217. All the primary colours gain purity and brilliancy by the proximity of grey; yet the effects are far from being like or even analogous to those which result from the proximity of the same colours with white. This will not create surprise, if it be remembered that while white preserves the character of each colour and exalts it by contrast, it can never be taken for a colour properly so called; grey, on the contrary, may be; it happens that the latter makes with the most sombre colours, as blue, violet, and deep tones in general, assortments which belong to the harmonies of analogy; while, with colours naturally brilliant, such as red, orange, yellow, and the light tones of green, they form analogies of contrast. But, although white contrasts more with sombre colours than with those that are naturally luminous, there is not observed between white and those two kinds of colours the difference observable between grey and the same colours. This result confirms what I have said of the binary combinations of black. (203.)

A.—Binary Combinations.

218. Grey and Blue, Grey and Violet, form arrangements of which the harmony of analogy is agreeable, yet less so than that of black with the same colours.

219. Grey and Orange, Grey and Yellow, Grey and Bright Green, form equally agreeable arrangements of harmony of contrast; perhaps they are less so than those in which grey is replaced by black.

220. Grey and Rose are a little dull and inferior to Black and Rose. All the binary arrangements of grey, except, perhaps, that of orange, are inferior to those of white.

B.—Ternary Combinations of Complementary Colours with Grey.

221. Red, Green, &c.—1. Red, Green, &c. 2. Grey, Red, Green, Grey, &c. 3. Grey, Red, Grey, Green, Grey, &c. If it be doubtful whether the binary assortment of grey, red, and green, be favourable, it cannot be called injurious. The third assortment is, perhaps, inferior to that in which the grey is replaced by black.

222. Blue and Orange.—1. Blue, Orange, &c. 2. Grey, Blue, Orange, Grey. 3. Grey, Blue, Grey, Orange, Grey, &c. I prefer the first arrangement to the two others.

223. Yellow and Violet.—1. Yellow, Violet, &c. 2. Grey, Yellow, Violet, Grey, &c. 3. Grey, Yellow, Grey, Violet, Grey, &c. Although the arrangements 2 and 3 are lighter than the arrangements in which grey is replaced by black, yet the binary arrangement appears to me preferable to the ternary.

C.—Ternary Assortments of Colours not Complementary to each other with Grey.

224. Red and Orange.—1. Red, Orange, &c. 2. Grey, Red, Orange, Grey, &c. 3. Grey, Red, Grey, Orange, Grey, &c. The arrangements 2 and 3 are preferable to the binary. The third is preferable to the second. In short, the grey produces, with red and orange, a better effect than white, but the effect is inferior to that of black.

225. Red and Yellow.—1. Red, Yellow, &c. 2. Grey, Red, Yellow, Green, &c. 3. Grey, Red, Grey, Yellow, Grey, &c. Although the grey combines well with the red and the yellow, it has not so decidedly advantageous an effect as black in the binary arrangement.

226. Red and Blue.—1. Red, Blue, &c. 2. Grey, Red, Blue, Grey, &c. 3. Grey, Red, Grey, Blue, Grey, &c. The arrangement 2 is preferable to 3. I dare not say to 1. The effect of grey is inferior to that of white.

227. Red and Violet.—1. Red, Violet, &c. 2. Grey, Red, Violet, Grey, &c. 3. Grey, Red, Grey, Violet, Grey, &c. The assortment 3 appears to me superior to 2, and the second to the first; but it is difficult to say whether grey is superior to black. I am certain it is superior to white.

228. Orange and Yellow.—1. Orange, Yellow, &c. 2. Grey, Orange, Yellow, Grey, &c. 3. Grey, Orange, Grey, Yellow, Grey, &c. The assortment 3 appears to me preferable to 2; the harmony of contrast is less intense than with black. The assortment 3 is, perhaps, superior to the assortment of white, orange, white, yellow, white.

229. Orange and Green.—1. Orange, Green, &c. 2. Grey, Orange, Green, Grey, &c. 3. Grey, Orange, Grey, Green, Grey, &c. Grey combines well with orange and green, but it does not contrast so agreeably as black or white.

