DOI Page / Citation link:
https://doi.org/10.11588/diglit.1211#0030
26
he traced it through the whole prismatic range; that it begins in the
invisible rays, before it reaches the red, from whence it extends to the utmost
limits of the violet rays, and that it is gradually impaired as the rays grow
more refrangible ; by which it appears, that it is not equally distributed
among them, but is chiefly resident in the red rays, and may be proportionally
so in all: however, till that is fully ascertained, we cannot judge whether
it would afford us a better guide or not. But it appears to me, that if the
relative degree of heat as well as illuminating power which each colour bears
to another were exactly known, a scale might be formed, shewing the proper
accompanying tints, both hi a pure and compound state, to whatever pi'inciple
one was fixed upon for the centre of a group : till then, we must make use of
the best guide we have, which is certainly that of the prismatic proportions,
and order they stand in, as to degree of illumination, and possibly none will
ever be afforded that will increase the harmony. But though the colours, in
a great measure, may be arranged and proportioned by those rules, the
qualities of the colours should be considered, as they all differ in their natures,
and produce different effects. There is a strong analogy between them and
the notes in music, for each of them has its separate part to perform in a
group, that the different notes have in a piece of music; and till their power
and province are fully considered, a painter has as little chance of producing
harmony in a group of flowers, as a musician who has not studied the
theory of music, and considered the effect each note would have in a full
chorus.
Yellow, from its brilliancy and affinity to light, is fittest to come next it in
the light quarter. Red, from its warmth, is fit for a prominent place of
power and force. Orange stands next to it, but has less power. Blue, from
its coldness, is fittest for a retiring place in the shade quarter. Indigo, from
its affinity to black, is fit for the deepest shade. Violet, from its weakness, is
only fit for a retiring situation. Green has a double quality; it is equal to
yellow in point of illumination, comes next it in the light, and yet from its
cold nature is equally fit for the shadow. But though blue, indigo, and violet,
are capable of distinct illumination, and blue equally withra/, not one of them
he traced it through the whole prismatic range; that it begins in the
invisible rays, before it reaches the red, from whence it extends to the utmost
limits of the violet rays, and that it is gradually impaired as the rays grow
more refrangible ; by which it appears, that it is not equally distributed
among them, but is chiefly resident in the red rays, and may be proportionally
so in all: however, till that is fully ascertained, we cannot judge whether
it would afford us a better guide or not. But it appears to me, that if the
relative degree of heat as well as illuminating power which each colour bears
to another were exactly known, a scale might be formed, shewing the proper
accompanying tints, both hi a pure and compound state, to whatever pi'inciple
one was fixed upon for the centre of a group : till then, we must make use of
the best guide we have, which is certainly that of the prismatic proportions,
and order they stand in, as to degree of illumination, and possibly none will
ever be afforded that will increase the harmony. But though the colours, in
a great measure, may be arranged and proportioned by those rules, the
qualities of the colours should be considered, as they all differ in their natures,
and produce different effects. There is a strong analogy between them and
the notes in music, for each of them has its separate part to perform in a
group, that the different notes have in a piece of music; and till their power
and province are fully considered, a painter has as little chance of producing
harmony in a group of flowers, as a musician who has not studied the
theory of music, and considered the effect each note would have in a full
chorus.
Yellow, from its brilliancy and affinity to light, is fittest to come next it in
the light quarter. Red, from its warmth, is fit for a prominent place of
power and force. Orange stands next to it, but has less power. Blue, from
its coldness, is fittest for a retiring place in the shade quarter. Indigo, from
its affinity to black, is fit for the deepest shade. Violet, from its weakness, is
only fit for a retiring situation. Green has a double quality; it is equal to
yellow in point of illumination, comes next it in the light, and yet from its
cold nature is equally fit for the shadow. But though blue, indigo, and violet,
are capable of distinct illumination, and blue equally withra/, not one of them