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 glass, no trace of green effect will be produced, but a gray either slightly yellow or blue, according to the relative strength of the colors in the glass and the silk. This same effect would be secured if the yellow light of the setting sun illuminated the same material, but under such conditions everything else would be similarly affected so that the effect would not be so apparent.

The idea that all color is derived from the three primaries, red, yellow and blue, is so generally believed that our best writers among artists, colorists and educators have repeated it for many years. George Barnard, an English artist, in a very valuable book on water color painting, speaking of the colors of the spectrum which may be re-combined to form white light, says that if the yellow and blue rays are combined they produce green.

Chevreul also states in his invaluable book on color contrasts that yellow and blue threads woven into a texture, side by side, produce green. This statement is the more remarkable because the writer was a very careful investigator and is but another evidence of the strong hold which the Newton and Brewster theory has had on the public mind for so many years.

The story is told of an artist who wished to introduce into a composition of still life a blue vase with a bit of yellow lace thrown over a portion of it, and having been educated to believe that yellow and blue made green, gave a green effect to the portion of the vase covered by the lace. Had he known that blue and yellow light combined make gray instead of green he would have avoided the error.

The fact that gray is the product of blue and yellow light is sometimes taken advantage of in forming backgrounds in lithographic printing, in which a stippling of alternate clots of yellow and blue, very close together but not overlapping, is used to produce a beautifully transparent gray much more pleasing than any one tint of gray. This result is clue to the blending of the two colors in the eye with the same effect as the colors of two rotating disks are mingled. The fact that there is a dif-


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 Lord Dorset, vii; its vast popularity, vii; publication of the third part of, xiii; variety of knowledge displayed in it, xvii; characters in it, xviii, xxi; its host of imitators, xix; compared to the Satyre Menippèe, xx; its wonderful influence, xxi; probable derivation of the name, 2, n. 1.

Hudibras, Sir, his character, 4; rides out a-colonelling, 4; his learning, 6; his language, 8; his religion, 12; his beard, 14; his person, 16; his dress, 17; his arms, 18; his steed, 21; his speech on bear-baiting, 31; his defence of Synods, 36; advances to disperse the rabble, 46; his speech, 61; encounters Talgol, 72; is dismounted, and falls on the bear, 75; assailed by Crowdero, 76; rescued by Ralpho, 77; his triumphal procession, 82; commits Crowdero to the stocks, 84; retires to rest, 96; his love-adventure recounted, 97; his amorous soliloquy, 99; sets out to visit the widow, 100; intercepted by the rabble, 101; his harangue, 101; his method of attack, 102; struck down by Colon with a stone, 103; wounds Magnano, 104; his desponding speech, 105; rallies, 106; attacked by Orsin and Cerdon, 108; exults in his supposed victory, 109; encourages Ralpho, 110; dismounted by Trulla, 1 11; attempts to bully Trulla, 112; combats with, and is defeated by her, 113; submits to her mercy, 115; led captive in procession, 117; committed to the stocks, 118; his philosophy, 119; defends Synods from the aspersions of Ralpho, 121, 129, 130; visited by the widow, 139; his confusion on seeing her. 140; his conference with her, 141; his philosophical contempt of pain, 142; his defence of beating, 145; his arguments in favour of mutual love, 147; asserts the irresistibility of love, 148; his eulogium on riches, 153; his high-flown professions of love, 156; engages to submit to flagellation, 169;:s set at liberty, 169; retires to rest, 170; rises to perform his penance, 174; his scruples of conscience, 174; desires Ralpho's advice, 175; his arguments in favour of perjury, 184; suggests whipping by proxy, 191; appoints Ralpho his substitute, 191; threatens him, on his refusal to officiate, 192; draws to chastise him, 195; alarmed by the approach of the Skimmington, 196; his observations on the procession, 199; resolves to oppose it, 202; his speech to the multitude, 203; attacked with missiles, 205; takes to flight, 206; his consolatory speech, 206; sets out for the widow's house, 212; his doubts of success, 212; resolves to consult a conjuror, 219; visits Sidrophel, 232; his conference with him, 233; ridicules astrology, 234; his arguments respecting astronomy, 248; his altercation with Sidrophel, 253; vanquishes Sidrophel and Whachum, 256; cross-examines their pockets, 257; is deceived and scared by Sidrophel, 259; resolves to leave Ralpho in the lurch, 260; flies, 261; proceeds to visit the widow, 271; arrives at her house, 274; his address to her, 275; relates his exploits and sufferings, 277; is interrupted and contradicted by the widow, 276; protests his veracity, 285; defends the institution of marriage, 297; alarmed by the supposed approach of Sidrophel, 306; entrenches himself beneath a table, 307; is discovered and dragged out of his hiding-place by the devils, 308; is cudgelled and catechised, 309; confesses his treachery, 309; expounds his

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 principles, 310; left to his meditations in the dark, 314; is jeered by an unseen spirit, 315; his controversy with the spirit, 317; escapes by the spirit's assistance, 323; his flight, 324; discovers his champion to be Ralpho, 397; finds he has been out-witted, 400; re-assumes his courage, 401; harangues on the art of war, 407; ridicules, but adopts, Ralpho's advice, 413; repairs to counsel learned in the law, 415; his conference with the lawyer, 417; resolves to address a letter to the widow, 423; his epistle, 424; despatches it by his Squire, 435; the lady's answer to the Knight, 436.

Hue and cry, 161 and n. 3.

Huffer, meaning of the word, 255 and n. 3.

Hugger-mugger, 95 and n. 4; 156; 399 and n. 1.

Hugo, scout-master to Gondibert, 46, n. 1.

Human species, its original formation, 296 and n. 3.

Hums and hahs, 374 and n. 2.

Hutchinson, Dr, his Essay on Witchcraft, 215, n. 5; 216, n. 3.

Hypocrisy, the sin of, 310.

Ibrahim, the illustrious Bassa, 168, n. 3.

Ichneumon, or water-rat of the Nile, 34, n. 8.

Ideas, not in the soul, 25, n. 3.

Idus and Calendæ, 251 and n. 1.

Ignorance, asserted to be the mother of devotion, 98, n. 3.

Imps and Teats, 395 and n. 2.

Independents, sneer at the, 111, n. 1; alluded to, 120, n. 2; 121, n. 1; enemies to learning, 131, n. 2; their mental reservations, 174, n. 4; 175, n. 1; their dexterity in intrigue, 193, n. 6; treachery of the, 273, n. 3; doings of the, 319; have no power, 320 and n. 1; their enthusiasm, 321 and n. 1; charged with altering a text of Scripture, 326, n. 5; a kind of church dragoons. 331 and n. 2; their charges against the Presbyterians, 376, n. 3.

Indian lake, 158 and n. 5.

Indians, 362 and n. 5; sacrifice to their idols, 175 and n. 3: their actions, 362 and n. 5; their dames, 438 and n. 3.

Infants, exchange of, 302 and n. 2.

Insane, influenced at the change and full of the moon, 314 and n. 3.

Insect weed, 395 and n. 1.

Inward ears, 274 and n. 2.

Inward light, 285; 306.

Ion, his address to his mother Creusa, 50, n. 3.

Irish Soldiers, with Tails, 163, n. 3.

Iron, 86 and n. 1; burns with cold, 291 and n. 2.

Ironside, 306 and n. 2.

Island, with four seas, 289 and n. 2.

Isle of Wight, Treaty of, 377.

Issachar, the tribe of, 263, n. 1.

Jackson, a milliner, 46, n. 3.

Jacob's Staff, 245 and n. 2.

Jail, perpetual, 391 and n. 2.

James, King, his Dæmonology, 154, n. 2.

Jarre, Chevalier, died from fear, 143, n. 1.

Jealousies and Fears, use of the words, 3, n. 4.

Jefferies, Thomas, Esq., Life, iii.

Jefferys, Judge, anecdote of, 313, n. 4.

Jesuits, their equivocations, 171 and n. 4; evasions, 183 and n. 5.

Jesus Christ, his expected appearance, 337 and n. 1.

Jewish Tribes, 382 and n. 1.

Jezebel, .399, 410.

Jiggumbobs, 272 and n. 4.

Jimmers, Sarah, 257 and n. 3.

Joan of Arc, 56 and n. 6; 445; particulars respecting, 415, n. 2.

Joan, Pope, 198, n. 5; 128, n. 2.


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 upon him; until, what betwixt the desire to vaunt and the longing to talk things over, I gradually laid bare to him nearly all that had befallen me; except indeed about Lorna, whom a sort of shame kept me from mentioning. Not that I did not think of her, and wish very often to see her again; but of course I was only a boy as yet, and therefore inclined to despise young girls, as being unable to do anything, and only meant to listen to orders. And when I got along with the other boys, that was how we always spoke of them, if we deigned to speak at all, as beings of a lower order, only good enough to run errands for us, and to nurse boy-babies.

And yet my sister Annie was in truth a great deal more to me than all the boys of the parish, and of Brendon, and Countisbury, put together; although at the time I never dreamed it, and would have laughed if told so. Annie was of a pleasing face, and very gentle manner, almost like a lady some people said; but without any airs whatever, only trying to give satisfaction. And if she failed, she would go and weep without letting anyone know it, believing the fault to be all her own, when mostly it was of others. But if she succeeded in pleasing you, it was beautiful to see her smile, and stroke her soft chin in a way of her own, which she always used when taking note how to do the right thing again for you. And then her cheeks had a bright clear pink, and her eyes were as blue as the sky in spring, and she stood as upright as a young apple-tree, and no one could help but


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 smile at her, and pat her brown curls approvingly; whereupon she always courtesied. For she never tried to look away when honest people gazed at her; and even in the court-yard she would come and help to take your saddle, and tell (without your asking her) what there was for dinner.

