1. The certainty they give in judging of the colour of an object.
2. The certainty they give to our judgment in the various arts which address the eye by coloured materials.
3. The union they establish between the principles common to many arts, which speak to the eye as it were various languages, in employing different materials.
4. The influence that the disposition of the spectator’s mind may have upon his judgment of a work of art.
Section I.
601. The most simple and general conclusion deduced from the law of contrast is certainly that which concerns the judgment we exercise, either by taste or profession, on a colour, whether presented by a coloured paper, a textile fabric, a glass, an enamel, a picture, &c. All those who have some experience in the matter consider one condition as essential to be fulfilled to avoid error, namely, that the colour concerning which we have to determine be compared with another colour analogous to it. If we are ignorant of the law of contrast, the result of this comparison is not exact, whenever the objects compared are not identical. I now proceed to demonstrate this by examples adapted to the application of the principle spoken of. Further, a more remote consequence of the law affords the means of knowing whether the tones of a scale of wool or silk are equidistant.
602. When we have to do with two patterns of any kind, which are related to the same colour, if there is no identity between the tints, we must take into account the contrast which exaggerates the difference; thus if the one be greenish-blue, it will make the other appear less green, or more indigo, or even more violet, than it really is; and, reciprocally, the first will appear greener than when viewed alone; the same with the reds, if one is more orange than the other, the latter will appear more purple, and the former more orange, than they really are.
603. Since the contrast of colours which are not analogous, tends to improve and purify them, it is evident that whenever we would exercise a correct judgment upon the beauty of colours, after comparing them with the colours of objects analogous to the first, we must take into account the kind of work, and the manner in which they are juxtaposed, if the objects compared are not the exact representation of the same subject. For, other things being equal, the same colours not blended, and which are not sufficiently analogous to injure each other, will certainly appear more beautiful disposed in contiguous bands than if each were seen on a ground which consisted of it exclusively, and which consequently produced only a single impression of colour upon the eye. Colours forming palms like those of Oriental shawls or patterns, as of Turkey carpets, produce a much greater effect than if they were shaded or blended, as they generally are in paintings. Consequently, for example, in comparing a stripe of crimson in a Cashmere shawl of various stripes with the crimson of a French shawl, we must destroy the contrast of colours by placing around it a piece of grey or white paper, cut out so as to allow this stripe only to be seen, when the parts compared will be submitted to the same influence from the surrounding objects.
604. So, when we compare the colours of old tapestries, pictures, &c., with colours recently dyed or painted. Time acts very unequally, not only on the different kinds of colours of dyed stuffs, but also upon the tones of the same scale. Thus, the deep tones of certain scales,—those of violet, for example,—fade, while the deep blues of the indigo-blue scale, the deep tones of madder, kermes, cochineal, are permanent. Also, the light tones of the same scale fade during a time which has no sensible effect in altering its deep tones. Whence the colours which have most resisted the destructive action of time, being more isolated from each other, as well as deeper and less blended, appear to have more brilliancy. There are many pigments, as most of the lakes, which are in the same condition as compared with ultramarine, the oxides of iron, the blacks, &c.
605. When we look at the whole effect of tones of most of the scales made use of in these manufactures, the phenomenon of contrast exaggerates the difference of colour observed between the extreme and the middle tones of the same scale. For instance, in the scale of indigo-blue, applied to silk, the lights are greenish, the browns are tinged violet, while the intermediate tones are blue; but the difference of green and violet at the two extremes is augmented by the effect of contrast. So in the scale of yellow, the light tones appear greener, and the browns redder, than they really are.
606. In speaking of a difference existing between the deep and the light tones of most of the scales of wool and silk, which is exaggerated by contrast, I will add some remarks relative to the gradations the dyer produces. This gradation is very seldom perfect, as the light tones are exactly represented to the eye by the colour taken at its normal tone, reduced by white. Thus, a compound which at the normal tone is pure yellow, or slightly tinged with orange, will, by reduction, produce light tones of a greenish-yellow. An orange-red compound upon silk or wool will yield light tones tinged violet-red. To obtain a correct gradation, we must in most cases add to the weak tones a new coloured material, adapted to neutralize or weaken the defect spoken of.
