Maroon

“ Crimson, red, scarlet, orange, yellow, greenish yellow, green, bluish green, blue, violet, and with added red get back to crimson.
A room or a series of rooms may run to all colors and be still a harmony of analogy if the sequence or succession is gradual.
35. No more delightful harmonies can be imagined than those provided by nature. One may start with the brown of the earth and run into several shades of green, and from that touch upon yellow, and from yellow to orange, and from orange to red, and red to violet, and violet to the blue of the sky. ”

“ The white light that the glorious orb of day spreads over the face of nature is the original source of all those brilliant and sombre colours with which the works of the Creator are beautified. To the rays of the sun we owe not only the whiteness of the lily, but the scarlet of the field poppy, the modest blue of the timid violet, the splendour of the peacock's plumage, the cool green of the meadows, and the purple and gold of the distant mountains. ”

“ The showman gets animated, and the three balls are sent spinning rapidly from hand to hand: they seem all to be in the air at once, blending and dashing about each other until there is no red, or yellow, or blue, no distinct orange, purple, or green, but a thousand indefinite shafts and ripples of colour. Is it red, blue, green, orange, purple, yellow, or gems and sparkles of fire? They are only three, three that are a host, three that have become brown, grey, black, all sorts of browns, every description of that subtle and endless grey. ”

“ The kerchief about her shoulders over a light chemise rivals the rainbow. I try to fix my eyes on some predominating colour, but when I decide that it is yellow, in will blaze a green stronger than the yellow, and then huge red roses splash their lurid colour into the yellow and green, and royal purple and blue daisies and magenta buttercups career around in wild indifference as to conventional form and tint. ”

“ But without light there can be no colour, for there is no material, so to speak, from which to manufacture it. White light, as we have said before, is made up of red, blue, and yellow, and it is by the absorption of one or all of these that all tints are formed. The surface of a poppy leaf has the power of absorbing all the blue and a little of the yellow, reflecting the whole of the red and the remainder of the yellow, the mixture of the two forming scarlet. ”

“ We must expect, then, in painting, to find that neutral gray will be more altered by pale tints of red, orange, or yellow, which are slightly lighter than itself, and that the gray will be less altered by these colors when differing considerably from it in luminosity; analogous conclusions with regard to green, blue, violet, and purple, can also be drawn. Saturated or intense colors in a painting have less effect on white or gray than colors that are pale; this was shown in the preliminary experiment when gray was placed on a ground of strong color. ”

“ Colors which harmonize with each other by analogy, reduce each other's brilliancy to a greater or less degree, as white and yellow, blue and purple, black and brown.
The various shades of purple and lilac, dark blues and dark greens, lose much of their brilliancy by gaslight, while orange, scarlet, crimson, the light browns and light greens, gain brilliancy by a strong artificial light. ”

“ Red breaks and diffuses with white with peculiar loveliness. It is discordant when standing with orange only, requiring to be joined or accompanied by their proper contrast, to resolve or harmonize the dissonance. In landscapes, &c., abounding with hues allied to green, a red object properly placed as regards light, shade, or distance, conduces wonderfully to the life, beauty, harmony, and connexion of the colouring. Red is, indeed, the chief element of beauty in floral nature, the prime ornament of the green garb of the vegetal kingdom. ”

“ Who has not admired the lustre and beauty of those eyelets,—the kidney-like nucleus of deepest purple, the surrounding band of green, widening in front and filling the notch of the pupil, the broad circle of brown, and the narrow black ring edged with chestnut, and then the decomposed barbs of the feather, gilded green, all presenting the effulgence of burnished metal, or rather the glitter and glow of precious gems, flashing in the varying light? ”

“ Nothing so nearly approaches pure white as the palest blue; nothing is so nearly black as the darkest.
Green has been assigned by nature the place of the universal background. It is the complementary colour of red, softening and assimilating it by reflected shadows, and setting off the glory of every flower and fruit. The expression of green is gaiety and modesty, light and tenderness, shadow and repose, to both the eye and the mind. ”