And afterwards she grew up to be a very comely maiden, tall, and with a well-built neck, and very fair white shoulders, under a bright cloud of curling hair. Alas poor Annie, like most of the gentle maidens—but tush, I am not come to that yet; and for the present she seemed to me little to look at, after the beauty of Lorna Doone.


text: Lorna Doone/Volume 1/Chapter 9

title: Lorna Doone/Volume 1/Chapter 9


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 Having examined those apartments, she saw, on the other side of the gallery, two other doors; these, on trial, she found locked. She then returned and went down the stair-case; after the first landing place the windows were shut, and when she came to the bottom she entered a hall, in which were three doors; one she attempted to open, immediately a murmuring noise was heard, and the instant she opened the door, another at the end of the room was shut to with great violence. The lady for a moment stood suspended; she trembled, and deliberated whether she should return or not; but recovering resolution, she entered; a candle was burning on a table, the windows were closed up, there were books and implements for drawing on the table; this convinced her the inhabitants were alive, however, and going to the door, she said aloud, "Whoever resides in this apartment need not be under any apprehensions from the intrusion of an unfortunate woman, whom distress has driven to this castle, and only a melancholy kind of curiosity


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 ference between the color effects produced by mixing two pigments and the mixing of the light reflected from similar colored surfaces is a very strong argument for a system of color instruction based on disk combinations, rather than on pigmentary mixtures.

In order to obtain the most truthful effects of color in nature the artist should have sufficient knowledge of the principles which govern the combination of colors by reflected light, so that his reason may aid his eyes.

A little experimenting with the rotating disks and with pigments will convince any one that the disk combinations form the only possible basis at present known for logical color instruction.

Having shown that the three colors, red, yellow and blue, can not be combined to make an orange, a green or a violet of a corresponding degree of purity, we will consider the other claim which is set up by the advocates of the Brewster theory, namely, that the secondaries are complementary to the primaries in pairs, the green to the red, the violet to the yellow and the orange to the blue.

As all color is contained in white light, if we take from white light any given color, the color remaining is the complementary. If a small disk of standard red paper is placed on a white wall and the eyes fixed intently on it for a few seconds, and then the eyes slightly moved back and forth, a ring of a bluish green tint will be seen surrounding the red paper, or if the eyes are fixed intently on the disk for a short time and the paper suddenly removed, a disk of the same blue green tint will be seen in place of the red disk. This is called the accidental color and is supposed to be identical with the complementary color, although the image is too faint to give any very exact effect, but it is sufficient to furnish a clue to the complementary, and we may infer that a color between green and blue is that which is required.


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 Now if we can determine in what proportions reel, blue and green must be united to produce white light we may solve the problem. This is not possible in the use of any pigmentary colors, because of the impurity of all pigments as compared with spectrum colors. Although the mixture of colored light reflected from the disks, which are made of pigmentary colors, gives much purer color than the actual mechanical mixture of the two pigments, still, because it is a reflection of pigmentary colors, it is far lower in tone than the corresponding mixture of spectrum colors. Therefore it can not be a pure white, but may be white in shade or a neutral gray, which, as already shown, can be produced by the combination of a white and a black disk.

Therefore if red, blue and green disks of medium size are joined on the wheel and in front of them small white and black disks are combined, we have a means for solving this problem. If these various disks can be so adjusted that when rotated the effect of the three colored disks is a. neutral gray, (or white under a low degree of illumination) exactly matching a gray that may be obtained by adjusting the small black and white disks, then one step in the solution is taken, as shown in Fig. 12.

With such an arrangement a very close match is produced, when the combined disks show the proportions to be R. 41½, B. 22½, G. 36 for the larger disks, and for the small disks W. 15, and N. 85. Now if blue and green are combined in the same proportions, as indicated above and in quantities sufficient


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 when added together to fill the entire circle of 100 parts, blue will contain 38.3 parts and green, 61.7 parts, as shown in Fig. 13, and the disks when rotated will give the color which is the complementary of red: namely, a blue green.

In the same way the complementary of each of the other standard colors, and in fact of any color, may be obtained.

The complementary of orange is another color between the green and blue, but more largely blue. The complementary of green is a violet red, and of violet a color between yellow and green, while yellow and blue are very nearly complementary to each other.

These figures furnish the results in a very well-lighted room, with a perfectly white interior. It is a well-established fact that this experiment is somewhat affected by the degrees of illumination, and also that colored light from the walls and ceiling of a room must of necessity have its effect, but all these matters are so insignificant as to be of no material consequence in the aesthetic study of the subject, and they can be very nearly eliminated when necessary by a careful selection of conditions. Whenever accurate experiments in pigmentary color comparisons are to be made, either by the use of rotating disks or otherwise, it is desirable to have a very well-lighted room, with a northern exposure and to select a morning or noonday light from a slightly overcast sky. These conditions obviate the unpleasant effect of direct sunlight in the room and also the very slightly blue effect of the clear sky. These precautions are unnecessary in experiments relating to the ordinary aesthetic consideration of color combinations, but even in such work it is important to exclude all light reflected from neighboring trees or colored buildings. Also the interior of the room should be as free from color as possible; a clean white surface is especially desirable.

A Chart of Complementary Colors, shown in Fig. 14, has been found very valuable in fixing in the minds of teacher and pupils the complementaries of the six standards. In this chart,


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 which is about eighteen inches in diameter, the circles at the ends of the six diameters are colored papers selected from the Bradley coated papers, as approximating the true complementaries. In the majority of cases they are not far from correct, but are least satisfactory in the blue and yellow. Theoretically the complementary of the ideal standard blue is a slightly orange yellow, and of the standard yellow a slightly violet blue. But

there is as yet no blue pigment in the market suitable for commercial use which is free from a slightly violet effect. Therefore the standard blue paper is practically as good a complementary for the standard yellow as the violet blue paper. But notwithstanding these slight imperfections which are at present unavoidable, the chart is a valuable aid in fixing in the mind the positions of the complementary pairs in the spectrum circuit.

Each of the foregoing experiments furnishes an interesting class exercise, and may be very closely repeated by the pupils


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 has induced her to explore a part of it proscribed by every one."

She had scarcely uttered these words when the door opened, and a lady, attended by an elderly woman, appeared. Both started; but the visitor, in a confused manner, apologized for her intrusion. The other taking her hand, placed her in a chair. "Perhaps, madam, (said she) this may prove the happiest day of my life, and I may rejoice that your curiosity and courage is superior to those terrors by which others have been intimidated." "At least, madam, you will do me the justice to believe (answered the lady) that I would not have been guilty of this intrusion, had I known these apartments were really inhabited, but be assured, madam, your secret is perfectly safe with me." "I do not doubt it, (replied the other;) your countenance is a letter of recommendation to every heart." She then ordered her attendant to bring some refreshments, which consisted of biscuits and fruits.


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 Cobbe, Richard, s. John, of Bristol (city), gent. ., matric. 4 Dec., 1705. aged 17; B.A. 1709, M.A. 1712, chaplain to the English factory in the East Indies, and built there a church at his own expense. See Rawlinson, i. fo., p. 23.  Cobb, Samuel, M.A. Cambridge; incorp. 14 July, 1618.  Cobb, Sir Thomas, of Adderbury, Oxon, bart.; created M.A. 28 Sept., 1663 (son of Sir William, of Adderbury, knight), created a baronet 9 Dec., 1662, baptized at Adderbury 28 Aug., 1627, died in Feb., 1699, brother of Arthur and Francis and William 1638, and father of Edward 1693, and John 1697.  Cobb, (Sir) William, of London. ., matric. 3 June, 1608, aged 17 (as arm.) ; of Adderbury, Oxon, created M.A. 12 April, 1648, one of the parliamentary visitors of the University, admitted to the Middle Temple 1610 (as son and heir of William, of Lincoln's Inn, deceased), knighted 15 June, 1624, buried at Adderbury 16 March. 1658, father of Francis 1651, Thomas 1663, Arthur 1665, and William next named. See Foster's Inns of Court Reg.  Cobb, William, 1s. William, of Adderbury, Oxon, equitis. , matric. 23 Nov., 1638, aged 15; baptized at Adderbury 17 Nov., 1622, buried 10 April, 1639, brother of Arthur, Francis, and Thomas.  [5]

Cobbett, Thomas, of co. Oxon, pleb. ., matric. 25 Oct, 1616, aged 16.  Cobbett, Thomas, s. Thomas, of Newbery, Berks, pleb. ., matric. 12 Oct., 1627, aged 19, B.A. 11 Feb., 1627-8; M.A. from 26 June, 1632.  Cobbett, Lieut.-colonel Ralph ; ordered 19 May, 1649, that he be created M.A. when he pleased to come to Oxford, took King Charles prisoner from Newport to Hurst Castle. See Fasti, ii. 141.

Cobbs, Edmund (Cobbes), s. Ambrose, of Canterbury, Kent, pleb. ., matric. 20 June, 1627, aged 34; one of these names vicar of Compton Bishop, Somerset, 1639. See Foster's Index Ecclesiasticus.

Cobbs, Thomas, of Kent, gent. ., matric. 16 Feb., 1596-7, aged 17.
 [10]

Cobbes, William, of Kent, gent. ., matric. 2 June, 1592, aged 16; of Gray's Inn 1594, as son of Thomas, of Chilham, Kent, gent. See Foster's Grays Inn Reg.

Cobden, Edward, s. William, of Haslemere, Surrey, gent. ., matric. 19 Nov., 1702, aged 16, B.A. 1706 (incorp. at Cambridge 1713, M.A. from . 1713). B. & D.D. 1723, baptized at Haslemere 15 July, 1683, educated at Winchester College, vicar of Empshot, Hants, of Sandon, Herts, 1711, and of Buckden, Hunts, 1720, canon of Lincoln 1721-64, chaplain to Edmund Gibson, bishop of Lincoln, rector of Acton, Middlesex, 1726, canon of St Paul's, 1727, rector of St. Augustin-at-the-Gate with St. Faith 1730, chaplain in ordinary to George II. 1730, died 22 April, 1764. See Rawlinson, v. 440, xvi. 385; Foster's Index Ecclesiasticus; & D.N.B.

