Repton, Humphry, 1752-1818 / Observations on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture, collected from various manuscripts, in the possession of the different noblemen and gentlemen, for whose use they were originally written; the whole tending to establish fixed principles in the respective arts
Milner, Isaac, 1750-1820
Theory of colours and shadows, pp. 214-222
and five parts of verdigris, , composed a dun colour like that of a m6use; but there is nothing in all this which militates against the explanation here given of the cause of the coloured shadows of bodies; for even supposing that there did not exist in nature any two bodies of such colours as to form perfect whiteness by their mixture; or, to go still further, supposing that no two prismatic colours of the sun could form a compound perfectly white; still the facts and reasonings here stated respecting the mixtures of such colours as are called contrasts, are so near the truth, that they furnish a satisfactory account of the appearances of the colours of the shadows which we have been considering. The terms by which we are accustomed to denominate colours, have not a very accurate or precise meaning, and particularly those terms which denote colours that are known to be mixtures of others, as green, purple, and orange: neither the prismatic green, nor the colour of any known green body, may, perhaps, combine with red so as to make actually an accurate white, and yet the existence or composition of such a green may not be impossible. The philosophical reader will clearly perceive, that no argument of any weight can be drawn from considerations of this sort against this theory of coloured shadows. ,3. Every one knows that red colours and yellow colours mixed together, in different proportions, produce orange colours of various kinds; also that reds and blues produce purples and violets; and, lastly, that blues and yellows produce greens in great variety; but it is not so generally known that green, purple, and orange colours, are as it were almost annihilated by mixture, and much improved by conti- guity with red, yellow, and blue colours respectively. The little diagram suggests all these things to the memory, and a great many more of the same kind, and, therefore, must be extremely useful to the artist who is endeavouring to produce certain effects by contrast, harmony, &c. but it should always be carefully remembered, that it contributes nothing to the proof of any of the truths here advanced; the proof rests upon the reasons given for each of them ,respectively."
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