never so wholly absent as in deep green. There always remains a
hint of renewed vigour, somewhere out of sight, waiting for a
certain moment to burst forth afresh. In this lies the great
difference between a deepened red and a deepened blue, because in
red there is always a trace of the material. A parallel in music
are the sad, middle tones of a cello. A cold, light red contains
a very distinct bodily or material element, but it is always
pure, like the fresh beauty of the face of a young girl. The
singing notes of a violin express this exactly in music.

Warm red, intensified by a suitable yellow, is orange. This blend
brings red almost to the point of spreading out towards the
spectator. But the element of red is always sufficiently strong
to keep the colour from flippancy. Orange is like a man,
convinced of his own powers. Its note is that of the angelus, or
of an old violin.

Just as orange is red brought nearer to humanity by yellow, so
violet is red withdrawn from humanity by blue. But the red in
violet must be cold, for the spiritual need does not allow of a
mixture of warm red with cold blue.

Violet is therefore both in the physical and spiritual sense a
cooled red. It is consequently rather sad and ailing. It is worn
by old women, and in China as a sign of mourning. In music it is
an English horn, or the deep notes of wood instruments (e.g. a
bassoon).

[Footnote: Among artists one often hears the question, "How are
you?" answered gloomily by the words "Feeling very violet."]