Cobden, Francis; B.A. from ., Cambridge, 1641, supplicated for incorp. as M.A. 12 July, 1645.

Cobden, Richard, s. John, of West Deane, Sussex, pleb. , matric. 14 Dec., 1666, aged 17; B.A. 1670, M.A. 1673, rector of Wood Eaton, Oxon, 1674. See Foster's Index Ecclesiasticus.

Cobden, Richard, s. William, of Elsfield, Hants, cler. ., matric. 13 March, 1694-5, aged 15; B.A. 1698, M.A. 1701, rector of Lasham, Hants, 1709, and of Ash 1713, brother of William 1688. See Foster's Index Ecclesiasticus.
 [15]

Cobden, William, s. Richard, of Midhurst, Sussex, pleb., p.p., matric. 19 July, 1662, aged 18; B.A. 9 Feb., 1665-6, M.A. 1668, rector of Ellesfield, Hants, 1668-1703, father of the last named and of the next named. See Foster's Index Ecclesiasticus.

Cobden, William, s. William, of Elsfield, co. Southants, cler. , matric. 28 March, 1688, aged 17, B.A. 1691; M.A. from. 1694, rector of Lurgashall, Sussex, 1698-1723, brother of Richard 1695. See Foster's Index Ecclesiasticus.

Cobbam, Peter, of Devon, arm. ., matric. 9 March, 1581-2, aged 14.

Cobley, John; B.A. 4 Dec., 1513, M.A. (sup. 13 Dec.) 1515, vicar of Wootton Bassett, Wilts, 1521. See Foster's Index Ecclesiasticus.

Cobley, John. s. I., of ' Ead.' (? Hatherleigh), Devon, gent. ., matric. 7 March, 1705-6, aged 17, B.A. 1709; M.A. from 1712, as.
 [20]

Cobley, Robert, s. John, of Knowston, Devon, pleb. p.p. ., matric 25 Oct., 1639, aged 16.

Coborne, Henry ; B.A. 17 May, 1572.

Cocceius, Henry; created D.C.L. 20 Dec, 1670.

Cock. See also.

Cocke, Arthur, organist Exeter Cathedral; B.Mus. 25 Feb., 1593-4.
 [25]

Cock, Elias, of Essex, pleb. ., matric. 2 July, 1585, aged 18, B.A. 27 Nov., 1587; fellow. 1588-92, M.A. 30 June, 1591. See Boase, 50.

Cocke, George, M.A. Cambridge; incorp. 12 July, 1653.

Cock, Henry; created D.C.L. 20 Dec., 1670, as.

Cocke, James, of Westmorland, pleb. ., matric.-entry under date 1572, aged 18 ; B.A. 14 Dec., 1574, fellow 1577, M.A. (sup. 7 July) 1577, sup. for licence to preach (as ) 18 Oct., 1582, canon of York 1585, rector of Etton 1587. See Foster's Index Ecclesiasticus.

Cock, John, of Essex, gent. ., matric.-entry under date 20 Dec., 1577, aged 16.
 [30]

Cocke, John; B.A. from ., Cambridge, 1658, incorp. as M.A. 14 July, 1663, one of these names rector of Ewhurst, Surrey, 1660, canon of Chichester 1674, etc. See Foster's Index Ecclesiasticus.

Cocke, John, s. J., of Kendall, Westmorland, p.p. ., matric. 23 May, 1672, aged 17; B.A. 1677, fellow, M.A. 1680, had the cure of Banbury, vicar of Thatcham, Berks, 1687. See Hearne, i. 304.

Cock, Luke, s. Luke, of Plymouth, Devon, pleb. ., matric. 30 March, 1666, aged 16.

Cocke, Nicholas, s, N., of South Pederell (Petherwin), Cornwall, pleb. ., matric. 12 March, 1674-5, aged 16.

Cock, Peter (Cork); B.A. 15 Feb., 1533-4.
 [35]

Cocke, Robert (Coche or Koche); B.C.L. 12 July, 1534, one of these names rector of Trevelga, Cornwall, 1544. See Foster's Index Ecclesiasticus.

Cocke, Robert of co. Lincoln, gent. , matric.-entry under date 22 Dec., 1576, aged 18.

Cock, Robert, s. Francis, of Norwich, Norfolk, arm. , matric. 17 Dec., 1685, aged 18; B.A. 1689, M.A. 1692, incorp. at Cambridge 1693, vicar of Chippenham 1704, until his death 14 Oct., 1724. See Alumni West., 203; & Foster's Index Ecclesiasticus.

Cock, Samuel, s. Anth., of Redruth, Cornwall, gent. ., matric. 6 March, 1667-8, aged 17.

Cocke, Thomas, B.A. 12 Dec., 1561.
 [40] [ 295 ]


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we may elucidate the subjects alluded to on the title page of this work, it is of importance to ascend very high toward the beginning of time in this investigation, even up to the creation of the first human pair. By this method, and this only, do we hope to arrive at length to a knowledge of the desired objects.

To ascertain the true origin of the Negro, or African race, at the very threshold of the work, is exceedingly appropriate, as, without such a discovery, we shall appear to wander where no light shines to illume the way, amidst the mazes of ancient times.

How often do we hear questions like the following? From whence came the Ethiopian, or black man?

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 with their tops. Also the computation of the proportion of green and blue when raised to the full circle may form a prac- tical problem in proportion for pupils of the higher grades. Taken together, these experiments prove that the complemen- taries of the old primaries are not found in the secondaries.

The last claim of the Brewster theory is that the secondaries by combination form three lines of colors peculiar to them- selves, called citrines, russets and olives. It is asserted that the mixture of orange and green makes citrine ; orange and violet russet ; green and violet olive. Although these names may be very convenient terms to express three general classes of colors, they must of necessity be too general and indefiuite to be of value for accurate expression of color effects, and are in fact so vague that hardly two persons can be found in a large company who will agree as to the best expression of either of them. The following are formulas for a number of colors in each class, as made from analyses of colors coining under these names. It is an interesting exercise to produce some of these colors by means of the rotating color disks and test the opinions of the different members of a company as to which best represents to each one of them a tertiary color, as citrine, for example. For this purpose three different formulas may be shown at the same time, with three sizes of disks.


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The term citrine theoretically covers all possible combinations of orange and green, but as generally understood those colors which are so near the orange or the green as to very decidedly approach either the one or the other are not included, and, as shown in the above analyses, a citrine is a very broken color ranging from an orange yellow through yellow to a green yellow.

Although the russets would theoretically range from violet to orange, yet the general conception of russet will hardly accept a violet red, but will cover only the red and orange reds as above indicated, while olives are confined to blue greens and green blues.

These tests are based on combinations of the Bradley standard orange, green and violet pigments, and therefore are far stronger in color than those colors usually termed citrine, russet and olive, made by mixing the pigmentary secondaries. For example, if a yellow and blue pigment are mixed to form a green, and red and yellow pigments to make an orange, and then this green and orange are mixed to produce a citrine, the result will be very much darker and more broken than the mixture of the purer orange and green colors used as standards.

Restricted to these limits these names may become very useful terms for general color expressions, as covering three different classes of broken colors. If any one believes that these color formulas do not correctly represent the three classes of colors indicated, a series of experiments with even the small color top will prove very convincing.

When the subject of standards as a means for identifying colors is mentioned artists frequently express the feeling that


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 were but small, to remove the family to Paris, in order that her son might obtain the best opportunities for instruction. There young Scheffer was placed with Guérin the painter. But his mother's means were too limited to permit him to devote himself exclusively to study. She had sold the few jewels she possessed, and refused herself every indulgence, in order to forward the instruction of her other children. Under such circumstances, it was natural that Ary should wish to help her; and by the time he was eighteen years of age he began to paint small pictures of simple subjects, which met with a ready sale at moderate prices. He also practised portrait painting, at the same time gathering experience and earning honest money. He gradually improved in drawing, colouring, and composition. The 'Baptism' marked a new epoch in his career, and from that point he went on advancing, until his fame culminated in his pictures illustrative of 'Faust,' his 'Francesca da Rimini,' Christ the Consoler,' the 'Holy Women,' 'St. Monica and St. Augustin,' and many other noble works.

"The amount of labour, thought, and attention," says Mrs. Grote, "which Scheffer brought to the production of the 'Francesca,' must have been enormous. In truth, his technical education having been so imperfect, he was forced to climb the steep of art by drawing upon his own resources, and thus, whilst his hand was at work, his mind was engaged in meditation. He had to try various processes of handling, and experiments in colouring; to paint and repaint, with tedious and unremitting assiduity. But Nature had endowed him with that which proved in some sort an equivalent


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 the names of pigments are good enough for them, such as Ultramarine Blue, Prussian Blue, Vermilions, the Siennas, Indian Red, etc. The following are the analyses of several samples of Vermilion, Burnt Sienna, Raw Sienna, and Indian Red of the best tube oil colors in the market:—

A careful examination of these formulas and a reproduction and comparison of the colors on the color top will convince any one that in no case does the commercial name determine the color with a degree of accuracy sufficient for any valuable nomenclature.

The theory of the harmonies of colors is a subject which awaits very careful investigation and a general discussion by artists and expert colorists. Such investigations must include many experiments based on common standards and uniform methods of measurements and records.

Harmonies naturally seem to fall into a few general classes which are convenient for comparison and discussion as well as for elementary instruction, but no one person can set himself or herself up to decide which are the best harmonies.


