THE LAWS OF CONTRAST OF COLOUR:

AND THEIR APPLICATION TO THE ARTS

OF

PAINTING, DECORATION OF BUILDINGS, MOSAIC WORK, TAPESTRY AND CARPET WEAVING, CALICO-PRINTING, DRESS, PAPER-STAINING, PRINTING, MILITARY CLOTHING,

Illumination, Landscape, and Flower Gardening, &c.

By M. E. CHEVREUL,

DIRECTOR OF THE DYE WORKS OF THE GOBELINS, ETC. ETC.

TRANSLATED FROM THE FRENCH BY

JOHN SPANTON.

NEW EDITION,

With Illustrations printed in Colours.

LONDON: ROUTLEDGE, WARNE, AND ROUTLEDGE, FARRINGDON STREET. NEW YORK: 56, WALKER STREET. 1861.

CONTENTS.

PAGE

Introduction 1

PART THE FIRST.

Section I.—On the law of simultaneous contrast of colours,

and of its demonstration by means of experiment 4

Chap. I.—Manner of observing the Phenomena of the Simultaneous

Contrast of Colours. Definition of Simultaneous Contrast 4

Chap. II.—The Law of the Simultaneous Contrast of Colours,

and the Formula which represents it 8

Chap. III.—The Law of Simultaneous Contrast of Colours demonstrated

by the Juxtaposition of a certain Number of Coloured Bodies 10

Chap. IV.—On the Juxtaposition of Coloured Surfaces with White 18

Chap. V.—On the Juxtaposition of Coloured Bodies with Black 19

Chap. VI.—On the Juxtaposition of Coloured Bodies with Grey 21

Chap. VII.—On the Juxtaposition of Coloured Bodies belonging to

the Colours of the same Group of Coloured Rays 24

Chap. VIII.—On the Application of the Law of Contrast to the Hypothesis

that Red, Yellow, and Blue are the only Primary Colours; and that

Orange, Green, Indigo, and Violet are Secondary or Composite Colours 25

Section II.—On the distinction between simultaneous, successive,

and mixed contrast of colours, and on the connexion between

the experiments made by the author, and those previously made

by other observers. Distinction between simultaneous, successive,

and mixed contrast of colours 29

PART THE SECOND.

On the application of the law of simultaneous contrast of colours 34

Introduction 34

Definition of the words Tones, Scales, and Hues 34

Of Diagrams designed to represent and define Colours and

their Modifications 36

Harmony of Colours 46

Assortments of Red, Orange, Yellow, Green, Blue, and Violet

with White, Black, and Grey 49

Colours with White 50

Colours with Black 54

Colours with Grey 58

First Division.—Imitation of coloured objects with coloured

materials in a state of infinite division 68

Introduction 68

Painting on the System of Chiaro-’scuro 69

Painting on the System of Flat Tints 81

Section III.—On colouring in painting 82

Chap. I.—On Colouring 82

Of Aërial Perspective 83

Of Colouring in respect to the Harmony of the Colours of the

various Objects composing the Picture 85

Chap. II.—Utility of the Law of Simultaneous Contrast of Colours

in the Art of Colouring 87

Utility of this Law in order to imitate promptly and surely the

Modification of Light on the Model 89

Utility of the Law in order to Harmonize those Colours of a Composition

which are inherent to the Nature of the Object represented 95

Second Division.—Imitation of coloured objects by materials of a

definite size, as threads, &c. 102

Chap. I.—On the Elements of Gobelins Tapestry 104

Rule I.—The Binary Mixture of Primary Colours 104

Rule II.—The Mixture of Complementary Colours 105

Rule III.—The Mixture of the Three Primary Colours in such

proportions that they do not become neutralized, because

one or the other of them is in excess 108

Third Division.—Colour printing 118

On Calico-Printing, and printing Paper-hangings 118

False Judgment of the Value of Recipes for Colouring Compositions 119

Chap. II.—On the Law of Simultaneous Contrast of

Colours in relation to Paper-hangings with Figures, Landscapes,

or large Flowers of varied Colours 121

On the Law of Simultaneous Contrast of Colours relatively to the

Borders of Paper-hangings 123

Printed or written Characters on Papers of different Colours 136

On the Assortment of Colours for reading by diffused Daylight 138

Fourth Division.—Employment of colours in architecture 138

1. On the Employment of Colours in Egyptian Architecture 138

2. On the Employment of Colours in Greek Architecture 139

3. On the Employment of Colours in Gothic Architecture 141

Application to the Interior of Edifices 143

On the Assortment of Stuffs with the Wood of Seats 143

On the Selection of Frames for Pictures and Engravings 145

On the General Decoration of the Interiors of Churches 147

On the Decoration of Museums and Galleries 149

Decorations of the Interior of Houses 152

On the Assortment of Colours in Interiors, the Walls of which

are panelled or covered with Marble, Stucco, or Painted Wood 163

Fifth Division.—Clothing 165

I. Men’s Clothing 165

Of the Advantages of Contrast, considered with regard

to the apparent Cleanliness of Cloth for Clothing 165

II. Female Clothing 167

Colours for the Dress of Women with White Skins 167

Of the Colours of the Hair and Head-dress 168

Of the Colours of the Complexion and the contiguous Drapery 169

The Head-dress in relation to the Coloured Rays

which it may reflect upon the Skin 171

Fair-haired Type 175

Type with Black Hair 176

On the Assortment of Colours in the Dress of Women with

Copper-coloured Skins 177

On the Assortment of Colours in the Dress of Women with

Black or Olive Skins 177

APPLICATIONS TO HORTICULTURE.

