1841.J 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



40!> 



tlie monuments of tlie Egyptians, tlip vases of Greece and Italy, ami 

 the decorations of Pompeii and Herculaneum. We find it in combi- 

 nation witli tlie briglitest colours, often used as a separating coloui^pr 

 as a contrast, and always with eftect. Mr. Hay recommends great 

 caution in tlie use of botli white and black, for being at the top and 

 bottom of the s^ale, they are very dangerous colours to manage. 

 Where gorgaousness is the object, they must not be brought in. 



Pure Yellow, of the power of 3, which Mr. Hay calls yellow jas- 

 mine, or a deep lemon hue, is the lightest of the three primary colours, 

 and the nearest to white. Its contrasting colour is piir|)le and it forms 

 a strong contrast to black. Its melodizing colours are orange and 

 green, which are the secondaries it forms with red and blue. Its ter- 

 nary is citron, and its quaternary is brown and marrone. Being the 

 most powerful of the primary colours, if is most otFensive to the eye 

 when used extensively in a pure state. With red, orange, or green, 

 it does very well in combination with black, and even with gray. In 

 artificial light yellow, it is well known, appears to be of less intensity, 

 as is the case with all colours into tlie composition of whicli it enters. 



Primrose, which is a very light yellow, forms a pleasing arrange- 

 ment with pure white, being a light and cool colour. 



Red, of the power of 5, is, by Mr. Hay, represented to be of the 

 most intense geranium colour, and as difficult to be defined; it is tlie 

 second of the primaries, a very warm colour, and the most positive of 

 all colours, pre-eminent among them. Its contrasting colour is green. 

 The secondaries with which it melodizes are its comhniations with yel- 

 low, forming orange, and with blue, forming purple. Its tertiary is rus- 

 set, and its quaternarv is marrone and slate. With another bright colour 

 it forms a good arrangement with black, as it does also w hen combined 

 with vellovv. Being a warm colour, it acts upon all colours brought in 

 contact withit, or into which it enters, and must not be used on a large 

 scale uncombined, requiring great skill in its use. It is heightened by 

 artificial light. It is considered to be an excellent key colour, and when 

 so used, it is recommended that its contrasting colour, green, should 

 be neutralized by being brought down in tone towards olive. 



The nearest hue of red towards yellow is scarlet, which is very bril- 

 liant, and requires much the same management as orange. It must 

 never be used in large masses, except under very peculiar circum- 

 stances. Its contrasting colour is a bluish green. The ancients used 

 black with scarlet. 



The nearest hue of red towards blue is crimson, one of the most 

 gorgeous, at the same time most cool and mellow, and very useful as 

 a key colour. Its contrasting colour is a citron green, and its melo- 

 dizing colours a bluish green and reddish purple. 



Pink is the next hue after crimson, and is very useful for heighten- 

 ing reds in cool toned arrangements. 



Blue, of the power of S, is the deepest of the primary colours, and 

 the nearest in relation to shade. It is a cool colour, acting upon co- 

 lours used with it, and may be employed in masses with much less 

 glare than either of the other primaries. Its contrasting colour is 

 orange. The secondaries with which it melodizes, are its combi- 

 nations with yellow, forming green, and with red, forming purple. 

 With green, however, blue is very discordant, more so than any pri- 

 mary with its secondary. Its tertiary is olive, and its quaternaries 

 slate and marrone. With orange it makes a good arrangement with 

 white, and with green agrees with gray, and with violet it enters into 

 composition with black. Black may be very advantageously used 

 with it under many circumstances. White and blue are apt to appear 

 raw in contrast. When used with green and olive, on account of the 

 discord, blue requires the interposition of gray, or of some other 

 neutral colour, with olive a purply gray may be used. Blue is 

 reckoned a good key colour, where a refreshing appearance is desired : 

 with artificial light, however, it is chilled. 



We now come to the secondaries. 



Orange is a compound of yellow 3 and red 5, being of the power of 

 8. It is one of the most brilliant colours there is, and the contrast to 

 blue ; it requires therefore to be used with a sparing hand, although 

 it is reckoned a good key colour. Olive also forms a contrast with it. 

 It is the melodizing colour to yellow and red, and is itself melodized by 

 its tertiaries, citron, formed with green, and russet with purple. It is 

 acted upon by artificial light much in the same way as yellow is. With 

 blue it may be combined with white, and with red, yellow or green 

 may be used with wdiite or black. With more yellow the hues orange 

 forms, are gold, giraft'e, &c., and it then requires for its contrast 

 purplish blue. 



