Goethe's Theory of Colours

PART II.. Physical Colours.

PHYSICAL COLOURS.

IX. Dioptrical Colours X. Dioptrical Colours of the First Class XI. Dioptrical Colours of the Second Class--Refraction Subjective Experiments XII. Refraction without the Appearance of Colour XIII. Conditions of the Appearance of Colour XIV. Conditions under which the Appearance of Colour increases XV. Explanation of the foregoing Phenomena XVI. Decrease of the Appearance of Colour XVII. Grey Objects displaced by Refraction XVIII. Coloured Objects displaced by Refraction XIX. Achromatism and Hyperchromatism XX. Advantages of Subjective Experiments-- Transition to the Objective Objective Experiments XXI. Refraction without the Appearance of Colour XXII. Conditions of the Appearance of Colour XXIII. Conditions of the Increase of Colour XXIV. Explanation of the foregoing Phenomena XXV. Decrease of the Appearance of Colour XXVI. Grey Objects XXVII. Coloured Objects XXVIII. Achromatism and Hyperchromatism XXIX. Combination of Subjective and Objective Experiments XXX. Transition XXXI. Catoptrical Colours XXXII. Paroptical Colours XXXIII. Epoptical Colours

PART III.. Chemical Colours.

CHEMICAL COLOURS.

XXXIV. Chemical Contrast XXXV. White XXXVI. Black XXXVII. First Excitation of Colour XXXVIII. Augmentation of Colour XXXIX. Culmination XL. Fluctuation XLI. Passage through the Whole Scale XLII. Inversion XLIII. Fixation XLIV. Intermixture, Real XLV. Intermixture, Apparent XLVI. Communication, Actual XLVII. Communication, Apparent XLVIII. Extraction XLIX. Nomenclature L. Minerals LI. Plants LII. Worms, Insects, Fishes LIII. Birds LIV. Mammalia and Human Beings LV. Physical and Chemical Effects of the Transmission of Light through Coloured Mediums LVI. Chemical Effect in Dioptrical Achromatism

PART IV.. General Characteristics.

GENERAL CHARACTERISTICS.

The Facility with which Colour appears The Definite Nature of Colour Combination of the Two Principles Augmentation to Red Junction of the Two Augmented Extremes Completeness the Result of Variety in Colour Harmony of the Complete State Facility with which Colour may be made to tend either to the Plus or Minus side Evanescence of Colour Permanence of Colour

PART V.. Relation to Other Pursuits.

RELATION TO OTHER PURSUITS.

Relation to Philosophy Relation to Mathematics Relation to the Technical Operations of the Dyer Relation to Physiology and Pathology Relation to Natural History Relation to General Physics Relation to the Theory of Music Concluding Observations on Terminology

PART VI.. Effect of Colour With Reference to Moral Associations.

EFFECT OF COLOUR WITH REFERENCE TO MORAL ASSOCIATIONS.

Yellow Red-Yellow Yellow-Red Blue Red-Blue Blue-Red Red Green Completeness and Harmony Characteristic Combinations Yellow and Blue Yellow and Red Blue and Red Yellow-Red and Blue-Red Combinations Non-Characteristic Relation of the Combinations to Light and Dark Considerations derived from the Evidence of Experience and History Æsthetic Influence Chiaro-Scuro Tendency to Colour Keeping Colouring Colour in General Nature Colour of Particular Objects Characteristic Colouring Harmonious Colouring Genuine Tone False Tone Weak Colouring The Motley Dread of Theory Ultimate Aim Grounds Pigments Allegorical, Symbolical, Mystical Application of Colour Concluding Observations

OUTLINE

OF A

THEORY OF COLOURS.

"Si vera nostra sunt aut falsa, erunt talia, licet nostra per vitam defendimus. Post fata nostra pueri qui nunc ludunt nostri judices erunt."

INTRODUCTION.

The desire of knowledge is first stimulated in us when remarkable phenomena attract our attention. In order that this attention be continued, it is necessary that we should feel some interest in exercising it, and thus by degrees we become better acquainted with the object of our curiosity. During this process of observation we remark at first only a vast variety which presses indiscriminately on our view; we are forced to separate, to distinguish, and again to combine; by which means at last a certain order arises which admits of being surveyed with more or less satisfaction.