On the Art of arranging ornamental Plants in Gardens, so as to derive

the greatest possible advantage from the Colours of their Flowers 180

Assortments of Flowers where the Plants are apart 181

Assortments relating to the Harmonies of Contrast of Hues 182

Assortments as to Harmony of Analogy 182

On the Art of assorting Ligneous Plants in Gardens, so as to derive

the best possible advantage from the Colour of their Foliage 184

On the Distribution and Planting of Trees, &c., in Masses 185

Chap. I.—Of Lines of Plants 187

Of the Lines of Plants called Screens 188

Of Lines of Plants considered as Elements of Masses 188

Of Homogeneous Masses 189

Of Heterogeneous or Varied Masses 190

Isolated 190

Contrast of Colours 194

Repetition 194

Symmetry 196

General Harmony 196

Sixth Division.—Intervention of the preceding principles in the

judgment of coloured objects, relatively to their colours,

considered individually, and to the manner in which they

are associated 197

On the Connexion of the Law of Simultaneous Contrast of Colours

with the Judgment we form upon all Coloured Bodies, under the

relations of the respective Beauty or Purity of their Colours, and

of the Equality of the Distance of their Tones if these bodies

belong to the same scale 205

On the Comparison of two Samples of the same Colour 206

Influence of a Surrounding Colour upon one Colour when compared

with another 206

On the Effect of Contrast upon the Browns and the Lights of most

of the Scales of Wood and Silk employed in Tapestry and Carpets 208

Means afforded by Contrast for ascertaining whether the Tones of

a Scale of Colour are equidistant 209

Of the Binary Associations of Colours, critically considered 210

Of the Complex Association of Colours, reviewed critically 214

Of the Arts which address the Eye by employing Coloured Materials

of a certain size, considered relativelyto the Physical Condition

of these Materials, and to the Peculiarity of the Art employing them 218

Tapestries, Carpets, Mosaics, and Coloured Glass Windows,

corresponding to Paintings in Chiaro-’scuro 219

Of the Disposition of the Mind of the Spectator in respect to the

Judgment he forms of an Object of Art which attracts his eye 225

On the Colours of Military Uniforms 227

Index 235

LIST OF ILLUSTRATIONS.

ENGRAVED AND PRINTED IN COLOURS BY EDMUND EVANS.

In referring to the illustrations, it will be necessary to cover with white paper all but the example immediately under notice.

Note.—In Plates 8, 9, and 10, the examples are in rows of 13 circles arranged lengthwise.

PLATE PAGE

1. Diagrams, Various 4

2. Experimental Demonstrations of Contrast of Colour 7

3. Modifications which the Principal Colours induce in Contiguous Colours 17

4.

5.

6. Simple and Compound Colours 26

7. Chromatic Diagram 36

8. Assortments of Coloured Circles:—

Colours with White 51

9. Do. Do. Black 54

10. Do. Do. Grey 58

11. Elements of Gobelins Tapestry:—

The Binary Mixture of Primary Colours 104

12. Do. The Mixture of Complementary Colours 105

13. Black Ornaments on Various Coloured Grounds 120

14. Grey Do. Do. Do. 123

15. Metallic Gilt Ornaments on Do. 124

16. Border of Blue Flowers on Do. 130

17. Border of Roses and Leaves on Do. 131

PREFACE TO THE THIRD EDITION.

The present edition has been entirely revised; some obscurities cleared up, and a chapter on Military Clothing added. The application of Chevreul’s reasoning will doubtless tend to a rational view of this much debated question. It affords much satisfaction to all concerned in the diffusion of the principles enunciated in this work, to observe that they are being generally applied in this country, thus realizing the hopes originally expressed by the translator.

TRANSLATOR’S PREFACE.

Colour, a universal source of enjoyment, so essential an element of decorative art, has not been hitherto the subject of such investigations as to place its powers, harmonies, and discordances among matters of scientific certainty. A few traditionary dogmas have been the only guide of ordinary workmen, while success in design, as well as in the higher regions of art, has been dependent upon that rare union of faculties vaguely denoted by the indefinite, unsatisfactory term, “taste.”

