Chapter XII: Appendix: B

As whatever may be of value in this little work on a theme so large and complex as color must of necessity be drawn largely from what has been written before, the following list of books and authors is given, partly as having been referred to during its preparation, and partly as a suggestion for further reading to any student of color who can afford the time and labor necessary to the acquisition of a larger and wider comprehension of a subject which can be treated only scantily enough within the scope of a single small volume.

Although no pretence is here made to completeness as bibliography, yet it is believed that the fifty works enumerated below fairly cover the history of color and of its ever-growing relation to Art and Manufacture. For the sake of convenience the list is chronologically arranged.

A TREATISE ON PAINTING. By Leonardo da Vinci. (London, 1835: Nichols &
Sons.) (Translation.)

COLOUR. By M. E. Chevreul. (London, 1839: Geo. Bell & Sons.)
(Translation.)

THEORY OF COLOUR. By J. W. von Goethe. (London, 1840: J. Murray.)
(Translation, with notes, by Sir Chas. Eastlake.)

RUDIMENTS OF THE PAINTER’S ART; OR A GRAMMAR OF COLOURING. By George
Field. (London, 1850: Weale.)

DARSTELLUNG DER FARBENLEHRE UND OPTISCHE STUDIEN. By W. H. Dove.
(Berlin, 1853.)

RESEARCHES ON COLOUR-BLINDNESS. By G. Wilson. (Edinb., 1855:
Sutherland & Knox.)

GRAMMAR OF ORNAMENT. By Owen Jones. (London, 1856.)

ON COLOUR (ETC.). By Sir J. S. Wilkinson. (London, 1858: J. Murray.)

DIE FARBENHARMONIE IN IHRER ANWENDUNG AUF DIE DAMENTOILETTE. By R.
Adams. (Leipzig, 1862: J. J. Weber.)

PRACTICAL HINTS ON COLOUR IN PAINTING. By John Burnet. (London, 1865:
J. & J. Leighton.)

DES COULEURS AU POINT DE VUE PHYSIQUE, PHYSIOLOGIQUE ARTISTIQUE ET
INDUSTRIEL. By Ernst Bruecke. (Paris, 1866: J. B. Baillière &
fils.)

THE PRINCIPLES OF THE SCIENCE OF COLOUR. By William Benson. (London,
1868: Chapman & Hall.)

COLOR. By M. É. Cavé. (New York, 1869.) (Translation.)

MANUAL OF THE SCIENCE OF COLOUR. By W. Benson. (London, 1871: Chapman
& Hall.)

THE THEORY OF COLOURING. By J. Bacon. (London, 1872: G. Rowney &
Company.)

L’ORNEMENT POLYCHROME. By A. Racinet. 2 vols. F^o. (Paris, 1873–86:
Firmin Didot.)

A GRAMMAR OF COLOURING APPLIED TO DECORATIVE PAINTING AND THE ARTS. By
George Field. (London, 1875: Lockwood & Company.)

THEORY OF COLOR. By Dr. Wilhelm von Bezold. (Boston, 1876: L. Prang &
Company.) (Translation.)

DIE GESCHICHTLICHE ENTWICKELUNG DES FARBENSINNES. By Hugo Magnus.
(Leipzig, 1877: Veit.)

THE PRINCIPLES OF LIGHT AND COLOR. By E. D. Babbitt. (New York, 1878:
Babbitt & Company.)

COMPLÉMENT DES ÉTUDES SUR LA VISION DES COULEURS PAR E. CHEVREUL. By
M. E. Chevreul. (_In_ Institut de France. _Académie des
Sciences_—Memoires. T. 41, partie 2.) (Paris, 1879.) (English
translations exist.)

MODERN CHROMATICS, WITH APPLICATION TO ART AND INDUSTRY. By O. N.
Rood. (New York, 1879: D. Appleton.)

THE COLOUR SENSE: ITS ORIGIN AND DEVELOPMENT. By Grant Allen. (London,
1879: Trübner & Company.)

COLOR-BLINDNESS. By B. Joy Jeffries. (London, 1879.)

