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

The epitaph commemorative of the Spartan valor that has made Thermopylæ a name forever, serves to show the conclusion of our whole discussion:

'Go, stranger, and at Lacedæmon tell,
That here, obedient to her laws, we fell.'

For the man who is loyal to his flag will not quarrel with the color of a comrade in arms who has shed blood, red like his own, in defending that flag from dishonor; just as the man who is loyal to the altar feels a fellowship for every one, however humble, who bears the name of their common Master, and is made in the image of their common Father.

COLORS AND THEIR MEANING

In order to a due understanding of the signification of colors, it is necessary we should commence at the foundation. Accordingly I shall begin by saying that colors are primary, secondary, and tertiary.

Primary colors are three: red, yellow, and blue.

Red is the color of greatest heat.

Yellow is the color of greatest light.

Blue is the color of chemical change.

In accordance with this philosophical truth, we should naturally expect to find a preponderance of blue rays from the sun in the spring time, and so it is.

These rays preponderate at the time of ploughing, sowing, and germination.

In the summer time, after the plant has started from the ground, and requires vigorous leaves to bring it to perfection ere the cold winter rolls around once more, we have the yellow rays. 'Light, more light,' is then the cry of nature, and as not even length of days affords this element in sufficient completeness, the sun darts his brightest beams in 'the leafy month of June.'

Later still in the year, after germination is past and growth perfected, comes the necessity of heat rays to ripen fruit, vegetables, and grain, and nature's behests are obeyed in the then preponderance of the red rays. Much of this effect may be due to the media through which the sun's rays pass. A sensitized photographic paper is not colored as much at an altitude of three miles in half an hour as is a similar paper upon the earth's surface in one moment. At any season of the year, gardeners can either stimulate or retard germination as they place a blue or yellow glass over the nursling. That the growth of plants is not due alone to the rays of the sun we can, without experiment, convince ourselves, as even ordinary observers are well aware that upon some days plants shoot up so rapidly as to grow almost visibly under their eyes, and in other conditions of the atmosphere seemingly remain dormant for days.

The germinating influence, let it be due either to peculiar rays alone, or to atmospheric state, does not contain much coloring matter. The first spring flowers are of a pale color; as summer advances we have brighter hues, but not until the approach of fall do we see Flora in all her gorgeousness of coloring. The paleness of mountain and arctic flowers, and the brilliancy of those of the tropics, point to the same cause which gives the temperate zones their brightest flowers when heat rays preponderate.

As depth of color seems connected with the red or heat rays; so perfume belongs rightfully to the summer blossoms; when light is the strongest, then we have our pinks, and roses, and lilies.

There are also in the spectrum four secondary colors: orange, green, indigo, and violet. The secondary colors are alternate with the primary in the spectrum, and are formed by a mixture of the two primary nearest them—as orange, formed by a union of red and yellow; green, by a mixture of yellow and blue; indigo and violet, of blue and red. Thus:

• Red,

• Orange,

• Yellow,

• Green,

• Blue,

• Indigo,

• Violet.

Tertiary colors are many more than both primary and secondary. They are hues not found in the spectrum. They are nature's stepchildren rather than children, and many of them might not inappropriately be called children of art; yet although most of them are of inventions that man has sought out, they are at best but shades, and must all look back to the spectrum as their common parent.

Each of the primary colors forms a simple contrast to the other two; thus blue is contrasted by yellow and by red, either of which forms a simple contrast to it; but as it is a law of color that compound contrasts are more effective than simple in the proportion of two to one, it follows that a mixture of either two of the primitive colors is the most powerful contrast possible with the other.

Red and yellow form orange, the greatest and the most harmonious contrast to blue; red and blue form violet or purple, so much admired in contrast with yellow in the pansy; yellow and blue form green, the contrast to red, and the color needed to restore the tone of the optic nerve when strained or fatigued by undue attention to red. This is the most common and admirable contrast in the vegetable kingdom; the brilliant red blossom or fruit, with green leaves, as instance the fiery tulip, the crimson rose, the scarlet verbena, the burning dahlia, the cherry and apple trees, the tomato or loveapple of my childhood, and the scarlet maple and sumach of our American October.

There are two distinct harmonies of color: the harmony of contrast, and the harmony of shading. The former is the harmony of striking diversities found in nature, and the other a mellowing of colors, or blending of similar hues, attributable to art.

From this little synopsis of the effects and uses of the prismatic colors, we shall be enabled the better to understand both the ancient and modern popular ideas as to colors as representatives and correspondences. Colors have a mental, moral, and physical significance—a good and a bad import. The one to which I shall first direct your attention is that which most readily strikes the eye.

RED

Which Thoreau called the 'color of colors,' in the Hebrew signified to have dominion, and in early art was symbolical or emblematic of Divine love, creative power, etc. The word Adam, we have been taught, signifies red man; it does mean 'the blood,' which, of course, originated 'to be red,' as a secondary signification. Lanci, the great interpreter of Sacred Philology at the Vatican, deems 'The Blusher,' to be the true meaning of the word Adam. God created man, male and female created He them, and called their name Adam. A blush, so becoming on the countenance of feminine beauty, is generally deemed a sign of weakness when visible upon a man's face. But if the above interpretation be correct, a blush is a man's birthright, which no sense of false shame should prevent him from modestly claiming. Red, as signifying perfection, dominion, fruition, was appropriately the name of our first parents, whether we regard the account of the creation to be literally understood, as the old theologians believe, or spiritually and typically, as the modern ones insist.

