§55 XVI. BLUE. YELLOW. 115 



13. Blue and stone-colour harmonise, but the blue is rather too 



powerful for it. 



14. Blue and drab harmonise, but the blue is rather too powerful. 



15. Blue and pink, a poor effect, but not a discord. 



16. Blue and peach, a poor effect, the blue also overpowers its com- 



panion. 



17. Blue and green are wanting, and require another colour to com- 



plete the harmony. 



18. Blue and purple harmonise by analogy, but wanting ; they require 



the addition of scarlet and gold.* 



19. Blue and blue-purple wanting by analogy. This blue-purple is 



what is generally called puce. 



20. Blue and lilac wanting by analogy, and poor. 



21. Blue and grey harmonize, but wanting, and seldom useful in 



combination with others ; except when grey is employed as a 

 ground. 



Hues of Blue : — 



Shy-blue. This is what toe call sky-blue, but the name is indefinite. Blue 

 of the sky is very different ; it is that of a southern climate 

 (see p. 65) and is the true blue colour. 



1. Sky-blue and lilac wanting by analogy, and poor. 



2. Sky-blue and pink poor. 



3. Sky-blue and white poor and cold. (Other combinations are not 



deserving of notice.) 

 Torquoise-blue and drab (nankin, fawn, and light chesnut) harmonise. 



Yellow. (See Blue, Gold, Canary, Drab, Stone- colour.) Yellow must be 

 used in moderate proportions, as already shown p. 94, Sect. III. ; 

 and is very inferior in effect to gold, the place of which, indeed, 

 it can by no means hold (see Gold). It is also very inferior 

 to orange in many cases ; but it serves to brighten up a com- 

 position, to separate blue and red, and to form a harmonious 

 combination with them. (By yellow I mean Crome No. 2. See 

 pp. 67, 87. In flowers, yellow calceolaria, broom, and furze.) 



1. Yellow and black harmonise ; but are inferior to and colder than 



orange and black, and not so well balanced. (See Sect. XVII. 

 Black with Yellow.) 



2. Yellow and green harmonise, but inferior to orange and green. 



3. Yellow and horsechesnut-colour harmonise; e.g. they, petals of 



the hollyhock and its purple eye (but y. not so rich as orange). 



* When marked as " wanting," the colours required to complete their har- 

 monious effect will be generally found in Sect. XVII. (where several colours are 

 combined), provided they are of sufficient importance to be recommended for 

 combination in designs. 



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