of the Harmony of Colours. 67 



and two shadows of these two colours, equally bright, 

 may be produced either with a beam of pink-coloured 

 light, or with a beam of green light, crossed by a beam 

 of white light, according to the method above de- 

 scribed. 



A beam of coloured light may readily be produced 

 for making these experiments by causing white light 

 to pass through coloured glass or any other coloured 

 transparent substance. 



To every colour without exception, whatever may be 

 its hue or shade, or however it may be compounded, 

 there is another in perfect harmony to it, which is its 

 complement, and may be said to be its companion. It 

 may be called up and exhibited to view in the follow- 

 ing manner. Let white light be made to pass through 

 the coloured body, or, if it be opaque, let it be re- 

 flected from it : with this light so coloured, and with 

 pure white light, make the experiment of the two 

 shadows, and the colour in question will appear with 

 its companion by its side. 



By experiments of this kind, which might easily be 

 made, ladies may choose ribbons to their gowns ; or 

 those who furnish rooms may arrange their colours 

 upon principles of the most perfect harmony and of 

 the purest taste. 



The advantages that painters might derive from a 

 knowledge of these principles of the harmony of 

 colours are too obvious to require illustration. 



Upon a careful examination of the works of the 

 great masters of the art of colouring, it will appear 

 that they have frequently practised upon these princi- 

 ples, though it is not likely that they were acquainted 

 with the scientific foundation of their practice. They 