607. Many of the colouring matters used in painting produce the same result when reduced with white. I do not speak here of changes which may be the effect of chemical action; I allude only to those which result from an attenuation of the coloured material. For example, the normal tone of carmine is a much purer red than its light tones, which are evidently tinged with lilac. Ultramarine, so beautiful in itself, yields light tones which, with respect to the blue rays, appear to reflect more violet rays than the normal tone. In consequence of these facts, it is difficult to colour the chromatic diagram, because many trials must be made to obtain the modification of colour which yields the normal tone of a scale, by the addition of such coloured materials as will render the gradation correct.
608. Contrast, which augments the difference existing between two tones of the same colour, affords the means of judging with greater certainty than could otherwise be done, whether the numerous tones of a scale are at the same distance from each other. Thus, if the tone 2, placed between 3 and 4, appears equal to the tone 1, it follows, if the tones are equidistant, that 3 placed between 4 and 5 will appear equal to 2; that 4 put between 5 and 6 will appear equal to 3, and so with the others. If the tones are too near together to yield this result, we must move them successively, not one degree, but two or three. This means of judging of the equality of distance that separates the tones of the same scale, is based upon the fact, that it is easier to establish an equality than to estimate a difference between patterns of the same colour.
609. In order to sum up in few words the generalities which must serve as the bases of our judgment, not on one colour compared with another of the same sort, but on the associations of two colours, which any object whatever presents to our eyes, we must consider combinations both of complementary and non-complementary colours.
1st. Combination of Complementary Colours.
This is the only association where the colours mutually improve, strengthen, and purify each other without leaving their respective scales.
This case is so advantageous to the associated colours, that the combination is also satisfactory when the colours are not absolutely complementary; also when they are made dull with grey. I therefore prescribe the complementary association when we have recourse to the harmonies of contrast in painting, in tapestry, in the arrangement of coloured glass windows, in the assortment of hangings with their borders, in that of stuffs for furniture and clothing; and, lastly, in the arrangement of flowers in our gardens.
2nd. Combination of Non-complementary Colours.
The product of this combination is distinguished from the preceding in this,—the complementary of the juxtaposed colours, differing from the other colour to which it is added, there must necessarily be a modification of hue in the two colours, as well as a modification of tone, if they are not taken at the same height.
610. Juxtaposed non-complementary colours can certainly give rise to three different results:—
The greater the difference between the colours, the more favourable will the juxtaposition be to their mutual contrast; consequently, the more analogy they will have, and the more chances there are that the juxtaposition may injure their beauty.
1. Two non-complementary colours improve each other by juxtaposition.
611. Yellow and blue are so dissimilar, that their contrast is always sufficiently great for their juxtaposition to be favourable, although the juxtaposed colours belong to different scales of yellow and blue.
2. One colour juxtaposed with another which is not its complementary, may be improved, while the latter may be injured.
A blue, which is improved by a yellow, being placed beside a violet (blue rather than red) may lose some of its beauty, by becoming greenish; while the orange it adds to the violet, neutralising its excess of blue, rather improves than injures it.
3. Two non-complementary colours may injure each other.
A violet and a blue are reciprocally injurious, when the first greens the second, and the latter neutralizes sufficient of the blue in the violet to make it appear faded.
It might also happen that although the colours juxtaposed be modified, neither gaining nor losing in beauty, that the one may gain without the other losing; lastly, that the one may neither gain nor lose, while the other loses.
612. In the association of two colours of equal tone, the depth of the tone may have some influence on the beauty of the association.
For example, a deep indigo-blue and an equally deep red, gain by juxtaposition; the first, by losing some violet, will become a pure blue, the second, in acquiring orange, will become brighter. If we take light tones of the same scales, it may happen that the blue will become too green to be good as a blue, and that the red, acquiring orange, will be too yellow to be a pure red.
