394 



INDEX. 



Colours, used by the Egyptians, Greeks, and others, 1 7, 24. 

 in England formerly used. Brilliant, 23. 

 of England. Neutral-tint, 13, 23. 

 Facts rather than rules for, 9 1 . 

 in flowers different in effect from flat, 19. 



of early glass show they were bright in England formerly, 23, 25, 55. 

 suited for grounds, 107. 



in grounds different from the same colours in a pattern, 105, 106. 

 most harmonious in combination, being more than two, 130. 

 Quantity of, may be varied, as may the form of Vase3, 251. 

 which harmonise, Pleasing combinations of, in pairs, 1 1 3. 



when more than two are placed together, 129, 130. 

 Some insensible to the harmony of, 2. 

 of the Israelites, 17, 131, 133. 



landscape and pure flat positive colours for ornamentation under 

 different conditions, and not to be the same, 18, 19. 

 Leonardo da Vinci on, 67. 

 Lists of, and their effects, 113 — 148. 

 Perception of, a natural gift (see Natural). 

 Names and character of, 81 — 90. 



uncertain, 68, 79. 

 neutralising each other, 8. 

 Nomenclature of, 65, 68, 78, 81 — 91. 

 Number of, 80. 



opposed to each other in different degrees, 98. 

 We wish to ornament with, not to deceive by, 9. 

 in a large piece and in a small specimen look different, 107. 

 Primary, secondary, and others, 64 — 72. 

 should predominate, 93. 

 used by the early Italian masters, 17. 

 Idea of the primary being used, as in the rainbow, 10. 

 Three primary, forming white light, not connected with the question of 



coloured ornamentation, 7, 8, 9. 

 primary, Use of the, marks the taste of people before the true percep- 

 tion of colour is blunted, 16. 

 Experiments respecting the prismatic, 69. 

 of the prism, or the rainbow, 19. 

 Proportions of, 10, 147, 149. 

 in very different quantities and of different powers, seldom look well 



99, 147. 

 Quiet, 1. 



rules for, Attempt to lay down, 3, 57. 

 and sounds, Analogy of, interesting as a simile, 5. 

 Theories respecting, 92 (see Colour). 

 Hasty theories respecting, 5, 10. 



of southerly and other climates would be limited according to theorv 13 

 Tones of, 72, 99. * ' ' 



by twos, in contact, 113. 

 of deeper hue on the lower part of a wall, 22. 

 called " wanting," 1 15 (note). 

 Warm and cold, 76, 77, 111. 

 Werner's nomenclature of, 68, 91. 

 Committees, irresponsible, 189. 



Blunders committed by, 354. 

 Comparison of dissimilar objects inconsistent, as Greek and Gothic architec- 

 ture, 331. 

 Complexion. A dark and light, 79. 



Concealment and false pretences contrary to sound principle and common 

 sense, 202. 



