harmonies
of contrast of colours, 181;
contrast of hues, 182;
harmonies of analogy, 182, 183;
assortments of
plants, 184;
distribution of trees, 185;
lines of plants, 187, 188;
homogeneous masses of plants, 189;
varied and isolated masses, 190;
harmony between masses distant from each other, 192;
arrangement of plantations, 193;
symmetry and general harmony, 196;
general principles of, 197 et seq.
Houses, decorations for the interior of, 152;
hangings, 152-7;
cornices, 157;
chairs, sofas, &c., ib.;
on decorating the different rooms of the, 159;
and their appropriate assortments, 160;
carpets, 161;
pictures, 162.
Hues, definition of, 34, 35;
harmony of, 48;
harmony of contrast, ib.;
harmonies of contrast in flowers, 182;
analogy of, 183.
Human figures, tapestries for, 219.
I.
Imitation of colouring, 101.
Indigo, complementary to orange-yellow, 3, 16, 17.
Indigo and black, effects of juxtaposition of, 21.
Indigo and grey, effects of juxtaposition of, 22.
Indigo and red, changed by juxtaposition, 27.
Indigo and violet, changed by juxtaposition, 27.
Indigo and white, effects of their juxtaposition, 19.
Interiors of buildings, painters of, 101;
various assortments of colours in, 143;
stuffs with the wood of seats, ib.;
frames for pictures and engravings, ib.;
of churches, 147;
of museums and galleries, 149;
of houses, 152 et seq.;
when the walls are panelled, or covered with marble or stucco, 163.
J.
Juxtaposition of colours, 11, 211, 212;
of coloured surfaces with white, 18;
with black, 19;
with grey, 21;
of coloured bodies belonging to the same group of coloured rays, 24.
L.
Landscape, colours used in, 95;
in paper-hangings, 121-3.
Landscape gardening, 179.
(See Horticulture.)
Light, different rays of, 1;
its combinations of colour, 55.
Light, modifications of, 69 et seq.
Light, influence of on printed or written paper, 137;
contrast of tone in, 138.
Lights of wool and silk employed in tapestry and carpets,
effects of contrast on the, 208.
Lines of plants, their arrangement, 187, 188.
Luminous colours, 50;
their association with black, 64;
with grey, 65, 66.
M.
Marbles, in the interior of a building, assortment of colours for, 164.
Men’s clothing, colours of, 165, 166.
Mixed contrast of colours, 29-33, 88.
Mixtures, of the three primary colours, 108.
Modifications of coloured light, 69, 70 et seq.;
of white light, 75 et seq.
Mosaics, corresponding to paintings in chiaro-’scuro, 219, 222;
in flat tints, 224.
Museums, on the interior decoration of, 149, 151.
N.
Natural History, museums of, on the interior decoration of, 151.
Non-complementary colours, combination of, 210, 211.
O.
Opposition of colours, 67.
Orange complementary to blue, 3, 16, 17, 18, 20;
placed in juxtaposition with scarlet-red, 24;
complementary to green, 43;
to violet, 44;
effects of its predominance in a picture, 100.
Orange and black, effects of juxtaposition of, 20.
Orange and blue, mixture of for coloured threads, 106.
Orange and green, change by juxtaposition, 26.
Orange and green, assortments of with white, 52;
with black, 57;
with grey, 61.
Orange and grey, effects of juxtaposition of, 22.
Orange and indigo, change by juxtaposition, 26.
Orange and red, change by juxtaposition, 26.
Orange and violet, assortments of with white, 52;
with black, 57;
with grey, 61.
Orange and white, effects of their juxtaposition, 18.
Orange and yellow, change by juxtaposition, 27;
assortments of with white, 52;
with black, 57;
with grey, 61.
Orange draperies, 171.
Orange light, modifications produced by, 70.
Orange-yellow, complementary to indigo, 16, 17, 21.
P.
Painters, Ancient, of Italy, their excellences, 87.
