§ 7,8. EACH COLOUR TO HAVE ITS EFFECT. V 



pose, by whirling round before the eye the object on which 

 those three colours have been painted. But besides that the 

 effect consists only of an approximation to white, it has no 

 bearing on the question of the effect of colour in ornamenta- 

 tion, which is (fortunately) never whirled round before the 

 eye ; and so far from desiring to give to the eye the impres- 

 sion of white, or of colourless light, in placing before it those 

 three colours, our object is directly the reverse ; we want to 

 ornament with colours, not to deceive with colours, nor to 

 place them so that they may "disappear" or be confounded. 

 And as blue and red in juxtaposition borrow from each other, 

 and assume a purple hue when seen at a short distance, it is 

 found expedient to introduce with them a certain quantity of 

 yellow, or sometimes a small yellow or white line of sepa- 

 ration, to keep the two colours distinct. The object is to 

 present each colour as it is, and to give it its own power, that 

 red should appear red, and the same with the rest; care 

 being taken at the same time that the whole combination of 

 various hues shall be in harmony, by being properly balanced 

 throughout the composition. It would be a strange recom- 

 mendation for a piece of music so to have the notes put 

 together that they should " neutralise" each other, and that 

 "the constituent" sounds should, like the colours, "disap- 

 pear." Such a theory of sound would be novel; the practice 

 far from entertaining. Some, again, use the terms " neutra- 

 lised and contrasted" as synonymous ; and I would most gladly 

 adopt these or any other expressions, if I could reconcile 

 their meaning with the effect produced ; as it is of advantage 

 that, as far as possible, we should all employ the same terms. 

 But to neutralise is not to set off a colour ; and this last is 

 obviously the effect of contrast. {See below, Sect. V.) 



8. Another tells us that " death of a colour takes place when 

 the primitive (or primary) colours come together in equal 

 proportions ; and when alone, or mixed together in unequal 



