The Continental Monthly, Vol. 6, No 2, August, 1864

Is the emblem of light, every white ray of light containing all the prismatic colors; and as it symbolizes innocence and purity, it is the color must appropriate for clothing infants, brides, and the dead. We think of the angels as clothed in white. At the transfiguration of our Lord and Master, his raiment became shining, exceeding white as snow, as no fuller on earth can white them; and in one of the Evangelists his raiment is described as at that time as white as the light, and so our highest comparison of whiteness is 'as white as the light.'

BLACK

Formed by a combination in equal proportions of the three primitive colors in equal intensity, is the color of despair. As mourning, it is only suitable for those who despair of the future of their friends; but it is preëminently unsuitable to be worn for those who die in Christian faith with a Christian hope. Despite its gloomy hue, it has almost become a sacred color among Christian nations, being worn as the dress of the priest in his ministerial office, and doubly hallowed from its association with the dead.

Black, as an ornamental color, should be below all others, for artistic effect. An artistic dressmaker places the dark or black plaids or stripes beneath the others. This natural correspondence is almost universally recognized among enlightened nations in clothing for the feet. They not only look smaller and more tasteful in black shoes than in colored, but economy also sanctions them as more useful. The universal tendency of the nineteenth century is to utilitarianism; the one question asked is: What is the use? and in use is beauty ever found.

Ethnological investigation shows that black or dark-colored races have invariably preceded settlement by the whites. This is in accordance with the law of color above laid down, viz., that, artistically, black is below the other colors (and now, in order that I may not be misunderstood, I explicitly say that because, artistically, black is the lowest color, it by no means follows that I deem black or olive or yellow races subjects for slavery, or unworthy of social and political rights). In accordance with the above axiom, savage and half-civilized races are found to be at the present day black haired and black eyed. I will also venture the assertion that nine tenths of all the people in the world have black hair.

The Hindoo legend of the eighth incarnation of Vishnu under the name of Crishna, makes him then of a bluish-black color, which the name Crishna signifies. His supposititious father, Wanda, said:

'When I named him Crishna, on account of his color, the priest told me he must be the god who had taken different bodies, red, white, yellow, and black, in his various incarnations, and now he had assumed a black color again, since in black all colors are absorbed.'

Although among Caucasian nations, and especially in cosmopolitan America, we do not adduce intellectual superiority from the shades or degrees of whiteness, yet it is said of the Moors that the more the color approaches the black, the handsomer and of more decisive character are the men.

It is a physiological fact brought to light partially through the census, that black-eyed races and black-eyed people are more subject to blindness than others. It has also been shown that black-eyed men are not as good marksmen as blue-eyed or light-eyed men.

Not only are different races of men subject to different diseases, but statistics prove that among Caucasian nations, complexion and disease are in some way connected, as for instance, consumption is more rife among dark-haired and dark-eyed people than others, and more rapid with those dark-haired and dark-eyed people who have very fair complexion. As the difference between golden and black hair lies in that there is in the one case an excess of sulphur and oxygen with a deficiency of carbon, and in the other an excess of carbon and a deficiency of sulphur and oxygen, it can easily be seen why such deficiency or excess, if arising from idiosyncrasy of the system, should predispose to dissimilar diseases. But here a wide field yet lies open for experimental and physiological research.

GREEN

There is scarcely a color but has been or is held sacred by some nation or religion. With Mahommedans green is the sacred hue. The prophet originally wore a turban of that dye, and the sultan shows due preference for that color.

The tomb of David, which is in possession of the Mahommedans, and which was at great hazard visited by a lady within the past few years, is covered by a green satin tapestry, and over it hangs a satin canopy of red, blue, yellow, and green stripes, the three primitive and the sacred, compound color.

Green also seems to have been the sacred color in ancient Peru, virgins of the sun wearing robes of that hue. The ancient Mexican priests also, in the performance of their functions, wore crowns of green and yellow feathers, and at their ears hung green jewels. Precious stones of a green color were held in higher estimation by the Aztecs than any other. When the Spaniards were first admitted to an audience with Montezuma, he wore no other ornament on his head than a panache of plumes of royal green.

Green comes in the class of secondary colors, being a compound of yellow and blue, and signifies pale, new, fresh, growing, flourishing (like a green bay tree); and also unripe, when applied to either fruits or men, which, as far as the human is concerned, is a term of reproach. A person without experience, either in position, behavior, or use of anything, is termed green, and laughed at. They are fresh, new, and, instead of the admiring exclamation, How green it is! as applied to a plant, is the reproachful one, How green he is!

At different seasons of the year, different colors are appropriate in dress. Light green is the color of freshness, youth, and spring, and more suitable to be worn in the spring of the year and by young persons, than later in the season or by mature women. Dark green, like crimson and orange, is a warmer, more intensified color, with less of liveliness and freshness.