613. In the association of two coloured objects of tones very distant from each other, belonging to the same scale, or to scales more or less allied, the contrast of tone may have a favourable influence upon the beauty of the light tone; because, in fact, if the latter is not a pure colour, its juxtaposition with the deep tone, upon the whole brightening it, will purify the colour from whatever grey it may have.
614. It is very necessary for the correction of our judgment of these principles on the binary associations of colours, not to lose sight of all that precedes, concerning colours that are “dead,” or without gloss, and that their combination be considered independently of the form of the objects presenting them, for the twofold reason, that the glossiness of the coloured surfaces, and the form of the bodies which these surfaces bound, may modify the effect of two associated colours; consequently, the analysis I have made of the optical effects of colours would be incomplete without speaking of the possible influence of these causes.
Influence of Gloss taken into consideration in the Effect of Contrast of two Colours.
615. The optical product of the juxtaposition of contrasted flat colours is composed of two effects:—1. The effect which arises from each of the juxtaposed colours, by receiving the complementary of the colour contiguous to it, is thus strengthened or tinged agreeably, independently of any augmentation of gloss. 2. The effect arising from gloss in the two juxtaposed colours. Here it may be remarked that associations which I have not prescribed, such as red with violet, or blue with violet, have a fine effect in the plumage of certain birds and butterflies; for, in these natural associations, the effect arising from the addition of the complementaries to each, which would injure the flat colours, is entirely insensible in surfaces which acquire metallic brilliancy from their organic structure. Finally, I shall add, that it would be necessary, before raising the objection, to demonstrate that the same red, associated with green, the same violet associated with yellow, and the same blue associated with orange, equally glossy, would be less effective than in natural assortments.
Influence of Form taken into consideration in the Effect of Contrast of two Colours.
616. Elegance of form, the arrangement of the parts, their symmetry, the effects of light and shade, and the association of ideas which may connect this form with an agreeable recollection, will prevent the perception of the ill effect of two associated colours, even when not glossy. Thus, for example, in flowers, combinations, which would not produce a good effect upon two plain surfaces, are very beautiful. For example, the flower of the sweet pea, which has the combination of red and violet.
617. The critic must be directed by the considerations here summed up:—
1. The kind of association: the greater the difference between the colours, the more they beautify each other; and, the less difference there is, the more they will tend to injure one another.
2. The equality in depth of tone.
3. The difference of tone, the one being deep, the other light.
4. The glossiness of the surfaces which reflect the colours to the eye.
5. The form of the coloured body.
618. It is evident that the rules prescribed for judging of a colour, and the associations of two colours, in an absolute manner, must serve for judging as to the colours of an association, however complex it may be. We shall consider the masses of colours which are upon the same plane, the extent which each occupies, and the harmony which unites them. On submitting to a similar examination the colours on the other planes, we can then look at the colours of the latter. The critic who is well satisfied with seeing clearly at the same time, only a very small number of the objects that a picture presents to him and who is also accustomed to examine a coloured composition in this manner, is in the position of a person who reads in succession writing on the same side of a sheet of paper; one series of lines crossing the first at right angles, and the third composed of lines running diagonally across the paper. The critic must review the ensemble of the picture as to its colours, and then, being attentive to their particular and general associations, he will be in a condition to enter into the thought of the painter, and to see whether he has employed the most suitable harmonies to express it. Although it is easier to form with opposed colours than with neighbouring colours binary assortments favourable to the associated colours, yet, when a great number of pure and brilliant colours are employed, it is more difficult to harmonize them than if we produced the effect with a small number of colours, which would involve only the harmony of analogy, or that of scale, or of hue.
619. Although harmony of contrast most favourably causes two colours to impart value to each other, yet, when we desire to derive the greatest advantage from a union of numerous brilliant colours in any work—a picture, for instance,—this diversity presents some difficulties in the general harmony, which a smaller number of colours, and especially of brilliant colours, would not present. It is, therefore, evident that, if we compare two effective pictures, well adapted to be judged under the relation of colour (other things being equal), the one which presents more harmony of contrast of colour will have the greater merit, on account of the difficulty overcome in the employment of the colours; but it must not be inferred that the painter of the other picture is not a colourist; for the art of colouring is composed of several elements, and the talent of opposing pure colours to each other, is only one of these elements.
