nearer together in the color circle than complementaries, which
are "warmer." The reason for this last is that, in Chevreul's
phraseology, combinations of cold colors change each other's
peculiar hue the most, and of warm colors the least; because
the complementaries of these cold colors are "warm," i.e.
bright, and each, appearing on the field of the neighboring
cold color, seems to fade it out; while the complementaries
of the juxtaposed warm colors are not bright, and do not have
sufficient strength to affect their neighbors at all. With a
combination of blue and green for instance, a yellow shade
would appear in the green and a red in the blue. Such a
result fails to satisfy the demand, already touched on, for
purity and homogeneity of color,--that is, for unimpeded seeing
of color.

<1> Chevreul, _De la Loi du Contraste Simultane des Couleurs_.
E.S. Banker, op. Cit.

What significance have these abstract principles of beauty in
the combination of colors for representative art? In the
choice of objects with a definite local color, of course, these
laws will be found operative. A scheme of blues and yellows
is likely to be more effective than one of reds and violets.
If we analyze the masterpiece of coloring, we shall find that
what we at first supposed to be the wonderful single effects of
color is really the result of juxtapositions which bring out
each color to its highest power.


III