DOI Page / Citation link:
https://doi.org/10.11588/diglit.1211#0025
tions crimson and pink, till it is lost in full red. I shall therefore consider
it under four heads, violet, lilac, crimson, and pink.
Violet, as has been said, in its deepest degree, is unfit for a principle;
but, like blue, may, by the admission of white, be brought out of the shade,
and qualified for a more conspicuous situation ;■—it is then termed lilac.
The contrasting tint to this is pale yellow, but must be so weakened and
subdued by black and white, as to form a tint neither too deep nor too
bright for the lilac. The harmonising tint is a deeper purple: the greens
are also to be subdued and broken by the purple, black, and white. The
reflected tint as before, composed of the principle colour, the contrasting
tint, and white: but this colour is unfit for a principle, and it is only with a
reference to its place in a full group that it is spoken of here, as it never can
in itself produce more than a weak though elegant effect. The contrasting
tint to deep violet is full yellow, which must be subdued by black when you
introduce violet in the shade.
COMPOSITION OF CRIMSON.
This colour is also too dark in itself to come very forward in com-
position ; its place is properly in the shade. Its contrasting or balancing
tint is a deep warm green, with the proper addition of black for the deep
shade
The harmonising tint is violet.
The reflected tint as before, composed of the principle and contrast-
ing tint. '
it under four heads, violet, lilac, crimson, and pink.
Violet, as has been said, in its deepest degree, is unfit for a principle;
but, like blue, may, by the admission of white, be brought out of the shade,
and qualified for a more conspicuous situation ;■—it is then termed lilac.
The contrasting tint to this is pale yellow, but must be so weakened and
subdued by black and white, as to form a tint neither too deep nor too
bright for the lilac. The harmonising tint is a deeper purple: the greens
are also to be subdued and broken by the purple, black, and white. The
reflected tint as before, composed of the principle colour, the contrasting
tint, and white: but this colour is unfit for a principle, and it is only with a
reference to its place in a full group that it is spoken of here, as it never can
in itself produce more than a weak though elegant effect. The contrasting
tint to deep violet is full yellow, which must be subdued by black when you
introduce violet in the shade.
COMPOSITION OF CRIMSON.
This colour is also too dark in itself to come very forward in com-
position ; its place is properly in the shade. Its contrasting or balancing
tint is a deep warm green, with the proper addition of black for the deep
shade
The harmonising tint is violet.
The reflected tint as before, composed of the principle and contrast-
ing tint. '