Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1876 edition. Excerpt: ...From these arise what are called the binary or secondary colors, namely, orange, composed of yellow and red; purple, composed of blue and red; and green, composed of yellow and blue. These form contrasting colors to the primary three with which they are in harmonious opposition, as the orange with blue, purple with yellow, and green with red. From the combination of these secondary colors arise three tertiary colors--olive, from purple and green; citron, from green and orange; and russet, from orange and purple. These tertiary colors harmonize with the primaries, as they stand in the relation of neutral tints to them, but are in harmonious opposition to the secondaries, from which they are combined. Red, blue, and yellow harmonize with each other, and they may be placed in juxtaposition, but purple should not be near red or blue, as it is composed of these two colors; for the same reason, orange should not be placed next to yellow or red, the rule being that no primary color should be brought into contact with a secondary color of which itself is a component part; nor any secondary color brought into contact with a tertiary color of which it is a component part. Another rule is, that the secondary and tertiary colors, and the neutral hues arising from combinations of the tertiaries, such as brown, maroon, puce, slate, lavender, etc., should be used in the greatest quantities, and the primary colors used in smaller quantity for heightening the effect. If you lack the proper shades for producing the necessary harmonies, and find that two colors do not harmonize well, separate them by a white flower. Again, always place the brightest colors in the centre of your design, and gradually decrease the intensity of the tints as you approach the...