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 The practices and recommendations of noted artists who have appeared to be gifted with intuitive perceptions regarding color combinations have frequently included those for which there seemed to be no recognized authority, and yet their beauty could not be questioned. As the rules of grammar are but the correlation of the practices of the best scholars, so the rules governing color combinations must be the summary of the practices and recommendations of the best artists, if they are to be generally accepted as final, and hence we must patiently await the growth of similarly established laws by the comparison of the opinions of critics of acknowledged ability in various departments of the world of art. This has not been possible in the past and can never occur until there is a language of color through which color facts can be somewhat accurately expressed in verbal and written language, and this language cannot exist until there is an accepted alphabet of color on which it can be based. This alphabet is now in part furnished by the spectrum standards and completed by the pigmentary standards and the rotating disks made like them. Together they form the basis for a nomenclature by the use of which the questions involved in harmonies can be discussed and the results expressed in written/language.

In the investigation of any subject with a view to elementary instruction, classification is an important factor, but one which heretofore has been almost ignored as regards color education. Consequently at present the more definite division of harmonies into classes is very much a matter of personal opinion, but Mr. Henry T. Bailey, State Supervisor of Drawing in Massachusetts, has suggested a very useful classification in which he arranges all harmonies under these five heads: Contrasted, Dominant, Complementary, Analogous and Perfected.

Contrasted.—The contrasted harmonies are those in which color is contrasted with non-color, or more accurately in which an active color, that is a tone from the spectrum circuit, is contrasted with a passive color, white, black, gray or silver and


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 gold; for example, a blue green tint with white, or green blue with warm gray No. 1.

Dominant.—By dominant harmonies we mean those in which are combined different tones from one color scale. For example, red tint No. 1, and red shade No. 1, or a green blue tint, green blue, and a green blue shade. A dominant harmony composed of grays, or white, gray and black, is sometimes called a neutral harmony.

Complementary.—This term refers to those harmonies in which are combined opposite or complementary colors in the spectrum circuit. The best of them show not only opposition in color but also opposition in tone. Thus, tints of one color with shades of its complementary produce a more pleasiug effect than do complementaries of equal value. The best complementary harmonies contain one or more passive colors.

Analogous.—This name is applied to those harmonies in which are combined tones from scales of neighboring colors in the spectrum circuit.

For example, in a composition of colors from that part of the spectrum containing yellow, green yellow and yellow green the following simple combination may be made: Yellow tint No. 1, green yellow and yellow green shade No. 2.

Perfected.—By perfected harmonies we mean those in which the general effect of one analogous harmony is complementary to that of another.

The above classification of harmonies is very valuable for fixing in the mind the various effects of color combinations, and yet they may seem to somewhat merge into each other in their application, until the underlying principles which govern them are understood. It is unwise to suppose that because the above classification of harmonies is based on the science of color we can infer that it furnishes definite rules for producing best effects.

The good or bad effect of two or more colors in combination in decorative designs or fine art depends very largely upon


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 phenomena which are elaborately explained in a book entitled "The principles of Harmony and Contrasts of Colours" by M. Chevreul. The first edition of this book was prepared in 1835 and published in 1838. The author had at that time been employed for a number of years as superintendent of the manufactory of Gobelin Tapestries in Paris under the control of the French government.

In this book are described in detail the results of a great number of experiments which were instigated by complaints regarding certain colors produced in the dyeing department of the manufactory, and which afford the most elaborate exposition of the subject ever published.

One of the first things which led Chevreul to make his investigation was the complaint that certain black yarns used as shades in blue draperies were not a full black but more or less gray.

The author says in his preface, "The work I now publish is the result of my researches on Simultaneous Contrasts of Colours; researches which have been greatly extended since the lectures I gave on this subject at the institute on the 7th April, 1828. In reflecting on the relations these facts have together, in seeking the principle of which they are the consequence, I have been led to the discovery of the one which I have named the Law of Simultaneous Contrast of Colours."

The closing sentence of the preface to the first edition and dated 1835 is as follows:—

"I beg the reader never to forget when it is asserted of the phenomena of simultaneous contrast, that one colour placed beside another receives such a modification from it, that this manner of speaking does not mean that two colours, or rather the two material objects that present them to us, have a mutual


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 action, either physical or chemical; it is really only applied to the modification that takes place before us when we perceive the simultaneous impression of these two colours."

It was not till three years later that a publisher could be found for this book, which is still a standard.

The English translation comprises over five hundred closely printed pages with many engraved and colored plates, and yet, it has been of comparatively little value in popular instruction because of the lack of a generally accepted color nomenclature or list of well defined color terms, by which the readers might have understood and repeated for themselves the experiments described.

Unfortunately Chevreul was fully impressed with the Newton-Brewster idea of three primaries, red, yellow and blue, and therefore some of his deductions from his experiments seem to have been more or less influenced by the attempt to make them harmonize with this theory, and yet the subject which he has treated so exhaustively and intelligently is one of the most important in the aesthetic study and use of colors. In all expressions of colors in combination with each other, whether in nature, fine arts or the decorative and industrial arts, every color is affected by its surrounding colors, a fact which is exhaustively treated in this book.

"While with our present knowledge of the subject it does not seem that the material use of color can be reduced to an exact science, this should not prevent us from accepting all the natural and scientific aids which have been or may be discovered toward this desirable result. Because of this lack of scientific knowledge in Chevreul time much of the worth of his experiments is lost to us, yet there is very much of value in his work, suggesting as it does experiments which may be tried with present standards and modern methods.

If the use of Maxwell disks had been known to Chevreul his deductions from his experiments would have been quite different in their details. For example, in accepting the propo-


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 for shortcomings of a professional kind. His own elevation of character, and his profound sensibility, aided him in acting upon the feelings of others. through the medium of the pencil."

One of the artists whom Scheffer most admired was Flaxman; and he once said to a friend, "If I have unconsciously borrowed from any one in the design of the 'Francesca,' it must have been from something I had seen among Flaxman's drawings." John Flaxman was the son of a humble seller of plaster casts in New Street, Covent Garden. When a child, he was such an invalid that it was his custom to sit behind his father's shop counter propped by pillows, amusing himself with drawing and reading. A benevolent clergyman, the Rev. Mr. Matthews, calling at the shop one day, saw the boy trying to read a book, and, on inquiring what it was, found it to be a Cornelius Nepos, which his father had picked up for a few pence at a bookstall. The gentleman, after some conversation with the boy, said that was not the proper book for him to read, but that he would bring him one. The next day he called with translations of Homer and Don Quixote,' which the boy proceeded to read with great avidity. His mind was soon filled with the heroism which breathed through the pages of the former, and, with the stucco Ajaxes and Achilleses about him, ranged along the shop shelves, the ambition took possession of him, that he too would design and embody in poetic forms those majestic heroes.

Like all youthful efforts, his first designs were crude. The proud father one day showed some of them to Roubilliac the sculptor, who turned from


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 tion that there are three primaries, red, yellow and blue, which may be combined in pairs to make the secondaries, orange, green and violet, he states that owing to the impurities of the pigments the secondaries are not as pure as the primaries. Consequently he believes that this may account for many of the shortcomings which he was too observing to overlook; but notwithstanding such an error in theory this wonderful investigator made many practical experiments and established very valuable facts regarding color contrasts.

The term Simultaneous Contrast seems rather restricted for a title covering such a range of effects, and the author subdivides the subject into simultaneous contrasts, successive contrasts and mixed contrasts, which he defines as follows:

"In the Simultanous Contrast of Colors is included all the phenomena of modification which differently colored objects appear to undergo in their physical composition and in the height of tone of their respective colors, when seen simultaneously."

"The Successive Contrast of Colors includes all the phenomena which are observed when the eyes, having looked at one or more colored objects for a certain length of time, perceive, upon turning them away, images of these objects having a color complementary to that which belongs to each of them."

"The distinction of Simultaneous and Successive Contrast renders it easy to comprehend a phenomenon which we may call the mixed contrast; because it results from the fact that the eye, having seen for a time a certain color, acquires an aptitude to see for another period the complementary of that color, and also a new color, presented to it by an exterior object; .the sensation then perceived is that which results from this new color and the complementary of the first." These last two effects may be shown very clearly in simple experiments.

There are various phenomena which may be classed as suc-


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 cessive contrasts sometimes called "after images." The phenomena which Chevreul groups under the term "Simultaneous Contrast of Colors" belong to a class of physio-psychological effects termed after images, and more definitely to the subdivision called negative images. The positive after images are not important in the consideration of the theories of color and therefore are not described here. The specific effect most directly involved in the subject of harmonies may be observed if the eyes are fixed upon a small disk of red paper on a white wall for a few seconds and then the paper is suddenly removed, as there will appear on the wall in place of the full red disk a faint tint of a blue green. This is called an after image, and is nearly or exactly a tint of the color complementary to red.

For making this experiment mount a circle of red paper, say three inches in diameter on a square white card, four or five inches across, and grasping the card by one corner hold it in front of a white wall ov a sheet of white paper pinned on any support. Tell the observer to look intently at the red disk for a half minute, and then without giving any notice suddenly remove it and ask what color is seen in place of it. At the first trial the result may not be entirely successful, because the eyes of the observer may naturally follow the red spot when it is removed instead of remaining fixed in the original position, but a second trial will bring the expected result. To illustrate mixed contrast, fasten on the wall a piece of red tint No. 2 paper four or five inches square. This may be very conveniently clone by using a bit of beeswax on each corner of the paper, which will not soil the wall. Then having the three-inch circle of standard red paper mounted on a white card somewhat larger than five inches square hold the card in front of the red tint on the wall and repeat the experiment as before. The effect now should be a three-inch disk of very light gray in the center of the pink square, which is a "mixed contrast" according to Chevreul. The reason is simple. The after-image or succes-


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 sive contrast of light blue-green is projected on the red tint and being complementary the resulting effect is a gray. If the red tint could be exactly graded to the complementary effect in the eye the resulting gray circle would be a true neutral gray. Another illustration of the same physical effect by which the complementary is induced may be shown by substituting for the tint of red a light tint of the blue-green paper retaining the full red disk as before. The same blue-green after image is now projected on to the light blue-green paper and hence a circle of more intense blue-green is produced. Thus it is seen that Chevreul's successive and mixed contrasts are both due to the same physiological effect, the only difference being in the ground on to which the after image is projected.