“ In other words, the color of the sky slowly ran through all the colors of the spectrum toward the blue! The sun changed from a vast round blood-ruby to a blazing yellow diamond, flooding the earth with a sodium light! To an emerald, huge and supernally bright, coloring the sea and the sky with a dim and ghastly green radiance! The green melted into a cold and awful blue! The frozen sapphire slowly turned violet! And the violet sun grew soft and dim—and dim—until it went out utterly! ”

“ We are familiar with the effects of red which are stimulating, exciting, or irritating. The toreador, recognizing this principle, waves a flaming red mantle before the bull. Blue has an exactly opposite effect. It quiets and soothes, and when it runs into violet, it becomes depressing. Experiment with purple lights and you will find that they give a note of gloom, mystery, or of impending disaster. Yellow is the color that brings gaiety and light-heartedness, as you will recall when you contrast your own feelings on a sunshiny day and on a gray day. ”

“ Yet most of the landscape is pure delusion. Even my guides, with their long experience and their eagle-sight, can scarcely distinguish the real from [26] the unreal;—for the blue and purple and violet clouds moving under the Golden Fleece, exactly mock the outlines and the tones of distant peaks and capes: you can detect what is vapor only by its slowly shifting shape.... Brighter and brighter glows the gold. Shadows come from the west,—shadows flung by cloud-pile over cloud-pile; and these, like evening shadows upon snow, are violaceous blue.... Then orange-tones appear in the horizon ”

“ The colouring is wonderfully rich and varied—black, grey, violet, brown, red, green—due, one would think, to the complex stratification and to the stains oozing from the soft ores, clays, and mosses impinging between the layers. ”

“ La beauté du diable, no doubt, to Anglo-Saxon eyes, with that skin of incomparable texture and whiteness relieved by a heavily coiled crown of living bronze, the crimson insolence of that matchless mouth, those luminous and changeable eyes so like the sea, whose green melted into blue with the swiftness of thought, whose blue at times as swiftly shaded into stormy purple-black: but however bizarre and barbaric, beauty none the less, and under the most meticulous examination indisputable. ”

“ Each people assign their reasons for the particular colour of their mourning: white is supposed to denote purity; yellow, that death is the end of human hopes, in regard that leaves when they fall, and flowers when they fade, become yellow; brown denotes the earth, whither the dead return; black, the privation of light; blue expresses the happiness which it is hoped the deceased does enjoy; and purple or violet, sorrow on the one side, and hope on the other, as being a mixture of black and blue. ”

“ We instinctively wear warm colours in winter and dispense with them in summer, and this simple fact may explain the art which allots what we call warm colour to rooms without sun. When we say warm colours, we mean yellows, reds with all their gradations, gold or sun browns, and dark browns and black. When we say cool colours—whites, blues, grays, and cold greens—for greens may be warm or cold, according to their composition or intensity. A water-green is a cold colour, so is a pure emerald green, so also a blue-green; while an olive, or a gold-green comes into the category of warm colours. ”

“ Here out in the fields we seldom use such brilliant colours: russet, blanket, grey, blue, and English green are our usual wear. It is only when the knight, the doctor, or the merchant from the town is drawn this way that we see the real taste of the bon ton: the parti-coloured green and vermeil, white and blue, vert perdu and slate colour, yellow and black, white and vermeil, that are, with the universal black and green, the last cry of the mode. ”

“ There were browns of all tints, yellow, orange, purple, and brilliant scarlets, so intermingled as to present one uninterrupted view of nature in glorious beauty, spreading over an undulating mass of waving forest-green, while, in appearance, reaching from the high heavens to the earth, into which the lower sweeps seemed to dip, conveying the idea of eternal spring, summer, and autumn, harmoniously blended into one. ”

“ They discovered not only that in green the shadow is tinged with blue, but that blue is the direct result of the yellow-orange of light. Every one nowadays has noticed that, in looking fixedly at a green, it appears now bluish, now yellowish; just as in listening to an orchestra we can, by focusing our attention, hear predominantly the bass or the treble. So the Impressionists observed that in the most luminous colour there is a proportion of absorption, and that in the darkest shadow there exists some reflection. ”