230. Orange and Violet.—1. Orange, Violet, &c. 2. Grey, Orange, Violet, Grey, &c. 3. Grey, Orange, Grey, Violet, Grey, &c. The binary assortment appears to me preferable to the other two. The assortment 2 is preferable to 3. If the grey is a little dull with orange and violet, it has not the same disadvantage as black, in causing too great a predominance of sombre colour.

231. Yellow and Green.—1. Yellow, Green, &c. 2. Grey, Yellow, Green, Grey, &c. 3. Grey, Yellow, Grey, Green, Grey, &c. Grey combines well with yellow and green, but the assortments 2 and 3 are a little dull, and inferior to those in which black replaces grey.

232. Yellow and Blue.—1. Yellow, Blue, &c. 2. Grey, Yellow, Blue, Grey, &c. 3. Grey, Yellow, Grey, Blue, Grey, &c. The two assortments, two and three, are inferior to the first. The grey is heavy to yellow and blue; its effect is inferior to that of white, and perhaps also to that of black.

233. Green and Blue.—1. Green, Blue, &c. 2. Grey, Green, Blue, Grey, &c. 3. Grey, Green, Grey, Blue, Grey, &c. Grey, in its combination with green and blue, has not the same objection as black, but it has an inferior effect to white.

234. Green and Violet.—1. Green, Violet, &c. 2. Grey, Green, Violet, Grey, &c. 3. Grey, Green, Grey, Violet, Grey, &c. Grey is not employed advantageously with green and violet, it is inferior to white in the ternary arrangements, and perhaps I should also give preference to black.

235. Blue and Violet.—1. Blue, Violet, &c. 2. Grey, Blue, Violet, Grey, &c. 3. Grey, Blue, Grey, Violet, Grey, &c. The remarks made (218) in the assortment of black with blue and violet are applicable to the arrangement with grey, taking into account the difference of tone which exists between grey and black.

Recapitulation.

236. I will now give a summary of the observations which appear the most striking on reading the foregoing paragraphs, premising, however, that I do not pretend to establish laws fixed upon scientific principles, but to state general propositions which express my own peculiar taste.

237. 1st. In the harmony of contrast the complementary arrangement is superior to every other.

The tones must be as nearly as possible of the same depth to produce the finest effect. The complementary arrangement in which white associates most advantageously, is that of blue and orange, and that of yellow and violet is the least advantageous.

238. 2nd. The Primaries, Red, Yellow, and Blue associated in pairs assort better together, as a harmony of contrast, than an arrangement formed of one of these primaries, and of a binary colour in juxtaposition with it, having the same primary as one of its elements.

Examples.

239. 3rd. The arrangement of Red, Yellow, or Blue with a binary colour containing the former, contrasts the better, as the simple colour is essentially more luminous than the binary.

Whence it follows, that in this arrangement, it is an advantage for the red, yellow, or blue to be of lower tone than the binary colour.

Examples.

240. 4th. When two colours accord badly together, it is always advantageous to separate them by White.

In this case it is more advantageous to place each colour next to white, than in an assortment where the two colours are together beside white.

241. 5th. Black never produces a bad effect when it is associated with two luminous colours. It is therefore often preferable to White, especially in an assortment where it separates the colours from each other.

Examples.

1. Red and Orange.

Black is preferable to white in the arrangements 2 and 3 of these two colours. 2. Red and Yellow. 3. Orange and Yellow. 4. Orange and Green. 5. Yellow and Green.

Black, with all these binary assortments, produces harmony of contrast.

242. 6th. Black in combination with sombre colours, such as blue and violet, and with broken tones of luminous colours, produces harmony of analogy, which, in many instances, may have a good effect.

The harmony of analogy of black, associated with blue and violet, is preferable to the harmony of contrast of the assortment white, blue, violet, white, &c., the latter being too crude.