It probably is unnecessary to state that these experiments may be made with any color and its complementary and that red and blue-green are used here merely as an example.

Another phase of the same physical effect is seen under other conditions which may at first seem to be quite different from those described, but which on examination appear somewhat similar.

It is a well established fact that when two surfaces approximating; each other in color, as red and orange for example, are placed side by side, both are rendered less brilliant, an effect which might be reasonably expected because in order to see both the eye is naturally directed first to one and then to the other, and in each case the after image induced is a green-blue or blue-green, which being approximately complementary to both, dulls both. Or in other words, it is as though one examine for a long time a line of goods of similar colors so that the eye becomes fatigued and the color dulled. It is said that a good salesman of colored materials will endeavor to occasionally attract a customer's attention for a few moments to some other colors approximating a complementary, so that when the attention is again directed to the goods under consideration the full effect of the color may be secured.


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 my dear love to M. and M., dear happy girls as they are. You cannot now transmit my message to F. and J. I prized the little wild-flower,—not that I think the sender cares for me; she does not, and cannot, for she does not know me;—but no matter. In my reminiscences she is a person of a certain distinction. I think hers a fine little nature, frank and of genuine promise. I often see her, as she appeared, stepping supreme from the portico towards the carriage, that evening we went to see 'Twelfth Night.' I believe in J.'s future; I like what speaks in her movements, and what is written upon her face."

Towards the latter end of September I went to Haworth. At the risk of repeating something which I have previously said, I will copy out parts of a letter which I wrote at the time.

"It was a dull, drizzly Indian-inky day, all the way on the railroad to Keighley, which is a rising wool-manufacturing town, lying in a hollow between hills—not a pretty hollow, but more what the Yorkshire people call a 'bottom,' or 'botham.' I left Keighley in a car for Haworth, four miles off—four tough, steep, scrambling miles, the road winding between the wave-like hills that rose and fell on every side of the horizon, with a long illimitable sinuous look, as if they were a part of the line of the Great Serpent, which the Norse legend says girdles the world. The day was lead-coloured; the road had stone factories alongside of it,


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of Lords, Jan. 25, 1920.—The House of Lords commenced to-day in Committee the consideration of Clause No. 52,000 of the Education Bill, dealing with the teaching of Geometry in the schools.

The Leader of the Government in presenting the clause urged upon their Lordships the need of conciliation. The Bill, he said, had now been before their Lordships for sixteen years. The Government had made every concession. They had accepted all the amendments of their Lordships on the opposite side in regard to the original provisions of the Bill. They had consented also to insert in the Bill a detailed programme of studies of which the present clause, enunciating the fifth proposition of Euclid, was a part. He would therefore ask their Lordships to accept the clause drafted as follows:

"The angles at the base of an isosceles triangle are equal, and if the equal sides of the


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 If it is true that the phenomenon of the after image is the cause of the peculiar effects expressed by the terms simultaneous, successive and mixed contrasts, and that by these effects all harmonies in color are governed, it is certainly profitable to understand them while using color material with the children, for their good as well as our own pleasure.

Returning to our classification of harmonies, already stated, we find the first to be Contrasted Harmony, which covers those combinations in which a positive color, as a spectrum color for example, is combined with white, black or gray, leaving out for the present silver and gold, which may be confusing, and can at best be used only as outlines.

The simplest combinations of colors are found in this class, all of which are not equally harmonious, and some may not perhaps be entitled to be classed as harmonies, although not positively inharmonious. In this class, as in all others, there is involved contrast of tone and contrast of color, which may best be considered in several divisions.

According to the results of Chevreul's elaborate experiments the effect of a combination of an active color with white is to render the color more brilliant and to give to the white the effect of the complementary of the active color. He admits that the modification of white is very indefinite, but claims that, knowing what to expect, a complementary effect may be seen which otherwise would not be noticed. There is also a contrast of tone which in all cases tends to strengthen a color when used with white.

White and black are both intensified by combination with each other, and this is the type of "contrast of tone." Contrast of tone is very clearly shown when two or more grays of different tones are placed contiguous to each other. This experiment is easily tried by mounting side by side several strips


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Talk:Epistle of Barnabas (Lake translation)

Introduction
Lake's introduction was on a separate page without a link from this one. I have added a link but I am not sure if that is the best way to do it. -- Beardo (talk) 14:10, 19 February 2024 (UTC)


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  triangle are produced, the exterior angles will also be equal."

He would hasten to add that the Government had no intention of producing the sides. Contingencies might arise to render such a course necessary, but in that case their Lordships would receive an early intimation of the fact.

The Archbishop of Canterbury spoke against the clause. He considered it, in its present form, too secular. He should wish to amend the clause so as to make it read:

"The angles at the base of an isosceles triangle are, in every Christian community, equal, and if the sides be produced by a member of a Christian congregation, the exterior angles will be equal."

He was aware, he continued, that the angles at the base of an isosceles triangle are extremely equal, but he must remind the Government that the Church had been aware of this for several years past. He was willing also to admit that the opposite sides and ends of a parallelogram are equal, but he thought that such admission should be coupled with a distinct recognition of the existence of a Supreme Being.


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 of gray papers of different tones. If more than two are used they should be arranged in order from lightest to darkest. In this case each band will appear to be graded in tone from one edge to the other, each being lighter at the edge next to the darker paper.

This effect is plainly shown on the color wheel by producing several rings of grays with white and black disks of several sizes graduated from light at the center to darker at the circumference.

In consequence of this law of contrast of tone the contrast of black with active colors generally tends to intensify the black and lower the tone of the color, i. e., to weaken it as though white or light gray was mixed with it, but this effect is modified by contrast of color. Contrast of color is perceptible in black when combined with color simply because the black is not perfectly black but a very dark gray, and hence there is the same complementary effect which shows in white and the lighter grays, but in a smaller degree. This effect is most clearly seen when the color used in combination is blue or blue-green, which induces in the black, yellow or red complementaries and gives the black a "rusty" appearance.

On the other hand, for example, red with black adds the complementary green-blue to the black, which improves it. The orange and yellow have a similar effect by their blue complementaries to relieve the black from any rusty appearance and a green yellow induces a violet effect in the black.

When a color is contrasted with white the light from the pure white surface is so intense as to very largely obscure the complementary effect on the white, while on the other hand the feeble light from the black is not favorable for the exhibition of a complementary. So it might naturally be inferred that some tone between the white and black would be much more favorable than either for the observance of this effect, which is


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  The Leader of the Government accepted His Grace's amendment with pleasure. He considered it the brightest amendment His Grace had made that week. The Government, he said, was aware of the intimate relation in which His Grace stood to the bottom end of a parallelogram and was prepared to respect it.

Lord Halifax rose to offer a further amendment. He thought the present case was one in which the "four-fifths" clause ought to apply: he should wish it stated that the angles are equal for two days every week, except in the case of schools where four-fifths of the parents are conscientiously opposed to the use of the isosceles triangle.

The Leader of the Government thought the amendment a singularly pleasing one. He accepted it and would like it understood that the words isosceles triangle were not meant in any offensive sense.

Lord Rosebery spoke at some length. He considered the clause unfair to Scotland, where the high state of morality rendered education unnecessary. Unless an amendment in this sense was accepted, it might be necessary to reconsider the Act of Union of 1707.


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 proved by experiment to be the case. This fact is illustrated in the familiar experiment of placing a white tissue paper over black letters on a colored ground, by which the black is practically rendered a neutral gray and the color a light broken color, and in appearance the gray letters receive a color complementary to the color of the page on which they are printed. Each color has its own tone of gray most susceptible to this complementary effect. The truth of this proposition can be perfectly shown on the color wheel by forming with three different sizes of disks a gray ring on a colored surface. For example, select small disks of orange and white of equal size, then a black and a white disk of the second size and an orange and a white disk of the third size. First place the large orange and white disks on the spindle, then join the two medium-sized white and black disks and put them in front of it, and lastly add the small orange and white disks. By rotation the result is the required neutral gray ring on a light orange surface. By the joining of the white disk with each of the orange disks the orange surface may be changed to a variety of tints for trial with the different grays which may be made from the black and white disks, so that the best tones of both orange and gray may be secured. When the best proportions are obtained the effect will be surprising, because when such disks are properly adjusted the complementary effect is so strong in the gray that it appears as a very definite color, a broken green-blue. It is said that the tone of gray should have the same relation to the tone of the color that its complementary would have in order to get best results.

For the same reason if a circle of lightest neutral gray paper, say four inches in diameter, is placed on a piece of yellow paper about six inches square, and another circle just like it is put on a piece of blue paper of similar size, it will be quite difficult to convince any one who has not previously seen the experiment that both gray circles are from the same sheet of paper. The results observed in this experiment are produced by


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 a contrast of tone which causes one to look lighter than the other, and a contrast of hue which gives one a blue and to the other a yellow hue, in contrast to the color on which it is mounted.

If two colors contiguous in the spectrum circuit are placed in juxtaposition the effect of the contrast of hue is to throw them away from each other. For example, if orange red and the red orange papers are put side by side the former will seem more red and the latter more orange. Therefore, when colored papers are pasted up or laid in order to form a spectrum, for example, the colors not only fail to blend together but each line of contact is very disagreeably prominent.

If two colors are separated by a narrow strip of light gray, gold, black or white, the effect is greatly improved. For this reason a design in analogous colors is often improved by separating certain colors by a fine line of black, gold or gray.

