ΤΟ J. BERZELI U S, IN TESTIMONY OF FRIENDSHIP AND OF PROFOUND ESTEEM FOR THE MAN! IN TESTIMONY OF ADMIRATION FOR HIS WORKS! THE AUTHOR OF THE BOOK, M. E. CHEVREUL. TRANSLATOR'S PREFACE ΤΟ THE SECOND EDITION. THE rapid sale of the first edition of this translation satisfactorily proves how much such a work was needed. It may, indeed, be regarded as a national reproach that this subject of "the Harmony and Contrast of Colours" should have remained so long in a state of chaos, while a work of the scientific character and practical value like the present was extant. Long subsequent to its publication in France, after ample time had elapsed for M. Chevreul's discovery to have become known in this country, works of no practical value whatever, some indeed pernicious from their errors and obscurity, have issued from the English press, and usurped the place in our literature which this work only ought to оссиру. These authors have discoursed glibly upon the "Laws of Harmonious Colouring" without even recognising the existence of the phenomena upon which these "laws" are really based-without making a single rational observation or experiment on the optical effects resulting from the juxtaposition of coloured bodies-without regarding the physiological condition of the eye while this organ is excited by the sight of colours,-in fact, without at all understanding the nature of the subject they, with so much complacency, suppose themselves to have fully elucidated. Others have added new testimony to the truth of the maxim" that a little knowledge is a dangerous thing;" for after superficially examining M. Chevreul's "law," they have rushed to impossible conclusions, which, not being verified, induced them to treat this "law" slightingly, as a thing of nought. By others, again, the "law" has been adopted without comprehension, and from the foolish attempt to ally it with the dogmatism of unscientific writers* has resulted their own and their readers' confusion. To be thoroughly understood, this book must not merely be read but studied. The superficial reader will be constantly exposed to arriving at false conclusions, from too hasty generalisation, by which he will miss the author's aim -that of placing the subject of "contrast" upon a truly scientific basis. His reasoning and conclusions may be disputed by the empiric, but cannot be controverted, for they are based upon careful observation of natural phenomena and experiment, which every reader can easily repeat and verify for himself. The chief error fallen into in the applications of the law of contrast is, the overlooking the influence of contrast of tone, or intensity; it is so important that this kind of contrast be fully recognised and appreciated, that the reader should keep his attention constantly directed to it. The nature of luminous and sombre colours should also be well understood, particularly with reference to their degree of intensity or tone. This book will amply repay any amount of study bestowed upon it; and not merely for the subject with which it is occupied, but as an excellent example of the method of scientific investigation; in this respect this treatise is a model of its kind. The slightest inspection of the numerous books professing to treat of the subject which it elucidates, will serve to convince the reader that their authors are but drifting in an unknown sea, without chart or compass to guide them. * The translator might instance Field, Hay, ad hoc genus omne. Already, in the few months that have elapsed since the publication of the first edition of this book, we may perceive the fruit of its teachings. As we pass along the busy thoroughfares, the shops of the upholsterer, the paperhanger, the draper, and the milliner, frequently display a recognition of the law of contrast; not always, it must be admitted, in entire conformity with the principles laid down, but still a recognition, which it is to be hoped may in due time extend to a full understanding. The translator cannot dismiss this book from his hands, without making a few remarks upon the treatment it has received at the hands of the reviewers,-critics they may not be called. In most cases, in journals of high pretensions, it was flippantly "noticed," as the phrase goes: a few sentences garbled from the Translator's Introduction, coupled with a few taking extracts, and the reviewer's work was "bravely done." Few seemed to be aware that they had under their hands one of the most original and remarkable works that science has given to literature in the present generation, a work that owes its chief merit to its exhibition of the method of investigation enounced by our illustrious Bacon.* In one instance† the author was made to say exactly the reverse of what the book shows he really does say this serious and flagrant malversion arose apparently from the reviewer's desire to improve his author before he had made himself sufficiently acquainted with him. By another the translator was supposed to be ignorant of the labours of our countrymen on the subject of "The Laws of Harmonious Colouring;" he was not ignorant, however, that there are many books with pompous titles, pro *From this sweeping but well-deserved censure we must gratefully acquit certain journals which make reviewing a conscientious task. In the Times of September 29, 1854, and in the Artist of February 3, 1855, Chevreul's treatise is reviewed with discriminating and comprehensive intelligence. † Art Journal, October, 1854. Blackwood's Magazine, November, 1854. |