243. 7th. Black does not accord so well with two colours, one of which is luminous, the other sombre, as when it is associated with two luminous colours. In the first instance the combination is so much the less agreeable as the luminous colour is more brilliant.

With all the following assortments Black is inferior to White. 1. Red and Blue. 2. Red and Violet. 3. Orange and Blue. 4. Orange and Violet. 5. Yellow and Blue. 6. Green and Blue. 7. Green and Violet.

With the assortment yellow and violet, if it is not inferior to white, it produces only a mediocre effect.

244. 8th. Although Grey never produces exactly a bad effect in its association with two luminous colours, yet in most cases its assortments are dull, and it is inferior to Black and White.

Among the assortments of two luminous colours, there are scarcely any besides those of red and orange with which grey associates more happily than white. But it is inferior to it, as also to black, in the arrangements red and green, red and yellow, orange and yellow, orange and green, yellow and green. It is also inferior to white, with yellow and blue.

245. 9th. Grey, in combining with sombre colours, such as Blue and Violet, and with broken tones of luminous colours, produces harmonies of analogy, which have not the vigour of those with black; although the colours do not combine well together, it has the advantage of separating them from each other.

246. 10th. When Grey is associated with two colours, one of which is luminous the other sombre, it will perhaps be more advantageous than White, if this produces too strong a contrast of tone; on the other hand, it may be more advantageous than Black, if that increases too much the proportion of sombre colours.

Examples.

Grey associates better than Black with—

1. Orange and Violet. 2. Green and Blue. 3. Green and Violet.

247. 11th. If, when two colours accord badly, there is in principle an advantage in separating them by White, Black, or Grey, it is important to the effect to take into consideration—1. The height of tone of the colours. 2. The proportion of sombre to luminous colours, including, in the first, the broken brown tone of the brilliant scales, and in the luminous colours, the light tones of the Blue and Violet scales.

Consider the height of tone of the colours.

248. The effect of white with red and orange is inferior as their tones become higher, especially in the assortment white, red, orange, white, &c.; the effects of the white being too crude. On the contrary, black unites very well with the normal tones of the same colours, that is to say, the highest tones without any mixture of black. Although grey does not associate so well as black with red and orange, it has the advantage of producing a less crude effect than white.

Consider the proportion of sombre to luminous colours.

249. Whenever colours differ very much, either in tone or in brilliancy, from the black or white with which we wish to associate them, that arrangement where each of the two colours is separated from the other by black or white, is preferable to that in which the black or the white separate each pair of colours. Thus the assortment white, blue, white, violet, white, &c., is preferable to the assortment white, blue, violet, white, &c., because the separation of the brilliant from the sombre is more equal in the first than in the second. I should add that this is somewhat more symmetrical as to the position of the two colours, and the principle of symmetry influences our judgment of things more than is generally recognised. It is also in conformity with the above, that the assortment black, red, black, orange, black, &c., is preferable to the assortment black, red, orange, black, &c.

250. Some remarks appear to me also necessary to prevent false deductions from the above propositions. In the preceding examples, the colours, including white, black, and grey, are supposed to occupy an equal extent of surface, and to be placed at equal distances apart, for without these conditions the results will be different; for example, I have preferred the assortment white, red, white, yellow, white, to the assortment white, red, yellow, white. There are some cases in which the latter is preferable to the former, as in the arrangement of flowers in gardens, especially yellow and rose flowers, which present less coloured surface than the white flowers with which they are associated.

251. I have spoken of the good effects of black and green separated, and I may add that green designs upon a black ground are also agreeable; but it does not follow that black lace upon a green stuff will have a good effect, at least on the optical quality of black, for this acquires a rusty tint, which resembles a faded colour.