Painting, Art of, 69;
two systems of—chiaro-’scuro and flat tints, ib.;
on colouring in, 82;
of aërial perspective, 83;
harmony of the colours, 85, 95;
simultaneous contrast of colours in, 87;
modification of light, 89;
application of the law of contrast, 97-99;
distribution of colours, 101;
painters of interiors, ib.;
imitation of coloured objects, 102
(see Gobelins Tapestry);
difference of from tapestry, 111;
relations existing between the subjects of, and the
harmonies they admit of, 216;
in the flat tints, 217;
in chiaro-’scuro tapestries, carpets, mosaics, and coloured
glass windows, corresponding to, 219 et seq.
Panelling in the interior of a building, assortment
of colour for, 163.
Paper, printed or written, influence of light on, 137;
contrast of tone, 138.
Paper-hangings, colours for printing, 118, 121;
designs for, 121;
simultaneous contrast of colours in relation to, 121, 123, 124;
borders, 123, 130-3;
black ground, 125;
various coloured grounds, 126 et seq.;
metallic gilt ornaments, 126, 129;
printed or written characters, 136.
Park, definition of a, 187.
Picture Galleries, on the interior decoration of, 150.
Pictures in the interior of buildings, assortment
of colours for, 145;
assortment of, for the interior of a house, 162.
Plantations, arrangements of, 193;
lines of, ib.
Plants, Ornamental, art of arranging according to
the colours of their flowers, 180, 181;
assortments of, according to the harmonies of contrast
and analogy, 182, 183;
according to their foliage, 184;
distribution of, 185;
lines of, 187, 188;
screens of, 188, 189;
masses of, 189, 190;
different names of, when employed to form a landscape, forest,
wood, park, grove, group, thicket, &c., 186, 187;
isolated ones, 190;
arrangement of into plantations, 193 et seq.;
repetition of the same species, 194, 195;
variety of arrangement, 195;
symmetry of parts, and their general harmony, 196.
Portrait Painting, predominating colour in, 97;
hints respecting the colour of the drapery, 169-171;
results of dress and complexion applicable to, 178;
dissimulating a tint of the complexion, ib.
Position, varied, effects of, 75.
Prepossessions, influence of, 225.
Primary Colours, 25, 36;
arrangements of, 63;
binary mixture of, 104;
mixture of, in such proportions that they do not become
neutralized, 108.
Printing in colours, 118;
of calico patterns and paper-hangings, 118, 121, 123;
of carpets, 161.
Pure colours, modifications of, 42, 45.
R.
Rays of solar light, 1.
Rays, Coloured, juxtaposition of coloured bodies with, 24.
Reading, on the assortment of colours for,
by diffused daylight, 138.
Red, complementary to green, 3, 15, 16, 18, 20;
placed in contact with orange-red, 24;
its arrangement with a binary colour, 63.
Red and black, effects of juxtaposition of, 20.
Red and blue, change of by juxtaposition, 27;
assortments of with white, 52;
with black, 56;
with grey, 60;
mixture of, for coloured threads, 105.
Red and green, assortments of with white, 51;
with black, 55;
with grey, 59;
mixture of, for coloured threads, 106.
Red and grey, effects of the juxtaposition of, 21.
Red and violet, assortments of with white, 52;
with black, 56;
with grey, 61.
Red and white, effects of their juxtaposition, 18.
Red and yellow, change by juxtaposition, 27;
assortments of with white, 52;
with black, 56;
with grey, 60;
mixture of for coloured threads, 104.
Reflection, laws of, 75.
Rose-red draperies, 169.
S.
Savonnerie carpets, 102, 222.
Scales of colours, definition of, 34;
chromatic, 36 et seq.;
their different tones, 47;
harmony of, 48;
harmony of contrast of, ib.;
of wool and silk employed in tapestry and carpet, 208.
School of painters, 226.
Screen of plants, 187, 188.
Sculpture Galleries, on the interior decoration of, 150.
Seats in the interior of buildings, assortment of colours for, 143.
Secondary colours, 25, 26.
Shrubs, small masses of, designated a bed, 187.
Sight of colours, 198, 200.
Silk employed in tapestry and carpets, effect of contrast upon
the browns and lights of, 208.
Simple colours, pass by juxtaposition into compound colours, 25.
Simultaneous contrast of colours, 4, 8, 9, 10, 29;
application of the law of, 34;
in painting, 87;
in calico-printing, 119, 121;
principles of, 205.