If two colors not closely related to each other in the spectrum circuit are placed in juxtaposition, each is modified by an effect which is the complementary of the other. For example, if red and yellow are placed side by side, in contact, the red is rendered more violet by the added effect of blue, which is the complementary of yellow, and the yellow is modified by the blue-green complementary of the red, which tends to dull the yellow and change it slightly toward green.

If blue and yellow are joined both are improved, as the two are so nearly complementary to each other that each is intensified by simultaneous contrast, blue being added to blue and yellow to yellow.

In the use of colored papers those combinations classified as dominant harmonies are the most simple to make because they are all in one family, as the little children like to consider the relationship. The red family consists of the standard red and its tints and shades, or in other words the red scale. With the


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 several papers ready made this harmony becomes very simple, hut in the use of pigments the production of a true color scale is not a thing to be confidently undertaken by a novice.

In a very elaborate color chart for Primary education prepared with great care by Dr. Hugo Magnus and Prof. B. Joy Jeffries, and published at large expense about ten years ago with hand-painted samples in oil colors, this lack of classification of hues is very noticeable, although at that time it was by far the best publication of the kind and was not criticised on this point.

For example in a scale of five tones of red the following are the analyses, beginning at the lightest tint: —

 * Tint No. 2, O.45, Y.20, W.18, N.17.
 * Tint No. 1, O.69, Y.3, W.7, N.21.
 * Standard, R.75, O.25.
 * Shade No. 1, R.85, O.15.
 * Shade No. 2, R.75, N.25.

In this scale according to the Bradley nomenclature the standard or full color is a very fine vermilion expressed by R.75, O.25, i. e. an orange red, and therefore in order to form a perfect scale both tints and shades should be in the orange reels, but in fact the tints are both broken colors, the lightest a very broken yellow-orange and the deeper tint very nearly a light broken orange. The lightest shade is a pure orange-red but with a larger proportion of red to the orange than the standard, while the darkest tone is a pure shade of red. Thus in the five tones we have the following arrangement, beginning at the lightest tint:—

Broken yellow-orange, broken orange, orange-red; another pure orange-red but more red, and lastly red shade, thus embracing in one orange-red scale parts of four scales from yellow-orange to red. In these defects in the best chart of its kind in the market only ten years ago is seen the best possible evidence of the advance made since that time in color perception, largely due to the use of the color disks in determining scales.


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  The Leader of the Government said that Lord Rosebery's amendment was the best he had heard yet. The Government accepted it at once. They were willing to make every concession. They would, if need be, reconsider the Norman Conquest.

The Duke of Devonshire took exception to the part of the clause relating to the production of the sides. He did not think the country was prepared for it. It was unfair to the producer. He would like the clause altered to read, "if the sides be produced in the home market."

The Leader of the Government accepted with pleasure His Grace's amendment. He considered it quite sensible. He would now, as it was near the hour of rising, present the clause in its revised form. He hoped, however, that their Lordships would find time to think out some further amendments for the evening sitting.

The clause was then read.

His Grace of Canterbury then moved that the House, in all humility, adjourn for dinner.


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looked out of Miss Viner's bedroom window. It was raining, not violently, but with a quiet, well-bred persistence. The window looked out on a strip of front garden with a path down to the gate and neat little flower-beds on either side, where later roses and pinks and blue hyacinths would bloom.

Miss Viner was lying in a large Victorian bedstead. A tray with the remains of breakfast had been pushed to one side and she was busy opening her correspondence and making various caustic comments upon it.

Katherine had an open letter in her hand and was reading it through for the second time. It was dated from the Ritz Hotel, Paris.

"" (it began),"I trust that you are in good health and that the return to the English winter has not proved too depressing. Me, I prosecute my inquiries with the utmost diligence. Do not think that it is the holiday that I take here. Very shortly I shall be in England, and I hope then to have the pleasure of meeting you once more. It shall be so, shall it not? On arrival in London I shall write to you. You remember that we are the colleagues in this affair? But indeed I think you know that very well.

"Be assured. Mademoiselle, of my most respectful and devoted sentiments.


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 While in the use of colored papers the dominant harmony may be the simplest and the one in which there is least danger of really bad work, some of the combinations are much better than others, and superiority is perhaps secured as much by the relative quantities of each tone used in a composition as in the selecting of the tones. In the entire range of the spectrum even this class of harmonies involves problems too complex to be solved by a few rules, but it is a very interesting field in which the children may safely be allowed to roam and experiment.

Complementary Harmonies may perhaps be classified next to dominant because they are more easily described and more definitely limited than those effects termed Analogous Harmonies. A pure Complementary Harmony consists of the combination of tones from two scales which are complementary to each other. For example, the red scale is complementary to the blue-green scale, as also the green to the violet-red, and so on throughout the entire range of the spectrum scales.

As explained on Page 50, the complementary of any color can be determined by means of the color wheel, or nearly enough for aesthetic purposes with the color top. But even though the colors complementary to each other may be determined scientifically there will always remain ample opportunity for the exhibition of color sense and artistic feeling in the choice of colors because the difference between a very beautiful composition in complementary harmony and an indifferently good one may be found in the choice of tones, or in the proportions of each and their arrangement with relation to each other. This harmony certainly contains great possibilities with comparatively few limitations.

While it is perhaps approximately true that complementaries are harmonious in combination, yet best authorities do not seem to fully sustain this opinion and it is quite evident that pure tones of some complementary pairs when combined are very hard in their effects, if not positively unpleasant. This can be relieved


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And then he adds:

. It is Gabriele d'Annunzio's "Hymn to Life":

What are you thinking of now?

. I was thinking—what our life was at the Court of Suavia. What a wall of convention, of prejudices, and of jealousies hemmed us round! We lived there almost together, and yet we never knew each other at all. I always thought that you were a frivolous creature, wild


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 Katherine frowned slightly. It was as though something in the letter puzzled and intrigued her.

"A choir boys' picnic indeed," came from Miss Viner. "Tommy Saunders and Albert Dykes ought to be left behind, and I shan't subscribe to it unless they are. What those two boys think they are doing in church on Sundays I don't know. Tommy sang, 'O God, make speed to save us,' and never opened his lips again, and if Albert Dykes wasn't sucking a mint humbug, my nose is not what it is and always has been."

"I know, they are awful," agreed Katherine.

She opened her second letter, and a sudden flush came to her cheeks. Miss Viner's voice in the room seemed to recede into the far distance.

When she came back to a sense of her surroundings Miss Viner was bringing a long speech to a triumphant termination.

"And I said to her, 'Not at all. As it happens. Miss Grey is Lady Tamplin's own cousin.' What do you think of that?"

"Were you fighting my battles for me? That was very sweet of you."

"You can put it that way if you like. There is nothing to me in a title. Vicar's wife or no vicar's wife, that woman is a cat. Hinting you had bought your way into Society."

"Perhaps she was not so very far wrong."

"And look at you," continued Miss Viner. "Have you come back a stuck-up fine lady, as well you might have done? No, there you are, as sensible as ever you were, with a, pair of good Balbriggan stock


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 ings on and sensible shoes. I spoke to Ellen about it only yesterday. 'Ellen,' I said, 'you look at Miss Grey. She has been hobnobbing with some of the greatest in the land, and does she go about as you do with skirts up to her knees and silk stockings that ladder when you look at them, and the most ridiculous shoes that ever I set eyes on?"

Katherine smiled a little to herself; it had apparently been worth while to conform to Miss Viner's prejudices. The old lady went on with increasing gusto.

"It has been a great relief to me that you have not had your head turned. Only the other day I was looking for my cuttings. I have several about Lady Tamplin and her War Hospital and what not, but I cannot lay my hand upon them. I wish you would look, my dear; your eyesight is better than mine. They are all in a box in the bureau drawer."

Katherine glanced down at the letter in her hand and was about to speak, but checked herself, and going over to the bureau found the box of cuttings and began to look over them. Since her return to St. Mary Mead her heart had gone out to Miss Viner in admiration of the old woman's stoicism and pluck. She felt that there was little she could do for her old friend, but she knew from experience how much those seemingly small trifles meant to old people.

"Here is one," she said presently. "'Viscountess Tamplin, who is running her villa at Nice as an Officers' Hospital, has just been the victim of a sensational robbery, her jewels having been stolen. Amongst them were some very famous emeralds, heirlooms of the Tamplin family.'"


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 and foolish. Even your love-affair appeared to me ridiculous, because I felt that if you had really been as independent and as forceful as was said, then you would have refused to be forced into a marriage against your will.

. At that time I fancied that marriage was the first step toward becoming free, so I consented to it gladly, as no doubt you understand. I had always heard that you were a dull person, steeped in useless learning, and consequently without any knowledge of life, whom any woman could twist about her finger, if she cared to take the trouble.

. Now what do you think of me?

. I think that we might have been very happy.

. As we are to-night. Life is strange. After all our striving, all our efforts to attain happiness, when the inevitable hour arrives and we look into our hearts and ask what has been the sum of sorrow or of happiness in our lives, it may be that the only recollection which is not tinged with sadness, will be that of some idle encounter such as this, which chance has brought, to linger in the memory like a high moment of life, which we cherish as a fond and beautiful dream.

. It takes so little to make us happy—a beautiful night of deep and faultless blue, the murmur of the sea afar off, a vulgar dance here at our side, with its cheap music, and the mutual confidences of our hearts as they search to find words of absolute truth that they may reveal themselves and trust entirely.

. Or verses of favorite poets to speak for us, or silences deep as the night, yet clear as this spread of lucent sky with all its host of stars. Like stars in the night, the eyes are the light of silence.


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 "Probably paste," said Miss Viner; "a lot of these Society women's jewels are."

"Here is another," said Katherine. "A picture of her, 'A charming camera study of Viscountess Tamplin with her little daughter Lenox.'"