620. Let us now consider the relations existing between the subjects of painting and the harmonies they admit of. We know that the more pictures address the eye by numerous contrasts, the more difficulty the spectator experiences in fixing his attention; especially if the colours are pure, varied, and skilfully distributed upon canvas. It results, therefore, from this, that these colours, being much more vivid than the flesh tints, the painter who wishes that his idea should be found in the expression of his figures, and who, deeming this part of his art superior to the rest, is convinced that the eyes of most people ignorant of the art of seeing, being carried away by their first impressions, are incapable of returning from these to receive others;—the painter, I say, who knows all this, and is conscious of his power, will be restrained in the use of harmonies of contrast, and prodigal of the harmonies of analogy. But he will not derive advantage from these harmonies, especially in a subject covering a vast space filled with human figures, as the “Last Judgment” of M. Angelo, unless he avoids confusion by correct drawing, by a distribution of the figures in groups, skilfully distributed over the canvas, so that they may cover it almost equally, yet without cold symmetry. The eye of the spectator must embrace all these groups easily, and seize the respective positions; while in looking into one of them he must discover a variety which will invite his attention to other groups.
621. The painter who fails to gain the effects of the physiognomies, &c., in having recourse to the harmonies of analogy, will not have the same advantage in fixing general attention, as the painter who employs the harmonies of contrast.
The harmonies of contrast of colour are especially applicable to scenes (illumined by a too vivid light), representing fêtes, ceremonies, &c., which may be sober without being mournful; they are also applicable to large subjects, comprising groups of men animated with various passions.
Hence, the critic must never compare the colouring of two large compositions without taking into account the difference which may exist in the suitableness of each subject with one kind of harmony rather than with the other.
Painting in Flat Tints.
622. To apply painting in flat tints to historical, portrait, and landscape painting—in a word, to the imitation of any object of which we can produce a faithful representation, would be going back to the infancy of art; but to abandon it to practise exclusively the system of painting where all the modifications of light are reproduced according to the rules of chiaro-’scuro, would be an error which can be demonstrated beyond question.
1. That, in every instance in which a picture must be placed at such a distance from the spectator that the details of chiaro-’scuro will not be visible, we must have recourse to flat tints,—not neglecting, however, to use masses of light and shade adapted to give relief, if it is considered suitable.
2. That, in every case where the picture is necessary to the decoration of an object, flat tints are preferable to chiaro-’scuro, because the use of the object almost always prevents the picture which ornaments it from being clearly seen under all circumstances. Thus painting in flat tints is preferable to the other—
For ornamenting boxes, tables, screens, which, from the various positions their use requires, only allow to be seen a part of the pictures which decorate them; or, if the paintings are entirely visible, as those of a screen, they will be presented relatively to the daylight in a manner quite different from each other, on account of these various positions of their parts;
For decorating curved surfaces, as those of vases, the surfaces of which are never plain.
3. That the qualities peculiar to painting in flat tints are:—
Whenever suitable, the most vivid and the most contrasting colours may be advantageously employed.
Simplicity in the whole, so as to render clear and distinct view easy.
623. If we examine paintings with sufficiently powerful magnifiers, we shall see that the coloured material, far from being continuous in all its parts, is in separate particles, and consequently, if the naked eye does not perceive them separately, it is because they are too small. In fact, the coloured threads (elements of tapestries and carpets), and rigid coloured prisms (elements of mosaics), which are visible to the naked eye, may be reduced to such a state of division, and so mixed and combined, that at the distance from which we view them united they appear as a uniform coloured surface—as if painted; whence the possibility of making, with these elements, works which correspond to those painted in chiaro-’scuro; but it will be easier to execute such as correspond with flat tints.
Tapestries with Human Figures.
624. Tapestries with human figures derive their origin from the taste of mankind for painting. They had adorned churches, palaces, and castles, before they appeared in simple dwellings.