A HANDBOOK FOR PAINTERS AND ART STUDENTS ON THE CHARACTER AND USE OF
COLOURS. By W. J. Muckley. (London, 1880: T. & C. Baillière.)

SIGHT; AN EXPOSITION OF MONOCULAR AND BINOCULAR VISION. By Joseph Le
Conte. (New York, 1881: D. Appleton & Company.)

UNTERSUCHUNGEN ÜBER DEN FARBENCONTRAST VERMITTELST ROTIRENDER
SCHEIBEN. By G. B. T. Schmerler. (Leipzig, 1882: W. Engelmann.)

LA GRAMMAIRE DE LA COULEUR. By E. Guichard. 3 vols. (Paris, 1882: H.
Cagnon.)

DIE FARBENWELT. By Max Schasler. (Berlin, 1883: C. Habel.)

THE LAWS OF CONTRAST OF COLOUR AND THEIR APPLICATION TO THE ARTS AND
MANUFACTURES. By M. E. Chevreul. (London, 1883: Routledge.)
(Translation.)

COLOUR. By A. H. Church. (London, 1887: Cassell & Company.)

IL LIBRO DEI COLORI. SEGRETI DEL SECOLO XV. Da O. Guerrini & C. Ricci.
(Bologna, 1887: Romagnoli Dall’ Acqua.)

COLOUR, AN ELEMENTARY TREATISE. By C. T. Whitmell. (Cardiff, 1888: W.
Lewis.)

F. C. SCHROEDER’S “SYSTEMATIC INDEX.” By F. C. Schroeder. (Boston,
1888: F. C. Schroeder.)

IRIS: STUDIES IN COLOUR AND TALKS ABOUT FLOWERS. By A. F. Dielitzsch.
(Edinburgh, 1889: T. & T. Clark.) (Translation.)

RÉPERTOIRE CHROMATIQUE. By Charles La Couture. (Paris, 1890: Gauthier,
Villars & Fils.)

THE CHEMISTRY OF PAINTS AND PAINTING. By A. H. Church. (London, 1890:
Seeley & Company.)

COLOUR IN WOVEN DESIGN. By R. Beaumont. (London, 1890: Whittaker &
Company.)

COLOUR-BLINDNESS AND COLOUR-PERCEPTION. By F. W. Edridge Green.
(London, 1891: Kegan Paul, Trench, Trübner & Company.)

A TEXT-BOOK OF PHYSIOLOGY. By M. Foster. (London, 1891: Macmillan &
Company.)

FLOWERS OF JAPAN AND THE ART OF FLORAL ARRANGEMENT. By Condor.
(Yokohama, 1891: Kelly & Walsh.)

COLOUR MEASUREMENT AND MIXTURE. By W. de W. Abney. (London, 1891.)

HARMONIOUS COLOURING. 3 vols. F^o. By C. H. Wilkinson. (Manchester,
1891: Harmonious Colouring Company.)

COLOUR VISION. By E. Hunt. (Glasgow, 1892: Smith.)

ON A COLOR SYSTEM. By O. N. Rood. (New Haven, 1892.)

STUDENTS’ TEXT-BOOK OF COLOR; OR, MODERN CHROMATICS. By O. N. Rood.
(New York, 1892: D. Appleton & Company.)

COLOUR VISION. By W. de W. Abney. (London, 1895; Low.)

COLOR-VISION AND COLOR-BLINDNESS. By J. E. Jennings. (Phila., 1896:
Davis Company.)

COLOUR IN NATURE. A STUDY IN BIOLOGY. By M. I. Newbegin. (London,
1898: J. Murray.)