"Let me look," said Miss Viner. "You can't see much of the child's face, can you? But I dare say that is just as well. Things go by contraries in this world and beautiful mothers have hideous children. I dare say the photographer realized that to take the back of the child's head was the best thing he could do for her."

Katherine laughed.

"'One of the smartest hostesses on the Riviera this season is Viscountess Tamplin, who has a villa at Cap Martin. Her cousin, Miss Grey, who recently inherited a vast fortune in a most romantic manner, is staying with her there.'"

"That is the one I wanted," said Miss Viner. "I expect there has been a picture of you in one of the papers that I have missed; you know the kind of thing. Mrs. Somebody or other Jones-Williams, at the something or other Point-to-Point, usually carrying a shooting-stick and having one foot lifted up in the air. It must be a trial to some of them to see what they look like."

Katherine did not answer. She was smoothing out the cutting with her finger, and her face had a puzzled, worried look. Then she drew the second letter out of its envelope and mastered its contents once more.

She turned to her friend.

"Miss Viner? I wonderthere is a friend of mine,


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 some one I met on the Riviera, who wants very much to come down and see me here"

"A man," said Miss Viner.

"Yes."

"Who is he?"

"He is secretary to Mr. Van Aldin, the American millionaire."

"What is his name?"

"Knighton. Major Knighton."

"Hmsecretary to a millionaire. And wants to come down here. Now, Katherine, I am going to say something to you for your own good. You are a nice girl and a sensible girl, and though you have your head screwed on the right way about most things, every woman makes a fool of herself once in her life. Ten to one what this man is after is your money."

With a gesture she arrested Katherine's reply. "I have been waiting for something of this kind. What is a secretary to a millionaire? Nine times out of ten it is a young man who likes living soft. A young man with nice manners and a taste for luxury and no brains and no enterprise, and if there is anything that is a softer job than being a secretary to a millionaire it is marrying a rich woman for her money. I am not saying that you might not be some man's fancy. But you are not young, and though you have a very good complexion you are not a beauty, and what I say to you is, don't make a fool of yourself; but if you are determined to do so, do see that your money is properly tied up on yourself. There, now I have finished. What have you got to say?"


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 "Nothing," said Katherine; "but would you mind if he did come down to see me?"

"I wash my hands of it," said Miss Viner. "I have done my duty, and whatever happens now is on your own head. Would you like him to lunch or to dinner? I dare say Ellen could manage dinnerthat is, if she didn't lose her head."

"Lunch would be very nice," said Katherine. "It is awfully kind of you, Miss Viner. He asked me to ring him up, so I will do so and say that we shall be pleased if he will lunch with us. He will motor down from town."

"Ellen does a steak with grilled tomatoes pretty fairly," said Miss Viner. "She doesn't do it well, but she does it better than anything else. It is no good having a tart because she is heavy handed with pastry; but her little castle puddings are not bad, and I dare say you could find a nice piece of Stilton at Abbot's. I have always heard that gentlemen like a nice piece of Stilton, and there is a good deal of father's wine left, a bottle of sparkling Moselle, perhaps."

"Oh no, Miss Viner; that is really not necessary."

"Nonsense, my child. No gentleman is happy unless he drinks something with his meal. There is some good pre-war whisky if you think he would prefer that. Now do as I say and don't argue. The key of the wine-cellar is in the third drawer down in the dressing-table, in the second pair of stockings on the left-hand side."

Katherine went obediently to the spot indicated.

"The second pair, now mind," said Miss Viner. "The first pair has my diamond earrings and my filigree brooch in it."


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 "Oh," said Katherine, rather taken aback, "wouldn't you like them put in your jewel-case?"

Miss Viner gave vent to a terrific and prolonged snort.

"No, indeed! I have much too much sense for that sort of thing, thank you. Dear, dear, I well remember how my poor father had a safe built in downstairs. Pleased as Punch he was with it, and he said to my mother, 'Now, Mary, you bring me your jewels in their case every night and I will lock them away for you.' My mother was a very tactful woman, and she knew that gentlemen like having their own way, and she brought him the jewel-case locked up just as he said.

"And one night burglars broke in, and of coursenaturallythe first thing they went for was the safe! It would be, with my father talking up and down the village and bragging about it until you might have thought he kept all King Solomon's diamonds there. They made a clean sweep, got the tankards, the silver cups, and the presentation gold plate that my father had had presented to him, and the jewel-case."

She sighed reminiscently. "My father was in a great state over my mother's jewels. There was the Venetian set and some very fine cameos, and some pale pink corals, and two diamond rings with quite large stones in them. And then, of course, she had to tell him that, being a sensible woman, she had kept her jewelleryjewelry [sic] rolled up in a pair of corsets, and there it was still as safe as anything."

"And the jewel-case had been quite empty?"

"Oh no, dear," said Miss Viner, "it would have been too light a weight then. My mother was a very intel


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 ligent woman; she saw to that. She kept her buttons in the jewel-case, and a very handy place it was. Boot buttons in the top tray, trouser buttons in the second tray, and assorted buttons below. Curiously enough, my father was quite annoyed with her. He said he didn't like deceit. But I mustn't go chattering on; you want to go and ring up your friend, and mind you choose a nice piece of steak, and tell Ellen she is not to have holes in her stockings when she waits at lunch."

"Is her name Ellen or Helen, Miss Viner? I thought"

Miss Viner closed her eyes.

"I can sound my h's, dear, as well as any one, but Helen is not a suitable name for a servant. I don't know what the mothers in the lower classes are coming to nowadays."

The rain had cleared away when Knighton arrived at the cottage. The pale fitful sunshine shone down on it and burnished Katherine's head as she stood in the doorway to welcome him. He came up to her quickly, almost boyishly.

"I say, I hope you don't mind. I simply had to see you again soon. I hope the friend you are staying with does not mind."

"Come in and make friends with her," said Katherine. "She can be most alarming, but you will soon find that she has the softest heart in the world."

Miss Viner was enthroned majestically in the drawing-room, wearing a complete set of the cameos which had been so providentially preserved in the family. She greeted Knighton with dignity and an austere politeness which would have damped many men.


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. Perhaps we shall never be more happy. Can it be that all our efforts and struggles to obtain even a small part of that which we desire in life, are fruitless? Is it that life admits of no violence, and only when we have ceased to hope and struggle and strive, lets fall upon us as if by chance, a little of the great store of happiness which it treasures? If it is, then let us try not to think, let us lull our wills to sleep, that life may bring us joy or sorrow at its pleasure. Who can say but that when we think that we are shaping life most surely to our purposes, we are not submitting most blindly to the immutable laws of fate?

. [Surprised and startled] Oh!

. Ah! Please excuse me… Don't be frightened, lady. I thought—but it isn't he. A mistake. Strangers, eh? Foreigners?… they don't know me. I am sorry if I frightened the lady. She is beautiful.

. [Calling from outside] Are you coming? You are invited to-night.

. Let me alone, will you?

. [Approaching the ' and ' with ostentatious deference and respect] I am sorry the woman annoyed you.

. No, poor thing! What a singular person! Apparently she thought she knew us.

. Pardon, Your Highness, pardon.

. Ah! So you know then?

. I have watched Your Highnesses since your arrival. It was imprudent of Your Highnesses to venture here alone.


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, ladies and gentlemen," said the conjurer, "having shown you that the cloth is absolutely empty, I will proceed to take from it a bowl of goldfish. Presto!"

All around the hall people were saying, "Oh, how wonderful! How does he do it?"

But the Quick Man on the front seat said in a big whisper to the people near him, "He—had—it—up—his—sleeve."

Then the people nodded brightly at the Quick Man and said, "Oh, of course"; and everybody whispered round the hall, "He—had—it—up—his—sleeve."

"My next trick," said the conjurer, "is the famous Hindostanee rings. You will notice that the rings are apparently separate; at a blow they all join (clang, clang, clang)—Presto!"

There was a general buzz of stupefaction till the Quick Man was heard to whisper, "He


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 Knighton, however, had a charm of manner which was not easily set aside, and after about ten minutes Miss Viner thawed perceptibly. Luncheon was a merry meal, and Ellen, or Helen, in a new pair of silk stockings devoid of ladders performed prodigies of waiting. Afterwards, Katherine and Knighton went for a walk and they came back to have tea tête-à-tête, since Miss Vinerhad gone to lie down.

When the car had finally driven off Katherine went slowly upstairs. A voice called her and she went in to Miss Viner's bedroom.

"Friend gone?"

"Yes. Thank you so much for letting me ask him down."

"No need to thank me. Do you think I am the sort of old curmudgeon who never will do anything for anybody?"

"I think you are a dear," said Katherine affectionately.

"Humph," said Miss Viner mollified.

As Katherine was leaving the room she called her back.

"Katherine?"

"Yes."

"I was wrong about that young man of yours. A man when he is making up to anybody can be cordial and gallant and full of little attentions and altogether charming. But when a man is really in love he can't help looking like a sheep. Now, whenever that young man looked at you he looked like a sheep. I take back all I said this morning. It is genuine."


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  must—have—had—another—lot—up—his—sleeve."

Again everybody nodded and whispered, "The—rings—were—up—his—sleeve."

The brow of the conjurer was clouded with a gathering frown.

"I will now," he continued, "show you a most amusing trick by which I am enabled to take any number of eggs from a hat. Will some gentleman kindly lend me his hat? Ah, thank you—Presto!"

He extracted seventeen eggs, and for thirty-five seconds the audience began to think that he was wonderful. Then the Quick Man whispered along the front bench, "He—has—a—hen—up—his—sleeve," and all the people whispered it on. "He—has—a—lot—of—hens—up—his—sleeve."

The egg trick was ruined.

It went on like that all through. It transpired from the whispers of the Quick Man that the conjurer must have concealed up his sleeve, in addition to the rings, hens, and fish, several packs of cards, a loaf of bread, a doll's cradle, a live guinea-pig, a fifty-cent piece, and a rocking-chair.

