114 ON COLOUR. Paet I. 



Others harmonise in a minor degree ; and others are dis- 

 cords. Others again, though not positive discords, are 

 disagreeable. Some, which I have called " discordant," are 

 less obnoxious than those marked "discords;" and others 

 want one or more additional colours to complete harmony. 

 I shall notice them in the following lists. For instances of 

 harmonious combination of several colours, the reader is 

 referred to Sects. XVII. XVIII. and XIX. ; and for the tones 

 of the principal colours, see Plate in. fig. 5. 



Blue. (See Buff, Gold, Canary, Crimson, Cerise, Faion- colour.') 



1. Blue and red harmonise, but want yellow, and scarlet is preferable 



to red. (Of Blue, see p. 65. In flowers, double delphinium, &c.) 

 la.Blue and crimson.* (See Crimson.) 



2. Blue and scarlet (see Blue in Sect. XVII.) harmonise, and are more 



harmonious, from the addition of the yellow contained in the 

 scarlet, than blue and red, e. g. in flowers, blue salvia, and 

 scarlet verbena ; or double delphinium, and scarlet geranium, &c. 



3. Blue and salmon-colour harmonise. 



4. Blue and orange, the most agreeable harmony, e.g. blue salvia and 



marigold ; or blue corn-fioiver, and Coreopsis Drummondii. {See 

 Sect. XVII. Blue A, B, C, D, E, F.) 



5. Blue and yellow harmonise, though inferior to, and less warm and 



rich than, blue with orange (e. g. blue salvia and yelloiv calceo- 

 laria). But blue should not be placed between two yellows 

 (nor a yellow between two blues), except in certain cases, as 

 when a blue is separated from a red on one side, and from a 

 green (or other colour) on the other, by a yellow line. 



6. Blue and white harmonise. 



t. Blue and silver harmonise, but cold. 



8. Blue and black harmonise. But if red is added they are wanting ; 



and require the addition of white, or yellow, or orange. (See 

 Blue, A 17, in Sect. XVII.) 



9. Blue and horsechesnut harmonise, and have a rich effect. 



10. Blue and chesnut harmonise. 



11. Blue and chocolate harmonise. 



12. Blue and brown harmonise. 



* By this arrangement I have generally placed the harmonious combinations 

 in the beginning, and the discords at the end. Those with the number 

 followed by a letter, as la, show that the same combination is given elsewhere, 

 if referred to under a name in italics, as here under crimson. 



