Between these, and
composed of them, are the three secondary colors, — orange made of yellow and red; pur-
ple, of red and blue; green, of blue and yellow. Of the three primary colors — yellow, red,
blue — in various proportions, every hue in nature is composed — black, in which all colors
are absorbed, being at one end of the scale, and white, in which all are reflected, at the
other end of it. Between the two, the variations may be considered infinite. Some sci-
entific calculation numbers thirty thousand; but I could easily believe them to be twice
as many.
Blue is the only color that can be obtained in a perfectly pure form. Ultramarine — the
type of purity, the color of the Virgin Mary.
iS HOME DISSERTATION'S.
Never have a color concentrated in one spot, but take care to repeat it in others. If you
have blue and white chintz in one corner of your room, put some in another corner to
balance it. In these ways, therefore — by using either a color-analogy, or a color-contrast
and observing delicacy, variety, and repetition, can harmonious arrangement of color be
brought together and applied. "It is the best possible sign of a color," says Mr. Ruskin,
"when nobody who sees it knows what to call it, or how to give an idea of it to anybody
else."
Even among simple hues the most valuable are those which cannot be defined; the
most precious purples will look brown beside pure purple; and the most precious greens
will be called blue if seen beside pure green, and green if seen beside pure blue. A color
may be very agreeable in its real nature, but lose all its pleasing qualities when wrongly
combined. Harmony not only brings agreeable tones together, but establishes an affinity
between them, both in music and in color.
The most striking effect of the modern revival of taste is the change of public opinion
it has effected with regard to color — a change from coldness and rawness to tone and
warmth. And if we compare the magenta, the mauve, the emerald green of a dozen years
ago, with the tints that are now the mode, we shall see that the wide difference between
their effect on the color sense is owing to the adoption in the latter of warm yellow tones
instead of cold blue ones, such as I have described.
" There are not many tints," says Mr. Morris, "fit to color a wall with. Here is a
short list : a solid red not very deep, but rather describable as a full pink, and toned both
with yellow and blue, a very fine color if you can hit it; a light orangy pink, to be used
rather sparingly, a pale golden tint, /'. e., a yellowish brown, a very difficult color to hit;
and a color between these two last, call it pale copper color. All these three you must be
careful over, for if you get them muddy or dirty you are lost."
Page 13
Presented as published in 1891. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
Between these, and composed of them, are the three secondary colors, — orange made of yellow and red; purple, of red and blue; green, of blue and yellow. Of the three primary colors — yellow, red, blue — in various proportions, every hue in nature is composed — black, in which all colors are absorbed, being at one end of the scale, and white, in which all are reflected, at the other end of it. Between the two, the variations may be considered infinite. Some scientific calculation numbers thirty thousand; but I could easily believe them to be twice as many.
Blue is the only color that can be obtained in a perfectly pure form. Ultramarine — the type of purity, the color of the Virgin Mary.
Never have a color concentrated in one spot, but take care to repeat it in others. If you have blue and white chintz in one corner of your room, put some in another corner to balance it. In these ways, therefore — by using either a color-analogy, or a color-contrast and observing delicacy, variety, and repetition, can harmonious arrangement of color be brought together and applied. "It is the best possible sign of a color," says Mr. Ruskin, "when nobody who sees it knows what to call it, or how to give an idea of it to anybody else."
Even among simple hues the most valuable are those which cannot be defined; the most precious purples will look brown beside pure purple; and the most precious greens will be called blue if seen beside pure green, and green if seen beside pure blue. A color may be very agreeable in its real nature, but lose all its pleasing qualities when wrongly combined. Harmony not only brings agreeable tones together, but establishes an affinity between them, both in music and in color.
The most striking effect of the modern revival of taste is the change of public opinion it has effected with regard to color — a change from coldness and rawness to tone and warmth. And if we compare the magenta, the mauve, the emerald green of a dozen years ago, with the tints that are now the mode, we shall see that the wide difference between their effect on the color sense is owing to the adoption in the latter of warm yellow tones instead of cold blue ones, such as I have described.
" There are not many tints," says Mr. Morris, "fit to color a wall with. Here is a short list : a solid red not very deep, but rather describable as a full pink, and toned both with yellow and blue, a very fine color if you can hit it; a light orangy pink, to be used rather sparingly, a pale golden tint, /'. e., a yellowish brown, a very difficult color to hit; and a color between these two last, call it pale copper color. All these three you must be careful over, for if you get them muddy or dirty you are lost."