no longer considered as an isolated colour, as something
abstract, but is applied as an element of some other object, and
combined with natural form. The variety of natural forms will
create a variety of spiritual values, all of which will harmonize
with that of the original isolated red. Suppose we combine red
with sky, flowers, a garment, a face, a horse, a tree.

A red sky suggests to us sunset, or fire, and has a consequent
effect upon us--either of splendour or menace. Much depends now
on the way in which other objects are treated in connection with
this red sky. If the treatment is faithful to nature, but all the
same harmonious, the "naturalistic" appeal of the sky is
strengthened. If, however, the other objects are treated in a way
which is more abstract, they tend to lessen, if not to destroy,
the naturalistic appeal of the sky. Much the same applies to the
use of red in a human face. In this case red can be employed to
emphasize the passionate or other characteristics of the model,
with a force that only an extremely abstract treatment of the
rest of the picture can subdue.

A red garment is quite a different matter; for it can in reality
be of any colour. Red will, however, be found best to supply the
needs of pure artistry, for here alone can it be used without any
association with material aims. The artist has to consider not
only the value of the red cloak by itself, but also its value in
connection with the figure wearing it, and further the relation
of the figure to the whole picture. Suppose the picture to be a
sad one, and the red-cloaked figure to be the central point on
which the sadness is concentrated--either from its central
position, or features, attitude, colour, or what not. The red