Red is the color of what is intense, be it love or hatred, kindness or cruelty. It denotes the fulness of strong emotions; alike the glowing of conscious love or the blazing of fierce anger, the fiery ardor of daring and valor, or the fierce cruelty of hatred and revenge. Of our own star-spangled banner, we sing:

'The red is the blood of the brave.'

The red garments of cardinals, and especially their red hats, are supposed to betoken their readiness to spill their blood for Jesus Christ.

Red is the color of undeveloped ideas. It is the hue which most quickly attracts the attention of children and savages. All barbarous nations admire red; many savages paint their faces vermilion before entering battle, to which they look forward as the means of attaining enviable position in their tribe; for with barbarians physical prowess is the only superiority.

Some animals are excited to madness by the sight of this color. The bull and the turkey take it as a signal of defiance, which they rush to meet. 'Come, if you dare,' they read it, and impetuously hasten to the onset.

When the bloody Jeffreys was in his bloodiest humor, he wore into court a red cap, which was the sure death warrant of those about to be tried.

The death garment of Charlotte Corday was a red chemise—fit emblem of the ungovernable instincts, the wild rioting in blood of that reign of terror.

Christ was crucified in a scarlet robe, and in that color of love and perfection, perfected his offering of love for mankind.

YELLOW

Anciently symbolized the sun, the goodness of God, marriage, faith, and fruitfulness. Old paintings of St. Peter represent him in a yellow mantle. The Venuses were clothed in saffron-colored tunics; Roman brides of an early day wore a veil of an orange tinge, called the flameum, a flame—a flame which, kindled at Hymen's torch, it is to be hoped was ever burning, never consuming. As every good has its antipodal evil, so every color has its bad sense, which is contrary or opposite to its first or good signification.

In a bad sense, yellow means inconstancy, and the æsthetic Greeks, fully carrying out this meaning, compelled their public courtesans to distinguish themselves by mantles of saffron color. The radical sense of saffron is to fail, to be hollow, to be exhausted. In tracing customs, it is easy to see the bias unknowingly received from natural significations, significations which take their rise in the spiritual world. The San Benito or auto-da-fe dress of the Spanish Inquisition was yellow, blazoned with a flaming cross; and, as a mark of contempt for the race, the Jews of Catholic Spain were condemned to wear a yellow cap. Distinguishing colors in dress have ever been one of the most common methods of expressing distinction of class and differences of faith, until thence has arisen the imperative adage: 'Show your colors;' and he who refuses to do so is despised as a hypocrite or changeling.

Yellow, as a color, finds but few admirers among modern enlightened nations; it is recognized as the color of shams; but in China, that country of contrarities, where printing, fish breeding, gas burning, and artesian wells have been known and stationary for centuries, where almond-shaped eyes, club feet, and long cues are types of beauty, where old men laughingly fly kites, and little boys look gravely on, where white is mourning, and everything is different from elsewhere—there yellow is the most admired of colors, restricted to the use of royalty alone under penalty of death.

Yellow is the most searching of colors, as indeed it should be from its correspondence with light. It is gaudy, and does not inspire respect, for it brings into view every imperfection. Every defect in form or manner is rendered conspicuous by it, and we involuntarily scan the whole person of the unfortunate and tasteless wearer of it.

BLUE

In early art, represented truth, honor, and fidelity, and even at this day we associate blue and truthfulness. Christ and the Virgin were formerly painted with blue mantles, and blue is especially recognized as the Virgin's color. We can never turn our eyes upward without seeing truth's emblematical color. How appropriate that the heavens should be blue! Of truthfulness and faithfulness it should be our constant reminder.

Primary blue enters as a compound into three other colors of the spectrum: green, indigo, and violet. As a primary color, it is much more rarely seen in nature than either red or yellow. We have few blue birds, few blue flowers, few blue fruits. As one of a compound, it is oftener found than red. The grass, the leaves, everywhere proclaim the marriage of good, as yellow anciently represented, and truth, as blue symbolized. There is a deep significance in the change that has come over mankind's view of the meaning of the first of these colors. With the loss of faith, the tearing apart of truth and goodness, has come a change of correspondence. Men have everywhere turned away from the light, though still professing to strive for truth.

Each color possesses a character of its own, which proclaims to the close observer the peculiar qualities of that to which it belongs. The horticulturist reads the peculiarities of the fruit as readily by its color as the phrenologist reads his by his 'bumps.' The red one, he will tell you, is sour, the white one sweet, the pale one flat, and the green one alkaline; that one is a good table apple, this one a superior cider apple; and if you further ask the characteristics of a good cider apple, he will tell you again it is known by its color, not only of the skin, but also of the pulp, and that it can be foretold whether cider will be weak, thin, and colorless, or possess strength, or richness, or color.

The botanist, too, regards color as indicative of quality, the yellow flower having a bitter taste and a fixed, unfading hue, the black, a poisonous, destructive property, etc., etc.

Truth, of which we have seen blue was the correspondent, is never superficial, and, although apparent truths lie upon the surface, yet a common adage locates truth at the bottom of a well. Seamen acknowledge deep indigo blue of water to be indicative of profound depth. Of the three or primitive colors, the red or heat color, which has been termed light felt, the yellow or light color, which has been called heat seen, and the blue, a color of chemical change, which is the color of growth, these correspond in an unknown degree to the love, wisdom, and truth of the Supreme One; heat to love, for love is heat; light to wisdom, for wisdom is light; and germination and growth to truth, for by truth souls grow into wisdom and love. The more we explore the arcana of nature the more we will be enabled to discover the correspondence of the natural with the spiritual world.

WHITE