252. The more colours are opposed, the easier it is to assort them; because they do not experience by their mutual juxtaposition, any modification which renders them disagreeable, as generally happens to colours which are very nearly alike. Must we then conclude that with two colours which have in this case been indicated to an artist to be employed, with some liberty to modify them, he should endeavour to increase the effect of contrast rather than that of analogy? Certainly not; for frequently the latter is preferable to the former. For example:—Take orange-red and a pure red, instead of increasing the yellow in the orange-red, or of giving a violet hue to the red, it sometimes will be preferable to incline towards the harmony of scale or of hue, by endeavouring to make the orange one of the light tones of a scale whose red will be brown.

253. In conformity with this manner of observing, when we would avoid the bad effect of two adjacent colours by white, black, or grey, we must see whether, instead of a harmony of contrast, it may not be better to obtain the harmony of analogy.

254. Finally, when we bring into combination not normal grey, but a coloured grey, we are always sure of obtaining an effective harmony of contrast by taking a grey coloured with a complementary of that opposed to it. Thus an orange-grey or carmelite-brown or maroon has a good effect with light blue.

FIRST DIVISION.—IMITATION OF COLOURED OBJECTS
WITH COLOURED MATERIALS IN A STATE
OF INFINITE DIVISION.

INTRODUCTION.

255. Coloured materials, such as Prussian blue, chrome-yellow, vermilion, &c., are infinitely divided, so to speak, either when ground pure, or mixed with a white material, in a gummy or oily liquid.

The reproduction of the images of coloured objects with these pigments is called the Art of Painting.

256. There are two systems of Painting—the one consists in representing as accurately as possible upon a flat surface an object in relief in such a way that the image makes an impression upon the eye of the spectator similar to that which the object itself would produce. This is termed the Art of Chiaro-’scuro.

257. There is a means of imitating coloured objects much simpler in its facility of execution than the preceding. It consists in tracing the outline of the different parts of the model, and in colouring them uniformly with their peculiar colours. There is no relief, no projection; it is the plane image of the object, since all the parts receive a uniform tint: this system of imitating is Painting in Flat Tints.

PAINTING ON THE SYSTEM OF CHIARO-’SCURO.

258. Are the modifications perceived in a single coloured object, for example, in a blue or red stuff, &c., indeterminable, when these draperies are seen as draperies of a vestment or furniture, with more or less distinct folds, or are they determinable, in given circumstances? This is a question of which I am about to attempt a solution.

259. Firstly, let us distinguish three circumstances in which modifications of colours may be observed:—

1. Modifications produced by coloured lights falling upon the model.

2. Modifications produced by two different lights—as, for example, the light of the sun and diffused daylight—each illuminating different parts of the same object.

3. Modifications produced by diffused daylight.

260. We will suppose that in the two first cases the lighted surfaces are plane, and that all their superficial parts are homogeneous, and in the same conditions, except that of light. In the third case, we shall consider the position of the spectator viewing an object lighted by diffused daylight, the surface of which is not so disposed as to act equally in all its parts upon the light which it reflects to the eye of the spectator.

261. Modifications produced by coloured lights.

262. Modifications produced by Orange light.

263. Modifications produced by Yellow light.

264. Modifications produced by Green light.

265. Modifications produced by Blue light.

266. Modifications produced by Violet light.

267. It is understood that to represent the preceding phenomena exactly, we must take into account the facility with which coloured light penetrates every kind of glass, the more or less intense colour of the stuff, and the kind of scale to which the coloured stuff and that of the transmitted coloured light respectively belong.

268. These observations were made by partially exposing coloured stuffs to the sun’s rays transmitted through coloured glasses. The portion of stuff not exposed to these rays, was lighted by the direct light of the sun. The portion of stuff which received the action of the coloured rays being exposed to diffused daylight, reflected also rays of that light which it would have reflected in case it had been protected from the influence of the rays transmitted to it through coloured glasses.

269. II. Modifications produced by two lights of different intensity.

270. 1. The modification by the light of the sun falling upon one part of the surface of a coloured body, while the other part is enlightened by diffused daylight.

2. The modification produced when two parts of the same object are unequally illuminated by diffused daylight.

An object lighted partly by the sun, and partly by diffused daylight.

