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

Men in a state of nature, uncivilised nations, children, have a great fondness for colours in their utmost brightness, and especially for yellow-red: they are also pleased with the motley. By this expression we understand the juxtaposition of vivid colours without an harmonious balance; but if this balance is observed, through instinct or accident, an agreeable effect may be produced. I remember a Hessian officer, returned from America, who had painted his face with the positive colours, in the manner of the Indians; a kind of completeness or due balance was thus produced, the effect of which was not disagreeable.

836.

The inhabitants of the south of Europe make use of very brilliant colours for their dresses. The circumstance of their procuring silk stuffs at a cheap rate is favourable to this propensity. The women, especially, with their bright-coloured bodices and ribbons, are always in harmony with the scenery, since they cannot possibly surpass the splendour of the sky and landscape.

837.

The history of dyeing teaches us that certain technical conveniences and advantages have had great influence on the costume of nations. We find that the Germans wear blue very generally because it is a permanent colour in cloth; so in many districts all the country people wear green twill, because that material takes a green dye well. If a traveller were to pay attention to these circumstances, he might collect some amusing and curious facts.

838.

Colours, as connected with particular frames of mind, are again a consequence of peculiar character and circumstances. Lively nations, the French for instance, love intense colours, especially on the active side; sedate nations, like the English and Germans, wear straw-coloured or leather-coloured yellow accompanied with dark blue. Nations aiming at dignity of appearance, the Spaniards and Italians for instance, suffer the red colour of their mantles to incline to the passive side.

839.

In dress we associate the character of the colour with the character of the person. We may thus observe the relation of colours singly, and in combination, to the colour of the complexion, age, and station.

840.

The female sex in youth is attached to rose-colour and sea-green, in age to violet and dark-green. The fair-haired prefer violet, as opposed to light yellow, the brunettes, blue, as opposed to yellow-red, and all on good grounds. The Roman emperors were extremely jealous with regard to their purple. The robe of the Chinese Emperor is orange embroidered with red; his attendants and the ministers of religion wear citron-yellow.

841.

People of refinement have a disinclination to colours. This may be owing partly to weakness of sight, partly to the uncertainty of taste, which readily takes refuge in absolute negation. Women now appear almost universally in white and men in black.

842.

An observation, very generally applicable, may not be out of place here, namely, that man, desirous as he is of being distinguished, is quite as willing to be lost among his fellows.

843.

Black was intended to remind the Venetian noblemen of republican equality.

844.

To what degree the cloudy sky of northern climates may have gradually banished colour may also admit of explanation.

845.

The scale of positive colours is obviously soon exhausted; on the other hand, the neutral, subdued, so-called fashionable colours present infinitely varying degrees and shades, most of which are not unpleasing.

846.

It is also to be remarked that ladies, in wearing positive colours, are in danger of making a complexion which may not be very bright still less so, and thus to preserve a due balance with such brilliant accompaniments, they are induced to heighten their complexions artificially.

847.

An amusing inquiry might be made which would lead to a critique of uniforms, liveries, cockades, and other distinctions, according to the principles above hinted at. It might be observed, generally, that such dresses and insignia should not be composed of harmonious colours. Uniforms should be characteristic and dignified; liveries might be ordinary and striking to the eye. Examples both good and bad would not be wanting, since the scale of colours usually employed for such purposes is limited, and its varieties have been often enough tried.[3]

ÆSTHETIC INFLUENCE.

848.

From the moral associations connected with the appearance of colours, single or combined, their æsthetic influence may now be deduced for the artist. We shall touch the most essential points to be attended to after first considering the general condition of pictorial representation, light and shade, with which the appearance of colour is immediately connected.

CHIARO-SCURO.

849.

We apply the term chiaro-scuro (Helldunkel) to the appearance of material objects when the mere effect produced on them by light and shade is considered.--Note D D.

850.

In a narrower sense a mass of shadow lighted by reflexes is often thus designated; but we here use the expression in its first and more general sense.

851.