PURPLE

Is the type of monarchical enlightenment. With Caucasian nations it has been the symbolic color of royalty, until 'invest with the purple,' in the course of ages, comes to mean kingdom, government, power, to rule. Purple is formed by the union of blue and red, truth and valor. Happy the people who are truly governed by truth and valor! The Tyrian purple was famous in Homer's days, and our dreams of Tyre and its splendor are all colored by this most gorgeous of dyes, the manufacture of which from a species of shell fish gave this ancient city a celebrity which all its other arts combined could not equal. This was one of the symbolic colors with which the high priest's robe was wrought in figures of pomegranates upon its skirt; and when Solomon sent to Hiram, king of Tyre, for a cunning workman to assist in building the temple, he did not fail to require he should be skilled in purple. During the time of the Roman emperors, the Tyrian purple was valued so highly that a pound of cloth twice dipped was sold for about one hundred and fifty dollars. Even a purple border about a robe was a mark of dignity.

VIOLET

Is a color that has often been worn by martyrs; formed of a union of red and blue, it signifies love and truth, and their passion and suffering. It is the court mourning color all over Europe, with the exception of England. It is the softest of the prismatic colors, and its very name carries us in thought to the modest sweet flower which is Flora's emblem of humility.

Of one of the colors of the spectrum I have failed to speak, because there was so little to say. Orange is a bright, warm color, not quite as intense as red, still one which the eye does not readily seek. Its suitableness in dress is confined mainly to children. Upon them our eye naturally seeks for bright, warm colors, and rests with a kind of pleasure upon rich hues. There is nothing upon which the public taste requires more education than upon the arrangement and modification of colors. Gardeners need it in setting their plants and putting in their seeds; florists, in the arrangement of their bouquets; furnishers, in the decoration of apartments; and especially the fashion leaders, who decide what colors or shades must or must not be worn together. Sometimes hues are conjoined by them, that, no matter how loudly proclaimed au fait, the height of style, or à la mode, are never artistic, and no dicta can make them so. A fashion framer should needs be a natural philosopher, and hold the rudiments of all science in her grasp. Botany, mineralogy, conchology should walk as handmaidens to philosophy; optics should steer the rudder of color's bark when launched upon the sea of taste.

If, when dressed, the aim is to present a light and graceful toilet, light and delicate shades of color must be worn; no crimson, dark green, purple, or indigo, but rose, light green, azure, or lavender, with a due admixture of white, must be the hues chosen. White serves as an admirable break, and prevents the appearance of violent transition. It is none the less requisite in bouquets, where no two shades of the same color should be allowed without either white or green as a separator. Very handsome self-colored bouquets can be arranged by giving a finish of the complementary shade. One of the most beautiful I ever remember to have seen was scarlet verbenas with a base of rose-geranium leaves, the whole set in a small antique green-and-gold vase.

Although the mature fall of the year clothes itself in gay colors, it is deemed an evidence of immaturity for women in the fall time of life to sport crimson and scarlet and orange. Sober grays (which mean old, mature), quiet brown, and even sombre blacks, are rather what are looked for. To dress young when people are old, deceives no one. There is a beauty of age as well as a beauty of youth. Those who live to be old have had their share of the former: why should they seek to deprive themselves of the latter? Aside from the appropriateness of color as to age, there are yet others as to size and complexion. Light-haired men should always wear very dark cravats, in order to give tone and expression to the face. Large women should wear warm colors, if they wish to create a pleasant impression. They cannot attain grace by any aid of color, while they will lose the dignity they might naturally claim if they confined themselves to warm, grave shades.

An unartistic arrangement of light or drapery in an apartment will totally destroy the harmony of the most carefully prepared toilet. Rooms can be toned warm or cold, but, unless some especial object is sought, neutral tints should predominate, and violent contrasts should be avoided.

Who has failed to notice the fantastic tricks played at times upon some body of worshippers, where light to the church is admitted through stained glass windows? A lambent red flame lighting up the hair of a man's head, while at the same moment his beard is blue and luminous. Over the shoulders of another, the purple mantle of royalty seems about falling, investing him for a moment with regal splendors, while perhaps the cadaverous hue of his next neighbor's face well fits him to be some imagined victim of his new majesty's anger.

Color ranks as one of the earliest arts. No nation is so low but it makes some attempt at decorative color, and we may be well assured it was one of the earliest, if not the earliest method employed in transmitting intelligence. When this country was first discovered, the Peruvians were making use of small knotted cords of various colors, termed quippu, as mediums of records and messages. Our own North American savages employed wampum, made from various colored shells, for a similar purpose. Color played its part in ancient Egyptian hieroglyphics. It speaks to the eye sooner than form. A black flag hoisted upon the battle field proclaims louder than words the demoniac cruelty that reigns, while a white signifies that submission has been decided upon. Joseph's coat of many colors proclaimed the father's favoritism to his brothers, and worked a mighty change in the history of the race to which he belonged. This very instance, if we possessed no other, would prove to us the high estimation in which color was held, and its symbolic meaning, in the most ancient times.