271. To observe this kind of modification properly, let us expose to the sun a square piece of stuff A B, two and a half inches broad (Plate I., fig 4) and place in the middle a piece of black wire f, fʹ; then put parallel to this, and in the middle between A and B, two wires e, eʹ and g, gʹ, of about three-tenths of an inch in width. The extremity gʹ is fixed upon a perpendicular plane, so high, that all the part B f, fʹ may be in shadow.

272. 1. If the stuff is red, the lighted portion A is more orange or less blue than the part B, which is in shade; and the portion a is more orange than the portion aʹ, as the portion b is bluer than the portion bʹ.

273. 2. If the stuff is orange, A is more orange or less grey than B; and the portion a is deeper, more vivid than aʹ, as b is more grey and duller than bʹ.

274. 3. If the stuff is yellow, A is more vivid, more orange than B; a is more so than aʹ, as b is duller than bʹ.

275. 4. If the stuff is green, A is less blue or more yellow than B; and a is of a yellower green than aʹ, as b is bluer than bʹ.

276. 5. If the stuff is blue, A is less violet and more green than B; and a is greener than aʹ, as b is more violet or less green than bʹ.

277. 6. If the stuff is indigo, A is redder or less blue than B; and a is redder than aʹ, as b is deeper or bluer than bʹ.

278. 7. If the stuff is violet, A is less blue than B; and a is redder than aʹ as b is bluer than bʹ.

279. 2nd. Two contiguous parts of the same object unequally illuminated by the same light, when viewed simultaneously, differ from each other, not only in depth of tone, but also in optical composition of colour.

Place half-a-sheet of coloured paper (Plate I., fig. 5) upon the partition b, of a chamber receiving diffused daylight by a window f: place another half-sheet upon the partition a, in such a manner that it will be lighted directly by the diffused light, while the other is only indirectly lighted by reflection from the walls, floor, and ceiling: the diffused light thus reflected being only white light, then stand at c, so as to see both half-sheets at once. I shall designate that which is upon the partition a, and most lighted, by A, and the other, which is upon the partition b, and less lighted, by B.

These letters in the plate indicate the respective positions of the half-sheets.

280. The inference from these observations is, that the colour of the same body varies, not only in intensity of tone, but also of hue, according as it is lighted directly by the sun, by diffused daylight, or by diffused reflected light. This result must never be overlooked whenever we define the colours of material objects.

3rd. Modifications produced by diffused daylight reflected by a surface all the parts of which are not in the same position relatively to the eye of the spectator.

281. Distant bodies are rendered perceptible to the eye only in proportion as they radiate or reflect, or transmit the light which acts upon the retina.

According to the laws of reflection, it happens that those portions of a surface which are in relief, or hollow, must reflect the light in such a manner, that the eye of the spectator, in a given position, will see these parts very variously lighted, in respect to the intensity of reflected light, so that the parts of this surface will be, relatively to the eye, in the same condition as the homogeneous parts of a plane surface, which are illuminated by lights of unequal intensity.

There will be this difference, however, that the parts of the surface of a body which appears to us hollow, and especially in relief, being but feebly varied in the greater number of contiguous parts, there will be generally a gradual diminution of the effects observed in the case in which we have studied the modifications of two plane homogeneous surfaces, lighted by diffused lights of unequal intensity. The sphere presents a remarkable example of the manner in which light is distributed over a convex surface, relatively to the eye of an observer, who views it from a given position.

282. I shall not occupy myself with this gradation of white light, from parts illuminated to those which do not appear so. I regard only the principal modifications, and take for examples the cases where they are as evident as possible. These modifications can be reduced to the four following:—

First modification, produced by the maximum of white light which the surface of a coloured body is capable of reflecting.

283. Other things being equal, the more highly the surface of a body is polished, the more it will reflect white and coloured light. If we observe the surface of a stick of sealing-wax, suitably placed, we shall perceive a white stripe parallel to the axis of the cylinder, produced by so large a quantity of colourless reflected light that the red light reflected from this stripe is not appreciable by the eye. Thus the white light reflected by a coloured body may be of sufficient intensity to render the colour of the body in some of its parts imperceptible.