From the filamentous condition of the elements constituting them, their size, the direction the weaver gives them in twisting the weft upon each thread of the warp, results a coloured image presenting two systems of lines cutting each other at right angles. From this structure it results, that a tapestry will not produce the effect of a painting (the surface of which is entirely uniform), if the spectator does not view it from a point sufficiently distant; so that, these lines ceasing to be visible, the delineation which separates each part of the design from the contiguous parts, will appear like the delineations of a painting, as much so as the indentations of the outlines which are oblique to the weft will permit. Hence the objects represented by it must be large, of various colours, forming harmonies of contrast rather than harmonies of analogy.
625. Every model which does not fulfil the previous conditions is bad, and as, in pictures which have not been painted with the intention of being reproduced in tapestry, it is difficult to meet with the union of pure outline with harmonies of colours sufficiently numerous and contrasted, it follows that what would be very advantageous to the art, is the execution of pictures intended to serve exclusively as models, painted broadly, so as to resemble, in some degree, painting in flat tints.
The weaver not having, at least at present, models painted on this system, has to make, not only, as we say, a translation, but also a free and not a literal translation, of the model; and it is this, in my opinion, which distinguishes the artist-weaver from the mere workman. Far from contending, then, with painting, the weaver, on the contrary, must study the circumstances in which he should yield in the struggle, so that he may avoid the difficulties with the means at his disposal; and when, especially, he must deviate from his model.
Tapestries for Furniture.
626. The preceding consideration respecting the size of objects that figured tapestries should reproduce, is not applicable to tapestry for furniture, seeing that the threads of the warp produce lines which, far from being disagreeable, are often imitated by the paperstainer.
627. These fabrics being intended for chairs, couches, curtains, screens, &c., the painter charged with composing designs for this class of works, must never forget that tapestries may occupy dark places, where they are imperfectly and often indistinctly seen; consequently he must select simple and elegant forms, in harmony of colour with the tapestry, &c., in the apartment. These models, even more than those for tapestries with human figures, must assimilate with painting in flat tints.
From among the facts I could quote to support this opinion, I shall select the following. There was a deep rose-red curtain, the centre representing a large bouquet of flowers of various colours, framed, as it were, in a garland of white roses. The artist had painted the model under the idea of executing this garland with silver thread; but this metal being objectionable, on account of its tarnishing by various exhalations, preference was given to white and grey silk, imitating the tones yielded by a silver object in relief. An experiment showed that it could not be attained by these means, because the contrast of the ground made all the half-tints appear green-grey, and these in their turn made the lights appear rusty-pink, in consequence of the greenish colour of their contrast. This annoyance being communicated to me, I advised M. Deyrolle, in reproducing the model, to make use of only three light tones of the rose scale in silk, and a white linen thread. By this means I expected that the complementary of the ground, neutralizing the rose, would produce a greyish half-tint, well adapted to set off the white. The result was such as I had foreseen. A second copy, made with a mixture of the light tones of the pure rose scale, slightly broken, gave an image less white, less silvery than the preceding; or, in other terms, appearing a little greenish when compared with the first, and more harmonious. It resembled the effect obtained with rose-red under lace or tulle, which permits little of the ground to be seen. This example indicates the means of executing white designs upon any kind of ground.
Savonnerie Carpets.
628. Carpets are larger than the tapestries for hangings; on the other hand, being liable from their position to be soiled by the feet, and to receive furniture on some part, they are in a less favourable condition than tapestries for being distinctly seen. This, then, is one reason why we should choose models, of design and colour adapted to the circumstances necessitated by custom, and in harmony with what is around.
Mosaics.
629. Mosaics being composed of minute prisms, and of materials susceptible of polish, we can rigorously copy very small objects, and, consequently, approach much nearer to painting in chiaro-’scuro than by employing threads. But to arrive at this result, without being unfaithful to the peculiarity of the art, the materials must be sufficiently solid, and joined together so intimately as to resist the agencies which would destroy a painting; for if this end be not attained, we cannot see the use of copying a picture in mosaic. So that to justify the production of such works, we must make sure that, in the situations in which they are placed, they will resist the agents which would destroy the works of the painter.
