will provide an acute discord of feeling, which will emphasize
the gloom of the picture. The use of a colour, in itself sad,
would weaken the effect of the dramatic whole. [Footnote: Once
more it is wise to emphasize the necessary inadequacy of these
examples. Rules cannot be laid down, the variations are so
endless. A single line can alter the whole composition of a
picture.] This is the principle of antithesis already defined.
Red by itself cannot have a sad effect on the spectator, and its
inclusion in a sad picture will, if properly handled, provide the
dramatic element. [Footnote: The use of terms like "sad" and
"joyful" are only clumsy equivalents for the delicate spiritual
vibrations of the new harmony. They must be read as necessarily
inadequate.]

Yet again is the case of a red tree different. The fundamental
value of red remains, as in every case. But the association of
"autumn" creeps in.

The colour combines easily with this association, and there is no
dramatic clash as in the case of the red cloak.

Finally, the red horse provides a further variation. The very
words put us in another atmosphere. The impossibility of a red
horse demands an unreal world. It is possible that this
combination of colour and form will appeal as a freak--a purely
superficial and non-artistic appeal--or as a hint of a fairy
story [Footnote: An incomplete fairy story works on the mind as
does a cinematograph film.]--once more a non-artistic appeal. To
set this red horse in a careful naturalistic landscape would
create such a discord as to produce no appeal and no coherence.