Red and Violet. (193.) 1. Red and Violet do not assort well together, nevertheless some natural productions pre sent them to us; for example, the Sweet pea. 2. The assortment White, Red, Violet, White, &c., is not so bad as the preceding (1). 3. The assortment White, Red, White, Violet, White, &c., is preferable to the second (2). Orange and Yellow. (194.) 1. Orange and Yellow are incomparably better than Red and Orange. 2. The assortment White, Orange, Yellow, White, &c., is agreeable. 3. The assortment White, Orange, White, Yellow, White, &c., is not so good as 2, nor perhaps as 1, because there would be too much White. Orange and Green. (195.) 1. Orange and Green do not go badly together. 2. The assortment White, Orange, Green, White, &c., is preferable to 1. 3. The assortment White, Orange, White, Green, White, &c., is perhaps preferable to 2. Orange and Violet. (196.) 1. Orange and Violet are passable, but not so good as Orange and Green: the contrast in the latter case is greater than in the assortment Orange and Violet. 2. The assortment White, Orange, Violet, White, &c., is preferable to the preceding (1). 3. The assortment White, Orange, White, Violet, White, &c., is preferable to the latter (2). Yellow and Green. (197.) 1. Yellow and Green form an agreeable assort ment. 2. The assortment White, Yellow, Green, White, &c., is much more agreeable than the preceding (1). 3. The assortment White, Yellow, White, Green, White, &c., is inferior to the preceding, and perhaps to the first. The inferiority of 3 appears to me to be owing to there being too much light for the Green. Yellow and Blue. (198.) 1. The assortment Yellow and Blue is more agreeable than that of Yellow and Green, but it is less lively. 2. The assortment White, Yellow, Blue, White, &c., is perhaps preferable to the preceding (1). 3. The assortment White, Yellow, White, Blue, White, &c., is perhaps inferior to the preceding (2). Green and Blue. (199.) 1. Green and Blue have a mediocre effect, but less so when the colours are deep. 2. The assortment White, Green, Blue, White, &c., is better. 3. The assortment White, Green, White, Blue, White, &c., is also of a better effect, because the light is more equally divided. Green and Violet. (200.) 1. Green and Violet, particularly when they are light, form an assortment preferable to the preceding, Green and Blue. 2. The assortment White, Green, Violet, White, &c., is decidedly not superior to the preceding (1). 3. The assortment White, Green, White, Violet, White, &c., is certainly inferior to the latter (2). Blue and Violet. (201.) 1. Blue and Violet go badly together. 2. The assortment White, Blue, Violet, White, &c., is scarcely to be preferred to the preceding (1). 3. The assortment White, Blue, White, Violet, White, &c., is not so bad as the latter (2). ARTICLE 2. Colours with Black. (202.) I do not know whether the custom of using Black for mourning should be an impediment to our employing it in an infinite variety of cases where it would produce excellent effects; however that may be, it can be allied in a most advantageous manner not only with sombre colours, to produce harmonies of analogy, but also with light and brilliant colours, to produce harmonies of contrast entirely different from the first. The Chinese artists, it appears to me, display excellent judgment in employing them, for I have frequently seen furniture, paintings, ornaments, &c., where they have employed them most judiciously. I recommend artists, to whom this paragraph is particularly directed, to give some attention to the following observations, not doubting that many will find it profitable to them. A. BINARY ASSORTMENTS. (203.) No assortment of the primary colours with Black is disagreeable but between these assortments there exists a generic difference of harmony, which the binary assortments of White with the same colours do not present in nearly the same degree. For in these latter the splendour of the White is so dominant, that, whatever be the difference of light or of brilliancy observable between the different colours associated, there will always be harmony of contrast, as must follow from what has already been stated (44.-52.) of the influence of White in elevating the tone and augmenting the intensity of the colour which is next to it. If we examine the binary assortments of Black under the rela tion which now occupies our attention, we shall perceive that the deep tones of all the scales, and also the tones of the Blue and Violet scales, which, properly speaking, are not deep,form with them harmonies of analogy and not of contrast, as do the unbroken tones of the scales of Red, Orange, Yellow, Green, and the very light tones of the Violet and Blue scales. Finally, we must add, conformably to what has already been said (55.), that the assortment of Black with sombre colours, such as Blue and Violet, the complementaries of which, Orange and Greenish-Yellow, are luminous, may diminish contrast of tone, if the colours are in juxtaposition with Black, or are not far distant; and in this case the Black loses much of its vigour. Blue and Black, Violet and Black, make assortments which can only be successfully employed when we require obscure colours. The first assortment is superior to the second. The bright assortments which present harmonies of contrast appear to me in the rank of beauty. Red or Rose and Black, Orange and Black, Yellow and Black, lastly light Green and Black. Respecting Yellow, I repeat that it must be brilliant and intense, because Black tends to impoverish its tone (58.). B. TERNARY ASSORTMENT OF COMPLEMENTARY COLOURS WITH BLACK. Red and Green. (204.) 1. Red, Green, &c. 2. Black, Red, Green, Black, &c. This arrangement being entirely different from the first, it is very difficult to decide upon their relative beauty. 3. Black, Red, Black, Green, Black, &c., appears to me inferior to the preceding (2), because there is too much Black. Blue and Orange. (205.) 1. Blue, Orange, &c. 2. Black, Blue, Orange, Black, &c. I prefer the first to the second, the proportion of obscure colours being too strong relatively to the Orange. 3. Black, Blue, Black, Orange, Black, &c. This arrangement pleases me less than the first. The effect of Black with Blue and Orange is inferior to that of White. Yellow and Violet. (206.) 1. Yellow, Violet, &c. 2. Black, Yellow, Violet, Black, &c. The second assortment is superior to the third, because the proportion of sombre colours with Yellow is too strong in the latter. The first appears to me superior to the second. C. TERNARY ASSORTMENT OF NON-COMPLEMENTARY Red and Orange. (207.) 1. Red, Orange, &c. 2. Black, Red, Orange, Black, &c. The Orange and Red injure each other, and it is advantageous to separate them with Black; the third assortment is preferable to the second, and both are preferable to those where White replaces the Black. Red and Yellow. (208.) 1. Red, Yellow, &c. 2. Black, Red, Yellow, Black, &c. The two latter assortments appear to me superior to the first, and there are certainly many persons who will prefer them to the arrangement where White replaces the Black, |