Chapter III: Section III: On Colouring in Painting 82

CHAP. I.—On Colouring 82
Of Aërial Perspective 83
Of Colouring in respect to the Harmony of the Colours
of the various Objects composing the Picture 85
CHAP. II.—Utility of the Law of Simultaneous
Contrast of Colours in the Art of Colouring 87
Utility of this Law in order to imitate promptly and
surely the Modification of Light on the Model 89
Utility of the Law in order to Harmonize those Colours
of a Composition which are inherent to the Nature
of the Object represented 95

SECOND DIVISION.—IMITATION OF COLOURED OBJECTS BY MATERIALS
OF A DEFINITE SIZE, AS THREADS, &C. 102
CHAP. I.—On the Elements of Gobelins Tapestry 104
RULE I.—The Binary Mixture of Primary Colours 104
RULE II.—The Mixture of Complementary Colours 105
RULE III.—The Mixture of the Three Primary Colours in such
proportions that they do not become neutralized, because
one or the other of them is in excess 108

THIRD DIVISION.—COLOUR PRINTING 118
On Calico-Printing, and printing Paper-hangings 118
False Judgment of the Value of Recipes for Colouring
Compositions 119
CHAP. II.—On the Law of Simultaneous Contrast of
Colours in relation to Paper-hangings with Figures,
Landscapes, or large Flowers of varied Colours 121
On the Law of Simultaneous Contrast of Colours
relatively to the Borders of Paper-hangings 123
Printed or written Characters on Papers of different
Colours 136
On the Assortment of Colours for reading by diffused
Daylight 138

FOURTH DIVISION.—EMPLOYMENT OF COLOURS IN ARCHITECTURE 138
1. On the Employment of Colours in Egyptian Architecture 138
2. On the Employment of Colours in Greek Architecture 139
3. On the Employment of Colours in Gothic Architecture 141
Application to the Interior of Edifices 143
On the Assortment of Stuffs with the Wood of Seats 143
On the Selection of Frames for Pictures and Engravings 145
On the General Decoration of the Interiors of Churches 147
On the Decoration of Museums and Galleries 149
Decorations of the Interior of Houses 152
On the Assortment of Colours in Interiors, the Walls of
which are panelled or covered with Marble, Stucco,
or Painted Wood 163

FIFTH DIVISION.—CLOTHING 165
I. MEN’S CLOTHING 165
Of the Advantages of Contrast, considered with regard
to the apparent Cleanliness of Cloth for Clothing 165
II. FEMALE CLOTHING 167
Colours for the Dress of Women with White Skins 167
Of the Colours of the Hair and Head-dress 168
Of the Colours of the Complexion and the contiguous
Drapery 169
The Head-dress in relation to the Coloured Rays which it
may reflect upon the Skin 171
Fair-haired Type 175
Type with Black Hair 176
On the Assortment of Colours in the Dress of
Women with Copper-coloured Skins 177
On the Assortment of Colours in the Dress of
Women with Black or Olive Skins 177

APPLICATIONS TO HORTICULTURE.

On the Art of arranging ornamental Plants in Gardens, so
as to derive the greatest possible advantage from the
Colours of their Flowers 180
Assortments of Flowers where the Plants are apart 181
Assortments relating to the Harmonies of Contrast of Hues 182
Assortments as to Harmony of Analogy 182
On the Art of assorting Ligneous Plants in Gardens, so as
to derive the best possible advantage from the Colour
of their Foliage 184
On the Distribution and Planting of Trees, &c., in Masses 185
Chap. I. Of Lines of Plants 187
Of the Lines of Plants called Screens 188
Of Lines of Plants considered as Elements of Masses 188
Of Homogeneous Masses 189
Of Heterogeneous or Varied Masses 190
Isolated 190
Contrast of Colours 194
Repetition 194
Symmetry 196
General Harmony 196

SIXTH DIVISION.—INTERVENTION OF THE PRECEDING PRINCIPLES IN
THE JUDGMENT OF COLOURED OBJECTS, RELATIVELY TO THEIR
COLOURS, CONSIDERED INDIVIDUALLY, AND TO THE MANNER IN
WHICH THEY ARE ASSOCIATED 197
On the Connexion of the Law of Simultaneous Contrast
of Colours with the Judgment we form upon all
Coloured Bodies, under the relations of the respective
Beauty or Purity of their Colours, and of the Equality
of the Distance of their Tones if these bodies belong to
the same scale 205
On the Comparison of two Samples of the same Colour 206
Influence of a Surrounding Colour upon one Colour
when compared with another 206
On the Effect of Contrast upon the Browns and the
Lights of most of the Scales of Wood and Silk employed
in Tapestry and Carpets 208
Means afforded by Contrast for ascertaining whether
the Tones of a Scale of Colour are equidistant 209
Of the Binary Associations of Colours, critically
considered 210
Of the Complex Association of Colours, reviewed
critically 214
Of the Arts which address the Eye by employing
Coloured Materials of a certain size, considered
relativelyto the Physical Condition of these Materials,
and to the Peculiarity of the Art employing them 218
Tapestries, Carpets, Mosaics, and Coloured Glass
Windows, corresponding to Paintings in Chiaro-’scuro 219
Of the Disposition of the Mind of the Spectator in
respect to the Judgment he forms of an Object of Art
which attracts his eye 225

ON THE COLOURS OF MILITARY UNIFORMS 227

INDEX 235

LIST OF ILLUSTRATIONS.

ENGRAVED AND PRINTED IN COLOURS BY EDMUND EVANS.

In referring to the illustrations, it will be necessary to cover
with white paper all but the example immediately under notice.

NOTE.—In Plates 8, 9, and 10, the examples are in rows
of 13 circles arranged lengthwise.

PLATE PAGE
1. DIAGRAMS, VARIOUS 4
2. EXPERIMENTAL DEMONSTRATIONS OF CONTRAST
OF COLOUR 7
3.} MODIFICATIONS WHICH THE PRINCIPAL COLOURS
4.} INDUCE IN CONTIGUOUS COLOURS 17
5.}
6. SIMPLE AND COMPOUND COLOURS 26
7. CHROMATIC DIAGRAM 36
8. ASSORTMENTS OF COLOURED CIRCLES:—
COLOURS WITH WHITE 51
9. DO. DO. BLACK 54
10. DO. DO. GREY 58
11. ELEMENTS OF GOBELINS TAPESTRY:—
THE BINARY MIXTURE OF PRIMARY COLOURS 104

12. DO. THE MIXTURE OF COMPLEMENTARY COLOURS 105
13. BLACK ORNAMENTS ON VARIOUS COLOURED GROUNDS 120
14. GREY DO. DO. DO. 123
15. METALLIC GILT ORNAMENTS ON DO. 124
16. BORDER OF BLUE FLOWERS ON DO. 130
17. BORDER OF ROSES AND LEAVES ON DO. 131