PLATE I

WOOLS AS SORTED BY A COLOR-BLIND MAN
]

PLATE II

SOLAR SPECTRA
]

PLATE III
]

TABLE OF SPECTRAL COLORS ┌──────┬───────────────┬──────┬────────────────────┬──────────┬───────┐ │Names │Paints used │ Wave│Purity │Luminosity│Warm or│ │ │ │length│ │ │Cold │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Violet│French Blue and│ 4.059│As great as can be │ 6 │Cold │ │ │Crimson Lake │ │given by pigments │ │ │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Blue │French Blue │ 4.732│ „ │ 5 │Cold │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Green │Emerald Green │ 5.271│ „ │ 3 │Cold │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Yellow│Aurora Yellow │ 5.808│ „ │ 1 │Warm │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Orange│Vermilion and │ 5.972│ „ │ 2 │Warm │ │ │Cadmium │ │ │ │ │ ├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤ │Red │Vermilion and │ 7.000│ „ │ 4 │Warm │ │ │Crimson Lake │ │ │ │ │ └──────┴───────────────┴──────┴────────────────────┴──────────┴───────┘

PLATE IV

THE SPECTRAL COLORS
]

(a) In their order of Luminosity

(b) Pure and Grayed

PLATE V

ADVANCING AND RETIRING COLORS
]

PLATE VI

ADVANCING AND RETIRING COLORS

See page 99. The color screens at end of volume are for use with this
plate.
]

PLATE VII

TINTS
]

PLATE VIII

SHADES
]

PLATE IX

VIOLET

with its extremes
]

PLATE X

BLUE

with its extremes
]

PLATE XI

GREEN

with its extremes
]

PLATE XII

YELLOW

with its extremes
]

PLATE XIII

ORANGE

with its extremes
]

PLATE XIV

RED

with its extremes
]

PLATE XV

SHADES BY CONTRAST
]

PLATE XVI

SPECTRAL COLORS
ON BLACK, WHITE AND GRAY
]

PLATE XVII

WHITE
ON SPECTRAL COLORS
]

PLATE XVIII

BLACK
ON SPECTRAL COLORS
]

PLATE XIX

GRAY
ON SPECTRAL COLORS
]

PLATE XX

SPECTRAL RED WITH ITS COMPLEMENT

N. B. The blue-green complementary is here imitated as closely as
possible, but when spontaneously called up by the eye it is really
brighter than the white paper.
]

PLATE XXI

SPECTRAL RED DISK FOR EXPERIMENT IN COMPLEMENTS

Gaze steadily at the red disk for three minutes, cover it quickly with
the preceding blank page without removing the eyes and you will see
its complementary image.
]

PLATE XXII

SPECTRAL RED AND ITS COMPLEMENT, BLUE-GREEN, IN THEIR RELATIVE
PROPORTIONS

The gray in the centre of this Plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.

(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination. This applies as well to the following four Plates.)
]

PLATE XXIII

SPECTRAL ORANGE AND ITS COMPLEMENT, GREEN-BLUE, IN THEIR RELATIVE
PROPORTIONS

The gray in the centre of this Plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.

(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]

PLATE XXIV

SPECTRAL YELLOW AND ITS COMPLEMENT, SPECTRAL BLUE,

OR

SPECTRAL BLUE AND ITS COMPLEMENT, SPECTRAL YELLOW, IN THEIR RELATIVE
PROPORTIONS

The gray in the centre of this Plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.

(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]

PLATE XXV

SPECTRAL GREEN AND ITS COMPLEMENT, PURPLE, IN THEIR RELATIVE
PROPORTIONS.

The gray in the centre of this plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.

(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]

PLATE XXVI

SPECTRAL VIOLET AND ITS COMPLEMENT, YELLOW-GREEN, IN THEIR RELATIVE
PROPORTIONS

The gray in the centre of this plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.

(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]

PLATE XXVII

MILTON-BRADLEY COLOR MACHINE
]

PLATE XXVIII

TABLE OF COMPLEMENTS ARRANGED IN
PAIRS
]

PLATE XXIX

TABLE OF COMPLEMENTS ARRANGED IN A
CIRCLE
]

PLATE XXX

CONTRAST DIAGRAM

See page 58. Transparency accompanying the volume is
for use with this plate.
]

PLATE XXXI

COLOR ANALYSIS FROM A PRIZE DINNER
TABLE

A harmony of yellow and blue.