Green is the coolest of the medium of the secondaries, and is com- 

 posed of yellow 3 and blue 8, being of the power of II. Its contrast- 

 ing colour is red, and also russet. Green melodizes with yellow and 

 blue, and is itself melodized by the lertiuries, citron, formed with 

 orange, and olive with purple. It is one of the worst colours under 

 artificial light. With red, orange, or yellow it may be used in com- 



position with black or white, but with blue or violet gray is to be 

 used. Being such a soft colour, green may be used in quantity with- 

 out fear. It requires great care when used with blue, and should 

 be separated by a neutral tint. 



Purple is one of the darkest colours most nearly allied to black ; it 

 is of the power of 11, and is composed of yellow 3 and blue S. Its 

 contrasting colour is yellow, and the tertiary citron, which is much 

 used with it. Purple melodizes red and blue, and is melodized by its 

 tertiaries russet formed with orange, and olive with green. It is a 

 cool colour, and it suffers much under artificial light, but next to green 

 it may be used with the most freedom. With green or orange it may 

 be used, with gray and with blue black is to be used. With white its 

 combinations are verv raw. 



Indigo is the first hue, formed by blue on its union with red, and is 

 a heavy colour little used, except in wove fabrics. 



Purple forms various hues as lilac, &c., with which citron may be 

 advantageously used. 



Gray is a neutral colour, and enters with effect into many combi- 

 nations, being the medium between light and shade. It is very useful 

 in separating blue from green or olive. Its most happy combination 

 is with red and orange, and with orange and violet, green and blue, 

 and green and violet. 



To proceed to the tertiary colours. 



Citron is a tertiary colour, in width yellow predominates, it is com- 

 posed of orange S, and green 11, being of the power of 19, or yellow 

 G, red 5, blue S, its contrasting colour is purple, and also slate: it me- 

 lodizes with orange and green, and is melodized by the next series,' 

 brown formed with russet, and marrone with olive. Citron is greatly 

 relieved and harmonized by olive, it is soft and pleasing to the eye, 

 and is the lightest of the tertiaries, much used as a contrast amongst 

 low hues of crimson and purple. 



In russet, red predominates, being composed of orange 8, and pur- 

 ple 13, of the power of it, or yellow 3, red 10, blue 8. Its contrasting 

 colour is green, and also marrone. It melodizes with orange and juir- 

 ple, and is melodized by the next series, brown, formed with russet, 

 and slate with olive. This tertiary is of great use, and particularly 

 with green. 



Olive has blue for its predominant constituent, and is composed of 

 green li, and purple 13, being of the power of 24, or yellow 3, red 5, 

 blue 16. Its contrasting colour is orange, and also brown. It melo- 

 dizes with green and purple, and is melodized by marrone formed 

 with citron, and slate formed with russet. Olive has a great relation 

 to shade, and is characterized by Hay as soft and unassuming, being 

 of great use in all arrangement, whether cool or warm, being employed 

 with the lower hues of warm toned or brilliant composition. It must 

 not be brought in contact with blue, but separated by gray. 



The next rank is held by the quaternaries or semi-neutral hues. 

 These are : — 



Brown composed of citron and russet, of the power of 40, consisting 

 of yellow 0, red 15, blue 16. Its contrasting colour is olive. It is a 

 most useful colour in the low parts of warm toned arrangements. 



Marrone is composed of citron and olive, being of the power of 43, 

 or yellow 9, red 10, blue 24. Its contrasting colour is russet. This 

 semi-neutral is most useful in wove fabrics. It is considered to be 

 deep and clear, and although allied to red, may be used where there 

 is a preponderance of cool-toned colours. 



Slate is the deepest of the semi-neutrals, and is composed of russet 

 and olive, being of the power of 45, or yellow 6, red 15, blue 24. Its 

 contrasting colour is citron, and it can only be used in cool-toned ar- 

 rangements. 



FIRE-PROOF CONSTRUCTION NECESSARY TO GENUINE- 

 ARCHITECTURE. 

 By Alfred Bartholo.mew, Esq., F.S.A. 



The three recent great fires at the Parliament Houses, the Royal 

 Exchange, and the Tower of London, with those at Hatfield, Lord Di- 

 norben's, and the Marquis of Londonderry's, while they show that 

 public and aristocratic property can, under the present vicious mode 

 of construction, no more escape than private bouses, are no doubt cal- 

 culated to awaken prudence if every other warning should fail. 



He who would be a reformer of any abuse must of necessity prepare 

 himself to be accounted first a kind of monster — then if not absolutely 

 insane, certainty not in his jiroper senses, and mayhap as far from 

 right-mindedness as Don Quixote himself: but he who would conquer 

 nuist often previonsly stoop for that end, and should as little attend to 

 the clamor which is made about his ears by the ignorant, the super- 