Second modification, produced by those parts of a coloured surface which send to the eye, in proportion to the coloured light, less white light than the other parts differently lighted, or differently placed in relation to the spectator.

284. When the eye sees certain parts of the surface of a polished or uniformly coloured object which reflects to it proportionally to the coloured light less of white light than the other parts, the first parts will appear in most cases of a more intense tone of colour than the second. We will cite the following:—

Example 1.—A cylinder of red sealing-wax presents, proceeding from the white stripe mentioned above, a red colour deeper in proportion as less white light reaches the eye. Thus, in a certain position where the white stripe appears to be in the middle of the cylinder, the part most lighted will appear coloured, reflecting a red inclining to scarlet, while that which is the least lighted reflects a red inclining to crimson.

Example 2.—If the eye is directed into a gold vase of sufficient depth, the gold does not appear yellow as on the exterior surface, but of a red-orange; because less white light, in proportion to coloured light, reaches the eye in the first case than in the second. It is for this reason that the concave parts of gold ornaments appear redder than the convex.

Example 3.—The spiral thread of a piece of twisted silk or wool held perpendicularly before the eye, appears in the part opposite to the light, of a much more decided colour than on the rest of the surface.

Example 4.—The folds of bright draperies present the same modification to an eye properly placed; the effect is particularly remarkable in yellow silk stuffs, and in sky-blue; for we can easily understand that it is less marked when the stuffs are less bright and of dark colours.

Example 5.—There are some stuffs which appear to be of two tones of the same scale of colour, and sometimes also of two tones of two contiguous scales, although the weft and the warp of these stuffs are of the same tone and the same colour. The cause of this appearance is very simple; the threads which, parallel to each other, form the designs, are in a different direction to the threads which constitute the ground of the stuff. Hence, whatever may be the position of the spectator with regard to the stuff, the threads of the design will always reflect coloured and white light in a different proportion to that reflected by the threads of the ground, and, according to the position of a spectator, the design will appear to be lighter or darker than the ground.

Third modification.—The colour complementary to that of a coloured object developed in one of its parts, in consequence of simultaneous contrast.

285. A natural consequence of the law of simultaneous contrast in general, and of the effect of a colour upon grey and black in particular, is, that since the same object presents some parts more or less dark, contiguous to some parts where we see the colour peculiar to the object, the first parts will appear tinted with the complementary to this colour. But to observe this effect, it is necessary that the grey part should reflect to the eye white light, and little or none of the coloured light which the object naturally reflects.

Fourth modification, in a single coloured stuff.

286. For example, if the eye is directed towards a window which admits daylight, and a person clothed in a new blue coat, dyed with indigo or Prussian blue, be at the window, the eye will see one part of the coat will appear different from the other part, because the nap of the cloth is disposed in a contrary direction; one being of a fine blue, while the other is of an orange-grey, by the effect of contrast of the blue part with a part that reflects very little white light to the eye, without, or almost without, blue light.

287. But as the pile of the nap loses its regular position by wear, the cloth becoming dull and soiled, the coloured light is reflected irregularly from all points; and the effect is either absolutely destroyed or much weakened.

If the garment be of a deep green, the grey part will appear reddish; if it be of a violet, maroon, or claret, the grey part will appear yellow.

288. The complementary is only developed upon cloths of dark and sombre colours; thus red, scarlet, orange, yellow, and light blue garments do not exhibit it, because they have always too much of the essential colour which is reflected. The modification occurs only when one of the parts is more strongly illuminated than the other by diffused light (279).

289. There is also one circumstance where the fourth modification will appear evident; it is when we look at a series of light tones—blues, rose, &c. (belonging to the same scale)—of a skein of silk or wool, placed upon an easel, that one-half of the same skein presents to the eye the threads disposed in a contrary direction to those of the other half. The half of the skein which does not reflect coloured light to the eye, appears tinted with the complementary of the other half which does reflect it.