See page 70.
]

PLATE XXXII
]

COLOR ANALYSIS FROM TEACUP AND SAUCER Yellow Tint 65 Yellow Shade 5 Blue Tint 20 Spectral Blue 10 ——— 100

PLATE XXXIII
]

PLATE XXXIV
]

COLOR ANALYSIS OF A BOOK ADVERTISEMENT
White 60
Black 22
Yellow 18
———
100

PLATE XXXV

HARMONY HELPED BY OUTLINE
]

PLATE XXXVI

GOOD DYADS OR PAIRS
]

PLATE XXXVII

GOOD TRIADS
]

PLATE XXXVIII

HARMONY BY GRADATION
]

PLATE XXXIX

HARMONY BY CHANGE OF QUALITY

(In the yellow.)
]

PLATE XL

HARMONY BY CHANGE OF QUANTITY
]

PLATE XLI

HARMONY BY CHANGE OF BOTH QUANTITY AND QUALITY

Three yellows, two blues.
]

PLATE XLII

HARMONY BY THE ADDITION OF
ANOTHER COLOR
]

PLATE XLIII

HARMONY BY THE ADDITION OF BLACK
]

PLATE XLIV

HARMONY FROM A DOMINANT HUE
]

PLATE XLV

HARMONY BY INTERCHANGE
]

PLATE XLVI

HARMONY BY COUNTERCHANGE
]

PLATE XLVII

THE TRUE CHARACTER OF SOME OF THE SO-CALLED “WHITES”

(which are really pale tints)
]

PLATE XLVIII

SOME CHANGES BY GRADATION FROM ONE COLOR TO ANOTHER
]

PLATE XLIX
]

COLOR ANALYSIS FROM ASSYRIAN TILES Blue-Green Ground 60 Greenish Yellow 3 Orange 6 Purple-Brown 6 White 20 ——— 100 The variation of color in the blue-green tiles is especially fine.

PLATE L
]

COLOR ANALYSIS FROM ASSYRIAN TILES Blue 35 Yellow 30 White 15 Dull Red 10 Black 10 ——— 100

PLATE LI
]

COLOR ANALYSIS FROM ASSYRIAN TILES Blue 69 Deep Yellow 20 Light Yellow 10 White 1 ——— 100

PLATE LII
]

COLOR ANALYSIS FROM A MUMMY COVER Pale Yellow 34 Green 27 Blue 25 Red 6 Gold 4 Black 2 White 2 ——— 100

PLATE LIII
]

COLOR ANALYSIS FROM AN EGYPTIAN MUMMY CASE Black Ground 63 Yellow (all through design) 17 Green 9 Red 4 Light Red 3 Blue 3 White 1 ——— 100

PLATE LIV
]

COLOR ANALYSIS FROM A MUMMY CASE Green 36 Blue-Green 24 Yellow 14 Red 11 White 10 Dull Red 3 Black 2 ——— 100 Much like a parrot’s plumage.

PLATE LV
]

COLOR ANALYSIS FROM A MUMMY CLOTH
Purple Red 91
Black 5
Pale Gray 4
———
100
Dull yellow ground.

PLATE LVI
]

COLOR ANALYSIS FROM A MUMMY CLOTH Dull Green 29 Bright Green 10 Red 10 Blue 5 Orange 4 Yellow 2 Ground Color 40 ——— 100

PLATE LVII
]

COLOR ANALYSIS FROM A MUMMY CLOTH Deep, Dull Blue 50 Gray 43 Green 3 Dull Red 2 Pale Red 1 Yellow 1 ——— 100

PLATE LVIII
]

COLOR ANALYSIS FROM A MUMMY CLOTH Light Blue 32 Dark Blue 17 Light Red 33 Dark Red 12 Black Stems 5 ——— 100 Gray ground; the ornament a stripe of embroidered leaves and stems.

PLATE LIX
]

COLOR ANALYSIS FROM A MUMMY CLOTH
Red 25
Green 25
Yellow 25
Blue 25
———
100
Gray ground.

PLATE LX
]

COLOR ANALYSIS FROM A MUMMY CLOTH
Red 50
Green 24
Blue 20
Orange 6
———
100
Light gray ground.

PLATE LXI
]

COLOR ANALYSIS FROM A MUMMY CLOTH
Maroon 92
Dull Yellow 5
Cream White 3
———
100
Green linen ground with red border. Cream and yellow runs through
design in small portions.