The arrangement of colours in manufactures of English design—since the decline of mediæval art—has commonly been condemned as notoriously arbitrary, destitute of any reference to principle, and deficient in that satisfying richness and beauty which result from harmonious combinations. Although often overcharged with colour, and of costly elaboration, our manufactures have too often proved that the designer—in ignorance of a true, infallible standard—has mistaken gaudiness for splendour, and capricious strangeness for improvement; and, for want of a better claim to popular favour, has constantly sought it by “leaning on novelty, his fickle, frail support.”

The established preference of French designs was shown, by the Great Exhibition of 1851, to be, in the main, well-founded; and one of the leading causes of the perfect success of some objects was found in the fact, that they had been designed and executed in accordance with a well-defined set of principles, extensively taught in France to designers, workmen, and others. These principles it is the purpose of this book to set forth, to illustrate, and to apply to every art of which the choice and arrangement of colours is an element.

The author, M. Chevreul, before the publication of this work, had gained high reputation by his researches in organic chemistry. In his “Considerations sur l’Analyse Organique,” he enunciated principles which, carried into practice in his “Recherches sur les Corps Gras d’origine animal,” opened the path which has been rendered illustrious by Liebig and others. But, being appointed Director of the Dye Works of the Gobelins, he was compelled to abandon these researches—the field in which, “having sown, he had, as it were, only to reap,”—that he might fully investigate the principles involved in the assortment of colours.

M. Chevreul’s earnest attention to this inquiry was continued during ten years, with ample opportunities for investigation. For twenty-five years he has been in the habit of lecturing to workmen, artists, &c. The undisputed superiority of those French manufactures in which these instructions have been fully carried out, has evinced his success and rewarded his exertions.

Aware of the important influence of such knowledge, the Chamber of Commerce of Lyons solicited and obtained from the French Government permission for M. Chevreul to lecture there to the artisans especially, to whom printed copies of the lectures were afterwards gratuitously distributed.

As the present Work contains the substance of these instructions, we may hope that our own industrious countrymen may not long be without a similar advantage.

The value of this book has been universally recognised, and it has already been translated into several languages, although but recently into our own. A recent critic has said, with equal truth and eloquence,—“Rarely has a subject of inquiry, so fraught with beautiful and ready applications, been presented to us. To be familiar with this book is to possess a new sense. Every object in art and nature speaks a new and exciting language. Colour becomes music to the eye. We become impatient of any violent infringement of the principles of harmony, and seek every opportunity of putting our newly-acquired knowledge into practice. The minuteness of investigation, and the copiousness of illustration which characterize this volume are truly remarkable; the most untutored mind cannot fail to understand it, if steady attention be given. As a preparation for a course of scientific study, it is invaluable, for it is an excellent example of the Baconian method of investigation.”

EXTRACTS FROM THE AUTHOR’S PREFACE.

In seeking to discover the causes of the complaint made of the quality of certain colours prepared in the dyeing laboratory of the Gobelins, I was at once convinced, that, although the complaints concerning the instability of the light blues, greys, and browns, might be well founded, there were others, especially those of a want of vigour in the blacks employed for the shadows of blue and violet draperies, which were not so; for, having procured black-dyed wools from the most celebrated dye works in France and other countries, and having found that they were not superior to those of the Gobelins, I saw that the want of vigour alleged against the blacks was owing to the colours contiguous to them, and that the matter was involved in the phenomena of the contrast of colours.

It was thus demonstrated to me that I had two absolutely distinct subjects to investigate, in order to fulfil my duties as Director of the Dye Works; the first being the contrast of colours, considered in the most general manner, both in relation to science and to its applications: the second—the chemistry of dyeing. These are the two centres around which have converged all my researches during the last ten years.

In fact, numerous observations made during several months, on the view of coloured objects, which were verified by my pupils and others, much accustomed in their profession to judge of colours and to appreciate the least differences between them, have been collected and described as well-known facts. Upon reflecting on the mutual relations of these facts, and in seeking the principle of which they were the results, I was led to the discovery of that which I have named the “Law of Simultaneous Contrast of Colours.” Thus this work is the fruit of the method à posteriori: facts are observed, defined, described, then generalized in a simple expression, which has all the characters of a law of nature. This law, once demonstrated, becomes a means, à priori, of assorting coloured objects so as to obtain their best possible effect, according to the taste of the person who arranges them; it becomes also a means of estimating whether the eyes are well organized for seeing and judging of colours; and whether painters have copied exactly the colours of known objects.

In reviewing the Law of Contrast with regard to its application, and in submitting to experiment all the laws which appear to me to result from it, I have been led to extend it to the arts of tapestry, to the various sorts of painting and printing, to illuminating, horticulture, &c. But, in order to anticipate the judgments of some readers, upon the value of the opinions I have advanced (2nd part, 2nd division) respecting the Gobelins and Beauvais tapestry and the Savonnerie carpets, I must state, that, being an entire stranger to the inspection and direction of the works which are executed in the Royal manufactories, as well as to the choice of models, my views and opinions should be regarded only as those of an individual who has had frequent occasion to see and examine various artistic productions, on the preparation of which he could exercise no influence, the duties which attach me to the Gobelins being exclusively those of Director of its Dye Works.