accurately speaking, such a mixture produces what is called a
dirty colour, scorned by painters of today. But "dirt" as a
material object has its own inner appeal, and therefore to avoid
it in painting, is as unjust and narrow as was the cry of
yesterday for pure colour. At the call of the inner need that
which is outwardly foul may be inwardly pure, and vice versa.

The two shades of red just discussed are similar to yellow,
except that they reach out less to the spectator. The glow of red
is within itself. For this reason it is a colour more beloved
than yellow, being frequently used in primitive and traditional
decoration, and also in peasant costumes, because in the open air
the harmony of red and green is very beautiful. Taken by itself
this red is material, and, like yellow, has no very deep appeal.
Only when combined with something nobler does it acquire this
deep appeal. It is dangerous to seek to deepen red by an
admixture of black, for black quenches the glow, or at least
reduces it considerably.

But there remains brown, unemotional, disinclined for movement.
An intermixture of red is outwardly barely audible, but there
rings out a powerful inner harmony. Skillful blending can produce
an inner appeal of extraordinary, indescribable beauty. The
vermilion now rings like a great trumpet, or thunders like a
drum.

Cool red (madder) like any other fundamentally cold colour, can
be deepened--especially by an intermixture of azure. The
character of the colour changes; the inward glow increases, the
active element gradually disappears. But this active element is