PLATE LXII
]

COLOR ANALYSIS FROM AN EARLY GREEK VASE
Gray 72
Black 21
Dull Red 7
———
100

PLATE LXIII
]

COLOR ANALYSIS FROM A GREEK VASE
Light Red 35
Dark Red 19
Black 45
White 1
———
100
The Ground partly red, partly black, white in fine outlines or small
dotted outlines.

PLATE LXIV
]

COLOR ANALYSIS FROM A GREEK VASE
Dull Orange 60
Dull Red 10
Black 30
———
100

PLATE LXV
]

COLOR ANALYSIS FROM A GREEK VASE
Gray Ground 71
Black 24
Red 5
———
100

PLATE LXVI
]

COLOR ANALYSIS FROM ARAB MOSAICS Black 33 White 26 Light Red 21 Dull Red 20 ——— 100

PLATE LXVII
]

COLOR ANALYSIS FROM ARABIAN ILLUMINATION Blue 20 Green 20 Red 20 Pale Red 10 Gray 8 Gold 10 White 12 ——— 100

PLATE LXVIII
]

COLOR ANALYSIS FROM MOORISH TILES Olive-Green 30 White 20 Yellow 20 Violet 30 ——— 100

PLATE LXIX
]

COLOR ANALYSIS FROM A PANEL OF THE ALHAMBRA Blue 40 Red 30 Gold 24 White 6 ——— 100

PLATE LXX
]

COLOR ANALYSIS FROM A PANEL OF THE TAJ MAHAL, INDIA White Ground 52 Pale Yellow 10 Deep Yellow 7 Red 5 Pale Green 10 Medium Green 5 Dark Green 5 Black 3 Pale Pink 3 ——— 100 Lilies and leaves on white ground.

PLATE LXXI
]

COLOR ANALYSIS FROM DAMASCUS TILES Pale Yellow Ground 40 Deep Cool Blue 25 Light Blue 20 Green 13 Brown 2 ——— 100

PLATE LXXII
]

COLOR ANALYSIS FROM CELTIC ORNAMENT Green 50 Red 18 Yellow 17 Black 7 White 8 ——— 100

PLATE LXXIII
]

COLOR ANALYSIS FROM ITALIAN MAJOLICA VASE White Ground 38 Deep Blue 34 Yellow 16 Dark Yellow 6 Green 6 ——— 100

PLATE LXXIV
]

COLOR ANALYSIS FROM PANEL OF DUTCH INLAID CABINET OF THE 15TH CENTURY Brown Wood 58 Light „ 19 Yellow „ 5 Green „ 15 Dull Red „ 2 Black „ 1 ——— 100

PLATE LXXV
]

COLOR ANALYSIS FROM SPANISH EMBROIDERY
Black Ground 50
Yellow Design 40
Red in Design 10
———
100

PLATE LXXVI
]

COLOR ANALYSIS FROM SPANISH EMBROIDERY
A harmony of contrast.
Blue Ground 45
Dark Neutral Yellow 30
Pale Yellow 20
Gold 5
———
100

PLATE LXXVII
]

COLOR ANALYSIS FROM AN ANTIQUE PERSIAN RUG
Old Rose 55
Old Yellow 40
Black 5
———
100
The black was used in fine outlines between the rose and
yellow to harmonize them.

The following eight examples have had their harmony greatly increased
by time which has toned their colors.

PLATE LXXVIII
]

ANALYSIS FROM AN ANTIQUE RUG Old Yellow 70 Old Rose 15 Green-Blue 9 Black 6 ——— 100

PLATE LXXIX
]

COLOR ANALYSIS FROM AN ANTIQUE RUG Pale Green Tint Ground 50 Yellow-Pink 15 Yellow 13 Blue 10 Black 7 White 5 ——— 100 Black used in fine lines.