Windows of Coloured Glass.
630. A work executed in small prisms of transparent coloured glass, in imitation of painting in chiaro-’scuro, would be a true transparent mosaic. I do not know that such an imitation has ever been executed.
All the coloured glass windows which I have spoken of as decorations of Gothic churches, are composed exclusively of small pieces of glass of uniform colour, united by strips of lead or of iron; or altogether of these small pieces of glass, and of glass upon which we have applied with a pencil materials which afterwards have been vitrified: we can only entertain the question of the latter in this article.
We may propose two different objects in the production of these windows: either the coloured pieces are altogether secondary in the work, that is to say, occupying a much smaller extent of surface than the others, they do not attain to the perfection of painting,—such is the case with the greater part of the windows of large Gothic churches,—or else these pieces are the principal parts, which, predominating over the others, we attach great importance to the design and to the gradation of tints; such are several windows executed at the Royal Manufactory at Sèvres. The more such works resemble the preceding windows by the effect of their variety, brilliancy, and apposition of colours, the more they attain the object they must essentially fulfil.
Tapestries, Carpets, Mosaics, and Coloured Glass Windows, corresponding to Painting in Flat Tints.—Tapestries with Human Figures.
631. Although I have advised for tapestry models executed on the system of painting in chiaro-’scuro to resemble painting in flat tints, yet I shall not recommend taking the models entirely according to this latter system.
Tapestry for Furniture.
It is quite otherwise with patterns of tapestry for furniture. I believe that we can make some very beautiful works by copying patterns in flat tints; and that, in the decoration of large apartments, we may obtain an excellent effect from this kind of tapestry. I believe, also, that it would be more suitable for forming part of a general system of decoration, than the kind of tapestry of which I have spoken in the preceding article. Moreover, it is more favourable than the latter to the splendour of the colours.
The preceding observations are entirely applicable to the production of carpets.
Mosaics.
632. Mosaics being composed of more rigid and coherent coloured materials than are employed in the arts which combine coloured materials, I believe that it will be requisite, in judging works of this sort, to consider the power of the materials to resist the effects of friction, water, and atmospheric agents as essential qualities; the colour will follow.
Windows of Coloured Glass.
633. Considering coloured glass windows under the threefold relation of transmitting light into large Gothic churches, of their accordance with the decoration of objects consecrated to the rites of the Church, of transmitting a coloured light entirely in unison with the religious sentiments, I prescribe a uniform colour for rose windows and straight windows with circular or pointed tops, the smallest number of colours in the glass, glass of uniform colour predominating over the other to produce the best possible effects of colour.
634. It is not enough to have indicated the rules to be followed and the principles to be observed in the production of effects, and the judgment of them in relation to art; we must also speak of the disposition of the spectator for receiving, more or less intensely, the impression of those effects. To take no notice of this disposition would be to display ignorance of human nature, and of the utility of the examination, which should be impartially pursued also by the critic, who may exaggerate blame as well as praise.
Without examining the influence that the passions exercise in opinions formed on works of art, I will say a few words upon a predisposition which may be remarked in a portion of the public, at least at certain epochs, and which has its source in man’s vanity; then I will point out the part which the association of ideas performs in our adoption of opinions.
635. When a body of painters, called a school, has produced some chefs-d’œuvre, it frequently happens that a great number of mediocre works, executed under the pretence of continuing them, far from being favourable, are, with a portion of the public, injurious to them, on account of the monotony resulting from an imitation, more or less servile, of their form, colour, and even of their subjects. The public, under these circumstances, are ready to applaud any innovation that will excite emotions which it has not for some time found in contemporary painting, and it is then that amongst the public, voices are raised against great works, which have nothing in common with the tame imitations of them produced by mediocrity. Indeed, there comes an epoch when innovation, losing the only advantage it possessed of presenting to the eye images differing from those which it had been a long time accustomed to see, the public returns to the chefs-d’œuvre, and forgets all the feeble works composed in imitation of them by feeble pupils; and we will add that, if works professing to be of the new school, and endowed with undeniable merit, should exist, they would, in the estimation of connoisseurs, take the places they ought to occupy; whilst those which had arrested attention by innovation only, would disappear for ever.
