Pigment

80. Citrine is an advancing color, because while it contains some blue in the green of its composition, it contains a preponderance of yellow and orange; slate is a receding color,...

62. The wainscoting or dado should be the same as the top border or frieze, but of a darker tone. The intermixture of white or black is always permissible; thus a paper as a side-w...

10. In music it is an established fact that certain notes used in pleasing combination produce sounds we call harmonies. The moment that more than one note is struck, there is dang...

shade, what red is to light; and its relations to other colours are those of red, &c., when we invert the scale from black to white. It is therefore a following, or shading, colour...

is an indurated clay, of the texture of white chalk, and chiefly used for cutting into crayons. Fine specimens have been found near Bantry in Ireland, and in Wales, but the Italian...

17. Diagram III is of the utmost value to the colorist, illustrating not only the composition of color, but showing the origin of each secondary from the two primaries, the origin...

orange-red colour, the red being predominant. Rank in tone, it is liable to the changes of the yellow chromes, though in a less degree. The recent introduction of cadmium red rende...

is what its name expresses, and is an olive-coloured oxide of copper deprived of acid. It dries remarkably well in oil, is more durable than the original verdigris, and is in other...

refined and select nature, and accords with the Venetian school; and the

28. But to arrive at proportions we must reduce the circular table to a geometrical table. We must straighten out the lines so that the exact proportions are apparent. We need not...

DURING the Middle Ages and up to recent times the chief task of painting has been, ostensibly, the telling and re-telling of the same Scripture stories; and, incidentally, the tell...

IN dealing with familiarity as a multiplying factor of aesthetic appreciation, I have laid stress on its effect in facilitating the perception and the empathic interpretation of sh...

OF this we get further proof when we proceed to another and less elementary relationship implied in the perception of shape: the relation of Whole and Parts. In dealing with the gr...

THE storage and transfer of aesthetic emotion explain yet another fact, with which indeed I began this little book: namely that the word Beautiful has been extended from whatever i...

SUCH are the satisfactions and dissatisfactions, impersonal and unpractical, we can receive, or in reality, give ourselves, in the contemplation of shape. But life has little leisu...

THE necessities of analysis and exposition have led us from the Shape to the Thing, from aesthetic contemplation to discursive and practical thinking. But, as the foregoing chapter...

WE have thus defined the word Beautiful as implying an attitude of contemplative satisfaction, marked by a feeling, sometimes amounting to an emotion, of admiration; and so far con...

OUR examination has thus proceeded from aesthetic contemplation to the work of Art, which seeks to secure and satisfy it while furthering some of life's various other claims. We mu...

IN my example of the Rising Mountain, I have been speaking as if Empathy invested the shapes we look at with only one mode of activity at a time. This, which I have assumed for the...

THIS little book, like the great branch of mental science to which it is an introduction, makes no attempt to "form the taste" of the public and still less to direct the doings of...