PLATE LXXX
]

COLOR ANALYSIS FROM AN ANTIQUE RUG Camel’s-Hair Gray 50 Cool Blue Tint 20 Green 20 Yellow 10 ——— 100

PLATE LXXXI
]

COLOR ANALYSIS FROM AN ANTIQUE RUG
Green-Blue Ground 50
Red Tint 25
Yellow 25
———
100

PLATE LXXXII
]

COLOR ANALYSIS FROM AN ANTIQUE RUG Blue Shade 50 Yellow Shade 25 Red 15 Light Blue Tint 10 ——— 100

PLATE LXXXIII
]

COLOR ANALYSIS FROM AN ANTIQUE RUG
Neutral Red 65
Cold Blue 20
Silver 15
———
100

PLATE LXXXIV

THE COLOR SCHEME OF AN ANTIQUE RUG
FROM WHICH PLATE LXXXV IS AN
ANALYSIS
]

PLATE LXXXV
]

ANALYSIS OF AN ANTIQUE RUG
(See Plate LXXXIV)
Dull Blue Shade 62
Dull Yellow Shade 38
———
100

PLATE LXXXVI
]

COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY Old Gold Ground 77.5 Blue 8 Brown 5 Light Brown 1 Gray 1 Dark Green 1 Light Green 1 Gray-Green 1 Dull Red 1 Light Red .5 Gold 2 White 1 ——— 100

PLATE LXXXVII
]

COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY Gray Ground 64 Dark Blue 8 Light Blue 7 Gray-Blue 10 Brown 10 Green 1 ——— 100

PLATE LXXXVIII
]

COLOR ANALYSIS FROM JAPANESE SILK BROCADE Yellow-Gray Ground 60 Blue-Gray Leaves 15 White Daisies 16 Pink Tips to Daisies 5 Gold Veins to Leaves and Centres to Daisies 4 ——— 100

PLATE LXXXIX
]

COLOR ANALYSIS FROM BORDER OF JAPANESE CLOISONNÉ VASE, Pl. XC
Greenish White 66
Blue 34
———
100

PLATE XC
]

COLOR ANALYSIS FROM JAPANESE CLOISONNÉ VASE Green-Blue Ground 43 Dark Blue 14 Black 7 Red 9 Yellow 5 Violet 4 White 4 Light Red 3 Lightest Red 3 Greenish Blue 3 Green 2 Gray 1 Brass 2 ——— 100 The fine brass outlines add much to the harmony.

PLATE XCI
]

COLOR ANALYSIS FROM A JAPANESE SKIRT PANEL

BORDER White Ground 23 Black 11 Gold Edge 2 Purple-Blue 4 Dull Gold 6 Dull Pink 4

CENTRE Green Ground 26 Shades of Red 11 Yellow 2 Blue 2 Greens 4 Lavender 1 Gold Edge 1 Black 1 Orange 2 ——— 100

PLATE XCII
]

COLOR ANALYSIS FROM JAPANESE BROCADE Brown 50 Red 10 Dark Blue 8 Dark Green 8 Light Blue 7 Light Green 7 Light Brown 5 White 5 ——— 100 Fine example of a harmony of a dominant hue.

PLATE XCIII
]

COLOR ANALYSIS FROM CHINESE PORCELAIN Deep Lapis Lazuli Blue Ground 50 Turquoise Blue 29 Ochre Yellow 12 Violet 9 ——— 100 Plates XCIII to XCVII inclusive are from Chinese porcelain, the colors having remained brilliant.

PLATE XCIV
]

COLOR ANALYSIS FROM A “BLACK HAWTHORN VASE” Black Ground 30 Green-White Flowers 26 Green Leaves 20 Yellow-Green Leaves 10 Brown Stems 3 Pale Red Flowers 5 Yellow „ 6 ——— 100

PLATE XCV
]

COLOR ANALYSIS FROM A ROSE-COLORED VASE Rose Ground 50 White Panel 23 Blue-Green 10 Yellow-Green 3 Yellow 7 Deep Pink 5 Blue 2 ——— 100

PLATE XCVI
]

COLOR ANALYSIS FROM YELLOW CHINESE PORCELAIN VASE Yellow Ground 44 Light Green Leaves 23 Dark Green „ 8 Cream White Flowers 16 Brown Stems 9 ——— 100

PLATE XCVII
]

COLOR ANALYSIS FROM A CHINESE “EGGSHELL” PLATE Blue 18 Yellow 18 White 18 Green 18 Pink 18 Dark Pink 3 Dark Green 3 Black 2 Gold 2 ——— 100 Pale tints with delicate decoration in strong tones.