To accomplish this, only in a certain degree, in any department, requires an unremitting and close application; and we find, for this reason, that men prefer substituting a general theoretical view, or some system of explanation, for the facts themselves, instead of taking the trouble to make themselves first acquainted with cases in detail and then constructing a whole.

The attempt to describe and class the phenomena of colours has been only twice made: first by Theophrastus, and in modern times by Boyle. The pretensions of the present essay to the third place will hardly be disputed.

Our historical survey enters into further details. Here we merely observe that in the last century such a classification was not to be thought of, because Newton had based his hypothesis on a phenomenon exhibited in a complicated and secondary state; and to this the other cases that forced themselves on the attention were contrived to be referred, when they could not be passed over in silence; just as an astronomer would do, if from whim he were to place the moon in the centre of our system; he would be compelled to make the earth, sun, and planets revolve round the lesser body, and be forced to disguise and gloss over the error of his first assumption by ingenious calculations and plausible statements.

In our prefatory observations we assumed the reader to be acquainted with what was known respecting light; here we assume the same with regard to the eye. We observed that all nature manifests itself by means of colours to the sense of sight. We now assert, extraordinary as it may in some degree appear, that the eye sees no form, inasmuch as light, shade, and colour together constitute that which to our vision distinguishes object from object, and the parts of an object from each other. From these three, light, shade, and colour, we construct the visible world, and thus, at the same time, make painting possible, an art which has the power of producing on a flat surface a much more perfect visible world than the actual one can be.

The eye may be said to owe its existence to light, which calls forth, as it were, a sense that is akin to itself; the eye, in short, is formed with reference to light, to be fit for the action of light; the light it contains corresponding with the light without.

We are here reminded of a significant adage in constant use with the ancient Ionian school--"Like is only known by Like;" and again, of the words of an old mystic writer, which may be thus rendered, "If the eye were not sunny, how could we perceive light? If God's own strength lived not in us, how could we delight in Divine things?" This immediate affinity between light and the eye will be denied by none; to consider them as identical in substance is less easy to comprehend. It will be more intelligible to assert that a dormant light resides in the eye, and that it may be excited by the slightest cause from within or from without. In darkness we can, by an effort of imagination, call up the brightest images; in dreams objects appear to us as in broad daylight; awake, the slightest external action of light is perceptible, and if the organ suffers an actual shock, light and colours spring forth. Here, however, those who are wont to proceed according to a certain method, may perhaps observe that as yet we have not decidedly explained what colour is. This question, like the definition of light and the eye, we would for the present evade, and would appeal to our inquiry itself, where we have circumstantially shown how colour is produced. We have only therefore to repeat that colour is a law of nature in relation with the sense of sight. We must assume, too, that every one has this sense, that every one knows the operation of nature on it, for to a blind man it would be impossible to speak of colours.

That we may not, however, appear too anxious to shun such an explanation, we would restate what has been said as follows: colour is an elementary phenomenon in nature adapted to the sense of vision; a phenomenon which, like all others, exhibits itself by separation and contrast, by commixture and union, by augmentation and neutralization, by communication and dissolution: under these general terms its nature may be best comprehended.

We do not press this mode of stating the subject on any one. Those who, like ourselves, find it convenient, will readily adopt it; but we have no desire to enter the lists hereafter in its defence. From time immemorial it has been dangerous to treat of colour; so much so, that one of our predecessors ventured on a certain occasion to say, "The ox becomes furious if a red cloth is shown to him; but the philosopher, who speaks of colour only in a general way, begins to rave."

Nevertheless, if we are to proceed to give some account of our work, to which we have appealed, we must begin by explaining how we have classed the different conditions under which colour is produced. We found three modes in which it appears; three classes of colours, or rather three exhibitions of them all. The distinctions of these classes are easily expressed.

Thus, in the first instance, we considered colours, as far as they may be said to belong to the eye itself, and to depend on an action and re-action of the organ; next, they attracted our attention as perceived in, or by means of, colourless mediums; and lastly, where we could consider them as belonging to particular substances. We have denominated the first, physiological, the second, physical, the third, chemical colours. The first are fleeting and not to be arrested; the next are passing, but still for a while enduring; the last may be made permanent for any length of time.

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