The ermine is an animal of such spotless purity it will tolerate no stain on its fur, and by this symbolic name we designate the judge, who should be stainless, unbiassed, and incorruptible.

The highest art of the florist is put forth to procure change of color. Self tulips are valueless beside sports, and to induce this breaking various methods are put in requisition, as there is no sporting of colors from natural causes among flowers. A green rose, a blue verbena, are hailed as triumphs, and secure the propagator an enviable name either as an amateur or professional florist.

Perhaps the most curious thing connected with color is that some stars give colored light; and in one instance, in a northern constellation, a double star gives forth blue rays from one and red from the other. How our fancy might be permitted to soar away beyond the stars themselves in wondering fancies as to the meaning of this—truth and love united in a star, not as a compound color, but each retaining its own hue of blue and red! What a happy abode of truthful, loving spirits we can imagine this the dwelling place! And may there not here be a symbol of such a union?

The art of color is yet in its infancy, and although Tyrian purple was magnificent and famous, and the highly prized Turkey red unfading, yet modern chemical discovery has opened a wide variety of hues unknown to the ancients.

Colors obtained from vegetable substances have been the most numerous, those from the animal kingdom the most brilliant, and from the mineral the greatest variety from the same substance. A buff, a blue, and a black, and again a red, a blue, a purple, and a violet, are produced from the same metal.

The recent discovery of aniline colors, to be extracted from coal refuse, has given art new, beautiful, and durable shades of red, blue, purple, and violet. We know but by description what the lauded Tyrian purple was, for monopoly caused the art to be lost; but for softness, richness, and beauty of purple we have none to approach that extracted from this refuse. Nature means nothing to be lost, and waste arises from ignorance. She is a royal mistress when royally represented.

To the mineral kingdom we are indebted for most of the mordants which fix the hues derived from other sources. That in union is strength is taught by the most common art.

Much is yet to be learned in regard to color. Men have understood its correspondence sufficiently to associate red and cruelty as its lowest expression, so that the men of the bloody French Revolution received an undying name from the red cap of the Carmagnole costume—and yellow with shame, for a ruff of this color on the neck of a woman hanged drove this fashion out of England—and white with purity, as the ermine of the judge shows; although, thousands of years ago, the men of Tartary and Thibet prized the wool of the Crimean sheep stained of a peculiar gray by its feeding upon the centarina myriocephala, and although modern gardeners deepen the hues of plants by feeding them judiciously, yet few attach the requisite importance to color as history. Writers for the most part pass silently by this great aid to a correct understanding of past events. Color in costume is no less essential to a true description or representation than form; in some instances it is more so.

The color of the silken sails of Cleopatra's vessel, as she sailed down the Cydnus, proclaimed her royalty as no other could have done.

A fairy could not be depicted without her green robe, or young Aurora unless tinted with the hues of morn.

Here lies the great fault of all sun pictures. The distinctive hues of complexion, hair, and eyes are not preserved. The flaxen, the auburn, the brown hair alike take black. Light eyes and dark are undistinguishable; the clearest complexion becomes muddy and full of lines if the color of the dress is such as to throw the shade upon it.

A mixture of colors in dress in which either two of the primitives predominate, is a token of barbarism, even if occurring among so-called enlightened people.

Color is an exponent of the degree of civilization.

Red finds its fitness among savage races, and with undeveloped natures.

Yellow indicates transition from barbarism to civilization.

Green, advanced civilization.

Purple, monarchical enlightenment, which is will individualized in but one.

Modification and harmony are only with people free to follow taste and select for themselves. Among the most enlightened nations these five states are all found. The highest type, shown by culture, discovery, art, literature, science, equity, and government, exists with but a few. The mass are civilized, and continue 'the mass.' It is the natural tendency of enlightenment to individualize. In proportion to genius, culture, and perseverance, is one set apart, becomes a leader of the masses, and should be a teacher of the harmony and correspondence of color, both by precept and example.

Strong contrasts are admissible in what is designed to illustrate particular things, and especially if to be viewed from a distance. To me no sight is ever more beautiful than the American flag, red, white, and blue, as the breeze opens every fold and waves it abroad for the gaze of men; the blue signifying a league and covenant against oppression, to be maintained in truth, by valor and purity; the very color proclaiming to despots and tyrannized man that in one land on the broad face of the earth liberty of conscience prevails, and freedom of speech exists. We shall not want to change it when this war is over. It is the symbol of an idea which has never yet found its full utterance. When Liberty and Union become one and indivisible, it will be the harmonious exponent of those grand ideas rooted, budded, blossomed, and bearing fruit forevermore.

BATTLE OF THE WILDERNESS

Oh, how our pulses leaped and thrilled, when, at the dead of night,
We saw our legions mustering, and marching forth to fight!
Line after line comes surging on with martial pomp and pride,
And all the pageantries that gild the battle's crimson tide.
A forest of bright bayonets, like stars at midnight, gleam;
A hundred glittering standards flash above the silver stream.
We plunged into the Wilderness, and morning's early dawn