Inhaltsangabe
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1845. Excerpt: ... ON THE MODES IN WHICH THE PRINCIPLES OF BEAUTY ARE DEVELOPED IN COLOUR. In all the phenomena of colour, such as are presented in the rainbow, the prismatic spectrum, and in other results of refracted light, as well as in those of light reflected from laminated substances, we find the union of the primary colours in that simple binary mode only, by which the secondary colours are produced; and however modified they may be in tone, tint, and shade, they are uniformly of this nature. Transient colours, therefore, seem to be capable of this simple kind of union only, and to be susceptible of no ternary mode of combination, excepting that which produces perfect neutrality. From this it would appear, that some further change in the action of light than that arising from mere refraction is necessary to produce those hues on which the more subtile and refined species of harmony so much depends. The modifying power of a primary upon a secondary colour, and vice versa, may therefore ON THE PRINCIPLES OF BEAUTY IN COLOUR. be said to belong to inherent colours only; and with this understanding, I shall proceed to describe the nature of the beauty produced by its application. Every proper arrangement of colour must have a key or tonic, and this key must be one of the primary or secondary colours introduced into the composition, and whether presented in a positive state of intensity, or merely as a neutralized hue, it must be assigned, and must be permitted to retain, an ascendancy over all the other colours with which it is associated. This ascendancy is given to the tonic colour by the maintaining of a due subordination to it in every hue, tint, and shade, with which it may be accompanied; while these accompaniments ought also to be subordinated relatively to each ot...
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