The reputation of the conjurer was rapidly


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  sinking below zero. At the close of the evening he rallied for a final effort.

"Ladies and gentlemen," he said, "I will present to you, in conclusion, the famous Japanese trick recently invented by the natives of Tipperary. Will you, sir," he continued turning toward the Quick Man, "will you kindly hand me your gold watch?"

It was passed to him.

"Have I your permission to put it into this mortar and pound it to pieces?" he asked savagely.

The Quick Man nodded and smiled.

The conjurer threw the watch into the mortar and grasped a sledge hammer from the table. There was a sound of violent smashing, He's—slipped—it—up—his—sleeve," whispered the Quick Man.

"Now, sir," continued the conjurer, "will you allow me to take your handkerchief and punch holes in it? Thank you. You see, ladies and gentlemen, there is no deception; the holes are visible to the eye."

The face of the Quick Man beamed. This time the real mystery of the thing fascinated him.

"And now, sir, will you kindly pass me


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  your silk hat and allow me to dance on it? Thank you."

The conjurer made a few rapid passes with his feet and exhibited the hat crushed beyond recognition.

"And will you now, sir, take off your celluloid collar and permit me to burn it in the candle? Thank you, sir. And will you allow me to smash your spectacles for you with my hammer? Thank you."

By this time the features of the Quick Man were assuming a puzzled expression. "This thing beats me," he whispered, "I don't see through it a bit."

There was a great hush upon the audience. Then the conjurer drew himself up to his full height and, with a withering look at the Quick Man, he concluded:

"Ladies and gentlemen, you will observe that I have, with this gentleman's permission, broken his watch, burnt his collar, smashed his spectacles, and danced on his hat. If he will give me the further permission to paint green stripes on his overcoat, or to tie his suspenders in a knot, I shall be delighted to entertain you. If not, the performance is at an end."


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  And amid a glorious burst of music from the orchestra the curtain fell, and the audience dispersed, convinced that there are some tricks, at any rate, that are not done up the conjurer's sleeve.


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. But why? The behavior of these people could not possibly be more correct, especially after the villa of the Comte de Tournerelles. Don't you think so, Stephen?

. Superficially, perhaps, but a night seldom passes without some incident which is unpleasant. These are dangerous folk, without exception. Three of the worst are near by—the Little Marquis, an Englishman who was a jockey, long since disqualified for cheating, and a fine specimen of Italian, known as Cosi-Cosi. They are watching us now. All have long records in the police courts, and at least one has been within a step of the guillotine.

. How wonderful! What marvellous people, living by their wits, by sheer strength of brute courage, snapping their fingers in the face of society, its morality, and its laws! They live. This is life!

. Professors of strenuosity, as we should call them nowadays.

. Who was that singular woman?

. She is crazy. They call her the Woman With the Scar.

. What a horrible name!

. Would you like to see? I'll send for her. Come here! Don't be afraid. Tell this lady and gentleman who you are.

. No, let me go. Don't you believe what he says. There's no truth in it.

. Come here, I tell you. Loosen that collar around your neck.

. Take your hands off me.

. Don't hurt her! Let go. Poor woman!


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"" said Mr. Joseph Aarons appreciatively.

He took a long draught from his tankard, set it down with a sigh, wiped the froth from his lips, and beamed across the table at his host, Monsieur Hercule Poirot.

"Give me," said Mr. Aarons, "a good Porterhouse steak and a tankard of something worth drinking, and any one can have your French fallals and whatnots, your ordoovres and your omelettes and your little bits of quail. Give me," he reiterated, "a Porterhouse steak."

Poirot, who had just complied with this request, smiled sympathetically.

"Not that there is much wrong with a steak and kidney pudding," continued Mr. Aarons. "Apple tart? Yes, I will take apple tart, thank you. Miss, and a jug of cream."

The meal proceeded. Finally, with a long sigh, Mr. Aarons laid down his spoon and fork preparatory to toying with some cheese before turning his mind to other matters.

"There was a little matter of business I think you said, Monsieur Poirot," he remarked. "Anything I can do to help you I am sure I shall be most happy."

"That is very kind of you," said Poirot. "I said to myself, 'If you want to know anything about the dramatic profession there is one person who knows all


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 that is to be known and that is my old friend, Mr. Joseph Aarons.'"

"And you don't say far wrong," said Mr. Aarons complacently; "whether it is past, present, or future, Joe Aarons is the man to come to."

"Précisément. Now I want to ask you, Monsieur Aarons, what you know about a young woman called Kidd."

"Kidd? Kitty Kidd?"

"Kitty Kidd."

"Pretty smart, she was. Male impersonator, song and a dance That one?"

"That is the one."

"Very smart, she was. Made a good income. Never out of an engagement. Male impersonation mostly, but, as a matter of fact, you could not touch her as a character actress."

"So I have heard," said Poirot; "but she has not been appearing lately, has she?"

"No. Dropped right out of things. Went over to France and took up with some swell nobleman there. She quitted the stage then for good and all, I guess."

"How long ago was that?"

"Let me see. Three years ago. And she has been a losslet me tell you that."

"She was clever?"

"Clever as a cartload of monkeys."

"You don't know the name of the man she became friends with in Paris?"

"He was a swell, I know that. A Countor was it a Marquis? Now I come to think of it, I believe it was a Marquis."


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 "And you know nothing about her since?"

"Nothing. Never even run across her accidentally like. I bet she is tooling it round some of these foreign resorts. Being a Marquise to the life. You couldn't put one over on Kitty. She would give as good as she got any day."

"I see," said Poirot thoughtfully.

"I am sorry I can't tell you more, Monsieur Poirot," said the other. "I would like to be of use to you if I could. You did me a good turn once."

"Ah, but we are quits on that; you, too, did me a good turn."

"One good turn deserves another. Ha, ha!" said Mr. Aarons.

"Your profession must be a very interesting one," said Poirot.

"So-so," said Mr. Aarons non-committally. "Taking the rough with the smooth, it is all right. I don't do so badly at it, all things considered, but you have to keep your eyes skinned. Never know what the public will jump for next."

"Dancing has come very much to the fore in the last few years," murmured Poirot reflectively.

"I never saw anything in this Russian ballet, but people like it. Too highbrow for me."

"I met one dancer out on the RivieraMademoiselle Mirelle."

"Mirelle? She is hot stuff, by all accounts. There is always money going to back herthough, so far as that goes, the girl can dance; I have seen her, and I know what I am talking about. I never had much to do


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following hints and observations have occurred to me during a recent trip across the continent: they are written in no spirit of complaint against existing railroad methods, but merely in the hope that they may prove useful to those who travel, like myself, in a spirit of meek, observant ignorance.

1. Sleeping in a Pullman car presents some difficulties to the novice. Care should be taken to allay all sense of danger. The frequent whistling of the engine during the night is apt to be a source of alarm. Find out, therefore, before travelling, the meaning of the various whistles. One means "station," two, "railroad crossing," and so on. Five whistles, short and rapid, mean sudden danger. When you hear whistles in the night, sit up smartly in your bunk and count them. Should they reach five, draw on your trousers over your pyjamas and leave the train instantly. As a further precaution against accident, sleep with the feet towards the engine if you prefer to have the


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 very decidedly and oftentimes very pleasing results secured by modifying the colors to tints and shades or various broken tones.

But as has before been stated, and must be constantly reiterated, all fine questions of harmonies can only be determined by a general agreement of experts in color based on accepted standards.

Analogous Harmonies may seem to be more closely related to the dominant than the complementary and hence, logically, should perhaps be considered before the complementary, but there may be greater difficulties involved in the analogous than in the complementary because they are not so definitely limited.

In an Analogous Harmony we may use tones from a number of scales more or less closely related in the spectrum circuit. In some parts of the spectrum it is possible to include a much wider range than in others. It is comparatively easy to produce safe compositions through that part bounded by the orange-yellow and the green scales, while -from the green to the violet experiments are much less safe.

In almost any section of the spectrum a range of three scales is safe if the tones are properly selected and proportioned, and in some sections as many as five or six may possibly be included, by an artist, with striking and pleasing effect.

The compositions which have been classified as Perfected Harmonies may be defined as the combination of two Analogous Harmonies which as a whole are approximately complementary to each other, or in which the key tones of the Analogous Harmonies are complementary to each other. Such compositions may be entirely composed of analogous colors with the addition of but one complementary color, and this is in fact a very safe harmony, especially if that one color is used as a border line or an outline here and there in the design in which case it may sometimes be strong in color and tone.

The chart of spectrum scales as made from colored papers


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 with her myself, but I hear she is a terror to deal with. Tempers and tantrums all the time."

"Yes," said Poirot thoughtfully; "yes, so I should imagine."

"Temperament!" said Mr. Aarons, "temperament! That is what they call it themselves. My missus was a dancer before she married me, but I am thankful to say she never had any temperament. You don't want temperament in the home. Monsieur Poirot."

"I agree with you, my friend; it is out of place there."

"A woman should be calm and sympathetic, and a good cook," said Mr. Aarons.

"Mirelle has not been long before the public, has she?" asked Poirot.

"About two and a half years, that is all," said Mr. Aarons. "Some French Duke started her. I hear now that she has taken up with the ex-Prime Minister of Greece. These are the chaps who manage to put money away quietly."

"That is news to me," said Poirot.

"Oh, she's not one to let the grass grow under her feet. They say that young Kettering murdered his wife on her account. I don't know, I am sure. Anyway, he is in prison, and she had to look round for herself, and pretty smart she has been about it. They say she is wearing a ruby the size of a pigeon's eggnot that I have ever seen a pigeon's egg myself, but that is what they always call it in works of fiction."

"A ruby the size of a pigeon's egg!" said Poirot. His eyes were green and catlike. "How interesting!"