PLATE XCVIII
]

COLOR ANALYSIS FROM A BUTTERFLY Dark Yellow Shade 30 Medium Yellow 25 Light Yellow 20 Silver 15 Black 10 ——— 100 The black was well placed to contrast with the light tones, the silver to contrast with the dark tone.

PLATE XCIX
]

COLOR ANALYSIS FROM A STONE
Pale Gray-Green 40
Gray-Green 35
Pale Red 25
———
100
Ground, pale green.

PLATE C

COLOR NOTE FROM AN OLD AND PARTLY
DISCOLORED PROPELLER FLANGE
]

PLATE CI

COLOR NOTE FROM LEAVES ON A TREE

The sun glancing across the smooth leaves makes a cool gray, and
shining through them makes a warm green.
The shaded leaves are a deep green.
]

PLATE CII

COLOR NOTE FROM A SUNSET SKY
]

PLATE CIII

COLOR NOTE FROM BARE WOODS ON THE
EDGE OF A MEADOW
]

PLATE CIV

COLOR NOTE FROM EVERGREENS AGAINST
A GRAY-BLUE RAIN CLOUD
]

PLATE CV

COLOR NOTE FROM A SHADOW ON
WHITE GROUND
]

PLATE CVI

COLOR NOTE FROM A BLUEBIRD

A harmony of cobalt and light red.
]

PLATE CVII

COLOR NOTE FROM A SLICE OF AN ORANGE
]

PLATE CVIII

COLOR NOTE FROM ORANGE CANNA BLOSSOM

with part of leaf
]

PLATE CIX

COLOR NOTE FROM A BUNCH OF AZALEAS
]

PLATE CX

COLOR NOTE FROM OAK LEAVES AGAINST
A DISTANT HILLSIDE
]

PLATE CXI

COLOR NOTE FROM OATS SEEN FROM THE
EDGE OF THE FIELD

So the top was a mass of soft blue-gray-green, while the
stalks were highly colored.
]

PLATE CXII

COLOR NOTE FROM A PUSSY WILLOW
]

PLATE CXIII

COLOR NOTE FROM A TROUT POND
]

PLATE CXIV

COLOR NOTE FROM A TREE FUNGUS

Texture like velvet.
]

PLATE CXV

COLOR SCHEME FROM WINTER LANDSCAPE BETWEEN BALTIMORE AND WASHINGTON
]

PLATE CXVI

SPECTRAL RED
NEUTRALIZED BY BLACK AND WHITE
]

PLATE CXVII

SPECTRAL YELLOW
NEUTRALIZED BY BLACK AND WHITE
]

-----

Footnote 1:

Church, _Colour_.

Footnote 2:

Rood, _Modern Chromatics_.

Footnote 3:

“Mind,” n.s., Vol. II. 1893.

Footnote 4:

The use of this suggestion as to colored glass is strongly urged by
the author, as it is a capital way of seeing how the world would look
were everything in it blue, or any other color.

Footnote 5:

_The Chemistry of Paints and Painting._

Footnote 6:

Church.

Footnote 7:

Chevreul.

Footnote 8:

COLOUR. By A. H. Church. Ch. X., p. 116.

Footnote 9:

MODERN CHROMATICS. By Prof. O. N. Rood. Ch. XVI.

Footnote 10:

COLOUR. By A. H. Church. Ch. XI., p. 144.

Footnote 11:

F. Schuyler Matthews.

Footnote 12:

Lectures and Lessons on Art. F. W. Moody. P. 131.

Footnote 13:

Rood.

Footnote 14:

FLORAL ART OF JAPAN. By Condor.

Footnote 15:

In THE AMERICAN FLORIST.

Footnote 16:

NOTE.—“A streak of light.”—_Rood._

------------------------------------------------------------------------

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