636. Finally, to notice the effect which associations of ideas have on our opinions. For example, he who arrives at Versailles, full of admiration for the age of Louis XIV., repeoples the gardens with all the great men that have frequented them, and his thoughts recurring to the fêtes given by an elegant and polished court, the admiration of Europe, he will judge the work of Lenôtre more favourably than he who, without being hostile to the grand siècle, will see nothing but a garden subordinate to a palace. And the Christian who associates in his mind the architectural form, the brilliancy of the coloured glass, and the religious ceremonies of the Gothic Church, all which he has venerated from his childhood, will be in a disposition to prefer the cathedral of Cologne to that of St. Peter’s at Rome; while the latter would be associated with the profoundest veneration in the mind of a Christian of Rome.
The following section, in which are described the advantages of contrast with regard to the heightening and purifying of the colour of cloths for dress, properly belongs to the chapters on clothing, pp. 165, &c. But, as in the present day, the colours of men’s ordinary dress are not usually very various or strongly contrasted, this portion of the work has a more special application to military uniforms; the choice of colours being regulated by the principles laid down and exemplified throughout the work.
And, independently of economical considerations, the selection and arrangement of colours for military uniforms demand investigation as to the prominence or obscurity resulting from their combination, as well as to their æsthetical effect.
Of Uniforms composed of Complementary Colours.
By the law of contrast, red and green of similar tone in the same uniform, will heighten each other. Let us suppose the augmentation of colour by juxtaposition to equal one-tenth, its optical effect may be stated as 1¹/₁₀. If a single coloured uniform, by one year’s wear lose one-tenth of its colour, it is clear that the uniform of the above two colours after being worn the same time will be as effective as the single colour was originally.
Similar reasoning may be applied to all colours that are complementary, as orange and blue, violet and greenish yellow, &c.; it is necessary however to take into consideration their difference of tone.
Among colours which are not complementary, but which produce an agreeable contrast, may be mentioned particularly blue and yellow, blue and scarlet, green and yellow.
Blue and Yellow.—These two colours harmonize well, the blue imparting to the yellow an orange tint so much the deeper as the tone of the blue is raised, while the yellow communicates to the blue a beautiful tint of violet, or if the blue have any unpleasant greenish tint the yellow will neutralize it. If, however, there be a great difference in the tone of the two colours, contrast arising from this difference might destroy the effect of the contrast of colours; so that a deep blue might appear black or less violet, while the yellow, being enfeebled, might seem greenish.
Blue and Scarlet.—Deep blue and scarlet make a beautiful assortment, the blue giving fire to the scarlet; the latter rendering the blue more pure. There is no doubt that for effect a clearer blue and a fresh orange would be preferable, if there be no white in the uniform.
Green and Yellow.—This combination pleases by its gaiety, which suits cavalry of the line. But the green should be yellower and clearer than that which associates well with red; for the twofold reason that the yellow, by neutralizing a portion of the yellow in the green, raises the colour of the blue, and consequently lessens the brilliancy of the green. Besides, this effect tends constantly to increase, as the yellow of the green fades sooner than its blue. On the other hand, the yellow cloth receiving red from the green, must not be taken too deep. This case furnishes a good example of the economical advantage of contrasts of colour generally; and it will be seen that good arrangements are so much more difficult to make, as we depart from the contrast of complementary colour.
Of a single Colour and White.
We must refer to our preceding observations with respect to the juxtaposition of white with colours (178) to reason upon these combinations in uniforms. Colours are heightened, their complementaries are added to the white, and effects are produced which are so much the more perceptible as the colours are less raised in tone. If the white is rusty the juxtaposition of blue will heighten its tint; violet placed beside it will clear it, rendering it yellow; green will increase its redness; yellow, and especially orange yellow, will enfeeble it.