Skin, the coloured rays which may reflect upon the, 171.
Skins, copper-coloured, black, or olive, assortment of dress
suited for each, 177.
Sofas, colour of, for harmonizing with the interior of a house, 157.
Solar light, rays of, 1.
Sombre colours, 50;
proportion of to luminous ones, 66.
Spotty, use of the term, 101.
Stained glass windows, 113 et seq., 147.
(See Glass.)
Stripes, Coloured, juxtaposition of, 24.
Stuffs, Coloured, modifications of, 78, 79;
in the interior of buildings, assortment of colours for, 143.
Successive contrast of colours, 29.
Sun, modifications produced by the light of the, 73.
T.
Tapestries, 102;
of the Gobelins and of Beauvais, 102, 104;
qualities which they must possess, 111;
difference of from the Beauvais, 113;
principle of contrast in the production of, 109;
difference of, from painting, 111;
requisites for assimilating it to painting, 112;
patterns for, ib.;
effect of contrast on the browns and lights of, 208;
principles involved in the colours of, 219;
with human figures, 219, 224;
for furniture, 220, 224;
critical remarks on, 221;
corresponding to paintings in chiaro-’scuro, 219;
in flat tints, 224.
Ternary assortments of colours, 50, 51, 59.
Ternary combinations of colours complementary with black, 55;
not complementary, 56.
Textile fabrics, colour printing on, 118.
Thickets of trees, different kinds of, 187.
Threads, coloured to make mixtures of, 102, 104 et seq.;
red and yellow, ib.;
red and blue, 105;
yellow and blue, ib.;
mixture of complementary colours, 105.
Tint of the complexion, how to dissimulate it in
portrait painting, 178, 179.
Tone, contrast of, 4;
experimental demonstrations, 7;
the height of to be considered, 66;
contrast of on written or printed paper, 138.
Tones, definition of, 34;
of the same scale of colour, 47;
of the scales of wool and silk, judging their equidistance, 209.
Trees, assortment of in gardens according to the colour of
their foliage, 184;
distribution and planting of, in masses, 185;
different terms applied to groups of, when employed to form
a landscape, 186, 187;
harmony between masses of, 192.
V.
Vandyke, masterpieces of, 99.
Violet, complementary to greenish-yellow, 16, 17, 18, 20;
placed in juxtaposition with scarlet-red, 24.
Violet and black, effects of juxtaposition of, 21;
combinations of, 55.
Violet and blue, change by juxtaposition, 27.
Violet and grey, effects of juxtaposition of, 22.
Violet and red, change by juxtaposition, 26.
Violet and white, effects of their juxtaposition, 19.
Violet draperies, 170.
Violet light, modifications produced by, 72.
W.
Wainscoting for the interior of buildings, 151;
colour of, 155, 156.
White, juxtaposition of coloured surfaces with, 18;
modifications of, 19;
assortments of different colours with, 50, 63;
ternary assortments of colours not complementary with white, 51.
White draperies, 171.
White light, various modifications of, 75 et seq.
Windows, of coloured glass, 113 et seq., 219, 223;
in churches, 147, 149;
of white glass, 148, 149.
Women’s clothing, colours of, 167;
assortment of colours in, according to complexion, 177.
Wood, in the interior of a building, assortments of
colours for, 164.
Wood, definition of a, 186.
Wool, employed in tapestry and carpets, effect of contrast
upon the browns and lights of, 208.
Y.
Yellow, placed beside orange-yellow, 24;
its arrangement with a binary colour, 63.
Yellow and blue, changed by juxtaposition, 27;
assortments of with white, 53;
with black, 57;
with grey, 62;
mixture for coloured threads, 105.
Yellow and green, assortments of with white, 53;
with black, 57;
with grey, 61.
Yellow and grey, effects of juxtaposition of, 22.
Yellow and violet, assortments of with white, 51;
with black, 56;
mixture of, for coloured threads, 107.
Yellow draperies, 170.
Yellow light, modifications produced by, 71.
Yellowish-green, complementary to violet, 19.
Yellowish-orange, complementary to indigo, 19.

The laws of contrast of colour

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