Theory of Colours — trans. Charles Lock Eastlake (1840)

Blue deepens very mildly into red, and thus acquires a somewhat active character, although it is on the passive side. Its exciting power is, however, of a very different kind from that of the red-yellow. It may be said to disturb rather than enliven.

788.

As augmentation itself is not to be arrested, so we feel an inclination to follow the progress of the colour, not, however, as in the case of the red-yellow, to see it still increase in the active sense, but to find a point to rest in.

789.

In a very attenuated state, this colour is known to us under the name of lilac; but even in this degree it has a something lively without gladness.

790.

This unquiet feeling increases as the hue progresses, and it may be safely assumed, that a carpet of a perfectly pure deep blue-red would be intolerable. On this account, when it is used for dress, ribbons, or other ornaments, it is employed in a very attenuated and light state, and thus displays its character as above defined, in a peculiarly attractive manner.

791.

As the higher dignitaries of the church have appropriated this unquiet colour to themselves, we may venture to say that it unceasingly aspires to the cardinal's red through the restless degrees of a still impatient progression.

RED.

792.

We are here to forget everything that borders on yellow or blue. We are to imagine an absolutely pure red, like fine carmine suffered to dry on white porcelain. We have called this colour "purpur" by way of distinction, although we are quite aware that the purple of the ancients inclined more to blue.

793.

Whoever is acquainted with the prismatic origin of red, will not think it paradoxical if we assert that this colour partly _actu_, partly _potentiâ_, includes all the other colours.

794.

We have remarked a constant progress or augmentation in yellow and blue, and seen what impressions were produced by the various states; hence it may naturally be inferred that now, in the junction of the deepened extremes, a feeling of satisfaction must succeed; and thus, in physical phenomena, this highest of all appearances of colour arises from the junction of two contrasted extremes which have gradually prepared themselves for a union.

795.

As a pigment, on the other hand, it presents itself to us already formed, and is most perfect as a hue in cochineal; a substance which, however, by chemical action may be made to tend to the _plus_ or the _minus_ side, and may be considered to have attained the central point in the best carmine.

796.

The effect of this colour is as peculiar as its nature. It conveys an impression of gravity and dignity, and at the same time of grace and attractiveness. The first in its dark deep state, the latter in its light attenuated tint; and thus the dignity of age and the amiableness of youth may adorn itself with degrees of the same hue.

797.

History relates many instances of the jealousy of sovereigns with regard to the quality of red. Surrounding accompaniments of this colour have always a grave and magnificent effect.

798.

The red glass exhibits a bright landscape in so dreadful a hue as to inspire sentiments of awe.

799.

Kermes and cochineal, the two materials chiefly employed in dyeing to produce this colour, incline more or less to the _plus_ or _minus_ state, and may be made to pass and repass the culminating point by the action of acids and alkalis: it is to be observed that the French arrest their operations on the active side, as is proved by the French scarlet, which inclines to yellow. The Italians, on the other hand, remain on the passive side, for their scarlet has a tinge of blue.

800.

By means of a similar alkaline treatment, the so-called crimson is produced; a colour which the French must be particularly prejudiced against, since they employ the expressions--"Sot en cramoisi, méchant en cramoisi," to mark the extreme of the silly and the reprehensible.

GREEN.

801.

If yellow and blue, which we consider as the most fundamental and simple colours, are united as they first appear, in the first state of their action, the colour which we call green is the result.

802.

The eye experiences a distinctly grateful impression from this colour. If the two elementary colours are mixed in perfect equality so that neither predominates, the eye and the mind repose on the result of this junction as upon a simple colour. The beholder has neither the wish nor the power to imagine a state beyond it. Hence for rooms to live in constantly, the green colour is most generally selected.

COMPLETENESS AND HARMONY.

803.

We have hitherto assumed, for the sake of clearer explanation, that the eye can be compelled to assimilate or identify itself with a single colour; but this can only be possible for an instant.

804.