§55 XXII. SOME NECESSARY CONDITIONS. 16o 



better than red, even with blue and yellow, and always so 

 when with blue alone, with which it does not assume the 

 same purple hue as does a red (or a crimson) in juxtaposition 

 with blue, owing to the yellow in the scarlet, (p. 93.) 



5. A fillet of yellow (or some other colour when there are 

 many) should be placed between or near to red and blue, to 

 obviate their purple effect, (pp. 9, 42, 61, 94.) 



6. The two accidental colours do not necessarily harmonise 

 with each other, (pp. 73, 92, 99.) 



7. Harmony is not limited to similarity of colours ; but 

 there is harmony by contrast also ; and contrasts are of 

 different kinds, (pp. 60, 75, 76, 77, 98, 112.) 



8. The effect of the simultaneous contrast of colours is to 

 be considered, (pp. 99, 102.) 



9. The intensity of tones of colours should be equal in the 

 same composition ; but a dark and light hue may be used 

 together with good effect, (pp. 75, 99, 145.) 



10. The quantity of the colours is to be balanced ; and 

 some may be in a smaller quantity when combined with cer- 

 tain others, (pp. 99, 105, and Sects. XVIII. XIX.) 



11. The proper relative position of colours is to be con- 

 sulted, (p. 111.) 



12. Some colours by candlelight and by daylight have a 

 different effect, and allowance is to be made for this. (pp. 97, 

 101, 104. 111.) 



13. Colours that accord well, both in their hues, and in 

 certain quantities, do not always suit every kind of ornament ; 

 and some combinations which suit a carpet, or a wall, do not 

 answer well for a dress, (pp. 78, 106, 110.) 



14. In some compositions, and particularly on the painted 

 walls of a church, or other building, the coloured patterns 

 should not cover the whole space. The eye requires some 

 repose, and is fatigued by any object overloaded with orna- 

 ment, (p. 109, Sect. X.) 



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