A white uniform has a good effect, not only when white pantaloons are worn with a white coat, or with facings, collar, &c. of white to a light coloured coat; but it has a good effect also with light trousers; for instance, light blue and white coat, or collar and facings. White trousers also do well with a uni-coloured coat.
Bi-coloured Uniforms with White.
White produces a really good effect only with blue and orange, or blue and red, being much inferior with green and yellow, or blue and yellow. It is, however, very suitable for trousers, with any combination of two agreeable colours in the coat. Nothing more clearly demonstrates the advantage of blue or red with white, than the difference between a uniform of deep red and blue without white, and the same with white facings and buff-skin belt, &c.
Bi-coloured Uniforms with Black.
Black enters advantageously into the composition of many uniforms of two luminous colours, such as scarlet, orange, yellow, or bright green. A scarlet coat with facings of greenish, rather than orange, yellow, is perfectly adapted to black trousers. And black trousers may be associated with sombre colours in the other parts of the dress for a uniform which is not to be conspicuous or seen far off.
Uniform of more than two Colours,
not comprising Black and White.
Although three colours may be combined without producing a bad effect, yet I give the preference to a bi-coloured dress with a mixture of black and white. And I may remark here that if the sight of several colours be more agreeable than of one only, there are disadvantages in the union of many colours, especially if the colours are scattered on different objects, or several parts of the same object.
Uniform of several Shades of the same Colour.
Strictly speaking, it is possible to make an agreeable arrangement of colours belonging to the same or neighbouring scales; yet the difficulty of doing this, and the chances of success where there is a contrast of colour, determine me to reject the former, at least whenever brilliant colours are employed; but for sombre-coloured arrangements they may be employed. In proof of this, I will mention the bad effect of those French uniforms, in which there is a juxtaposition of madder and of cochineal reds.
Uniforms of two Tones of the same Scale.
This arrangement is not successful, for the lighter loses its colour, and if the deep tone acquire it, it is scarcely ever advantageous.[3] We will not therefore dwell upon it.
Of a Mono-coloured Uniform.
If uniforms of contrasted colours are advantageous in an economical point of view, if light coloured uniforms present advantages when it is desirable to exhibit to the enemy the numbers who oppose him, there are many cases in which the object is rather to conceal and dissimulate their presence, than to display them. Well, for such purposes, or if there is to be established a sort of hierarchy among the various corps, by means of dress, we may have recourse to a single and sombre-coloured uniform.
The Influence of Superficial Extent upon Combinations
of Colours in Polychromous Uniforms.
I have already several times had occasion to speak of the influence of extent in the proportions of colours even when well associated, I must now add that it is not enough merely to make a satisfactory combination, but that to produce the best results from colours, they must be employed in suitable respective proportions.
When a colour is in feeble proportion to another, it must be spread as equally as possible throughout the garment; as, for example, in the uniform of the artillery, blue and scarlet; the latter, although far less in superficial proportion, produces a very good effect, because it is distributed throughout the uniform.
In a polychromous uniform, where one colour is found in several garments, we must avoid confounding the colour with the superposed or contiguous parts, so as to make one portion seem to belong to another. For example, the French regiments wear red trousers, with a blue coat turned up with the same red as the trousers. What happens? At a certain distance the one seems a part of the other, and the blue coat-tails seem far too narrow. It would be easy to remedy this defect by putting blue with red braid for the portions of the coat turned up.
From the above, I admit the two following principles:—1. Whenever the coat and trousers are of the same colour, and there is a second colour put upon the coat in feeble proportion, it must be repeated on the trousers, in a broad band, if the soldier wear boots, or in a braid, if he wear shoes. 2. Whenever the trousers are not of the colour which forms the basis of the coat, but of facings or distinctive parts, a band or simple braid of the main colour of the coat will restore to the trousers their distinctness.
These remarks show how desirable it is that the choice of colours, and especially of those which are distinctive of regiments or corps, should be the result of rules, established by their adaptation to the duties to be rendered by the regiments wearing them.