290. Fourth modification in a stuff presenting a dark and a light tone belonging to the same scale.

If we place in juxtaposition a dark tone and a light tone of the same scale, well assorted, the light tone will appear of the colour complementary to the scale to which it belongs. This modification is too important to allow me to pass it over hastily.

291. When we look for several seconds on a fabric dyed with a coloured ground, and on which therefore patterns intended to be white, but which, owing to the imperfection of the process employed, have received a light tone of the colour of the ground, the patterns will appear of the colour complementary to the latter. Thus, upon a ground of yellow-chromate of lead, they will appear violet; upon a ground of orange-chrome, they will appear blue; upon a green ground, rose, &c. To dispel the illusion, and to recognise the true tint of the pattern, it is only necessary to cover the ground with a white paper so perforated as to leave visible only the pattern coloured like the ground. The influence of a dark tone upon a feeble tone is such, that not only is the latter neutralized, but the place it occupies upon the cloth appears also tinted with its complementary colour.

292. From the preceding observations it follows that there may be a printed cotton, the design of which, although coloured, will appear to most eyes white, and not of the complementary of the ground. For those eyes which see it thus, the perception of the phenomenon of contrast will correct the imperfection of the art of the calico-printer.

293. In the Lectures upon Contrast, which I delivered in 1836, at the Gobelins, I remarked, that in applying paper (cut for the purpose) upon the lights of a blue drapery of the Virgin in a tapestry representing the Holy Family, after Raphael, they appeared of a light blue, although, when they were seen surrounded with darker tones, they appeared of an orange tint.

294. We can conceive without difficulty that if the modification is not manifested with monochromous objects of vivid colours, as yellow, scarlet, &c., it is because that part of the surface of these objects which reflects the least light to the eye, always reflects enough of its peculiar colour to neutralize the complementary which the coloured light of the illuminated portion tends to develop. I believe that this effect tends to enfeeble the coloured light of the shaded part.

295. Although, in this chapter, I do not propose to treat of the modifications shown by coloured stuffs with white designs; yet, as it is a case so connected with the preceding considerations, I cannot avoid mentioning them in this place.

296. If we observe a sky-blue silk with white flowers, the weft of which is in an opposite direction to the weft of the blue ground, we shall see the flowers white, if they are placed in the most favourable manner to receive the white light reflected by them; while, in the contrary position, we shall see these flowers absolutely orange. There is still much white light reflected, but it is not sufficiently vivid to neutralize the development of the complementary of the ground.

PAINTING ON THE SYSTEM
OF FLAT TINTS.

297. In painting by flat tints, the colours are neither shaded, blended together, nor modified by the coloured rays coming from the surrounding parts of the picture.

In pictures which belong to this kind of painting, the representation of the model is reduced to the observance of linear perspective, to the employment of vivid colours in the nearer parts, and of pale and grey colours in the more distant.

If the choice of contiguous colours has been made conformably to the law of simultaneous contrast, the effect of the colour will be greater than if it had been painted on the system of chiaro-’scuro.

298. In every instance where painting is an accessory, and not a principal feature, painting in flat tints is in every respect preferable to the other kind.

299. The essential qualities of painting in flat tints necessarily reside in the good choice of colours and well drawn outlines. These outlines contribute to render the impressions of colours stronger and more agreeable, when, circumscribing forms clothed in colours, they concur with them in suggesting to the mind a graceful object, when even the imitation of it does not give a faithful representation.

300. We may, in conformity with what has been said, consider that painting in flat tints may be advantageously employed,

1. When the objects represented are at such a distance that the finish of an elaborate picture would disappear.

2. When a picture is an accessory, decorating an object whose use would forbid too elaborate finish, and which would also be too costly. Such are the paintings which ornament screens, work-boxes, tables, &c.; in this case the objects preferable as models, are those whose beauty of colours and simplicity of form are so remarkable as to attract the eye by simplicity of outline, and by vivid colours: such are birds, insects, flowers, &c.