“ As the white light of the sun passes through the raindrops, the violet part of the light is bent more than any of the rest, the indigo part is bent not quite so much, and so on to the red, which is bent least of all. So all the colors fan out from the single beam of white light and form a band of color, which we call the rainbow. ”

“ Again, if in the vegetable world green almost universally colours the leaves, yellow has more to do with the flowers. The flowers we love best are yellow: the cowslip, the daffodil, the crocus, the buttercup, half the daisy, the honeysuckle, and the loveliest rose. Yellow, too, has its turn even with the leaves; and what an artist he shows himself when, in autumn, he 'lays his fiery finger' upon them, lighting up the forlorn woodland with splashes—pure palette-colour of audacious gold! ”

“ In the autumn, nearly all leaves show brilliant patches of colour.
In borrowing Nature’s colours to set forth our ideas, we have become possessors of a mighty vehicle of expression. With yellow, we can speak of life, light, cheer and vitality. Red tells of fire, heat, blood, excitement and passion. Blue indicates coolness, quiet and restraint. In choosing green for its most universal colour, Nature harmonizes life and restraint, warmth and coolness, as represented by the component blue and yellow. ”

“ I asked a shepherd once. “The blueness of blueness,” he answered, in Gaelic. It is so. It is not blue one sees, but the bloom of blue; as on a wild plum, it is not the purple skin we note, but the amethyst bloom of purple which lies upon it. It is beauty, with its own loveliness upon it like a breath. Then the blue deepens, or greys, as the hour and the light compel. The most rare and subtle loveliness is when the grey silhouette of the mountain-ridge, serrated line, or freaked and tormented [Pg 23] peaks, or vast unbroken amplitude, sinks into the sudden deep clearness of the enveloping sky. ”

“ The surface of a marigold acts differently; all the blue is absorbed, as in the case of the poppy, and a good deal of the red with it, leaving just a little to brighten up the yellow which is reflected with it. Some substances, white marble for instance, have no power of splitting the light into colours, absorbing some and reflecting others, but reflect the whole of it in its integrity. Others again, like black velvet, absorb nearly the whole, just reflecting sufficient to enable us to see its surface. ”

“ Its colors, then, come from the play of sun-light among the yellow and violet substances distributed very curiously under its wrinkled skin. It passes from orange to yellow, from green to blue, through a series of wavering and rainbow-like shades, determined by the state of the light's radiation. Darkness blanches it, twilight gives it the most delicate marbled tints, the sun turns it dark. A part of the skin bruised or rubbed remains black, without growing white in the dark. ”

“ Fig. 113. Gallic brooch.
Brown, in Egyptian art, was the colour consecrated to Typhon; in ancient times it was the sign of mourning. Regarded as a compound of red and black, Bistre, it is the symbol of all evil deeds and treason. In a monastic costume it signifies renunciation. With the Moors it was emblematic of all evil. Christian symbolism appropriates the colour of the dead leaf for the type of “spiritual death,” &c. (Consult Portal, Essai sur les Couleurs symboliques.)
Brown Madder. (See Madder.)
Brown Ochre. A strong, dark, yellow, opaque pigment. ”

“ Never was such bronze and gold seen to make the sky so blue, as one gazed up to the hummock of Cat Bels; whilst, between our rustic seat and the high road, the woodland hollow was filled with colour of gradation from silver-grey to purple-brown, and here and there a beech tree full of leaf or a Scotch fir green and blue gave {213} emphasis to the general tone of softest harmony. ”

“ This beautiful combination gives a wide range of color for selection. Blues, especially sapphire shades, dark reds, pale pink, blue grays, white, both cream and blue-white, and black, solid and transparent. For jewels, pearls, sapphires, opals, turquoise, diamonds. White flowers, also violets, pansies, etc.
The woman with blue eyes should always have some blue about her. It is really extremely interesting to notice how blue brought up close to the throat and then a bow of the same in her hair intensifies the blue in the eyes, making even the pale, wishy-washy orbs a deep violet. ”