it, will be affected by the hue of the surface causing it and will
tinge the surface _c_ with red. And if _c_ is also red you will see
it much more intense than _b_; and if it were yellow you would see
there a colour between yellow and red.

On the use of dark and light colours in painting (284--286).

284.

WHY BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT.

Since we see that the quality of colour is known [only] by means of
light, it is to be supposed that where there is most light the true
character of a colour in light will be best seen; and where there is
most shadow the colour will be affected by the tone of that. Hence,
O Painter! remember to show the true quality of colours in bright
lights.

285.

An object represented in white and black will display stronger
relief than in any other way; hence I would remind you O Painter! to
dress your figures in the lightest colours you can, since, if you
put them in dark colours, they will be in too slight relief and
inconspicuous from a distance. And the reason is that the shadows of
all objects are dark. And if you make a dress dark there is little
variety in the lights and shadows, while in light colours there are
many grades.

286.

OF PAINTING.

Colours seen in shadow will display more or less of their natural
brilliancy in proportion as they are in fainter or deeper shadow.

But if these same colours are situated in a well-lighted place, they
will appear brighter in proportion as the light is more brilliant.

THE ADVERSARY.

The variety of colours in shadow must be as great as that of the
colours in the objects in that shadow.

THE ANSWER.

Colours seen in shadow will display less variety in proportion as
the shadows in which they lie are deeper. And evidence of this is to
be had by looking from an open space into the doorways of dark and
shadowy churches, where the pictures which are painted in various
colours all look of uniform darkness.

Hence at a considerable distance all the shadows of different
colours will appear of the same darkness.

It is the light side of an object in light and shade which shows the
true colour.

On the colours of the rainbow (287. 288).

287.

Treat of the rainbow in the last book on Painting, but first write
the book on colours produced by the mixture of other colours, so as
to be able to prove by those painters' colours how the colours of
the rainbow are produced.

288.

WHETHER THE COLOURS OF THE RAINBOW ARE PRODUCED BY THE SUN.

The colours of the rainbow are not produced by the sun, for they
occur in many ways without the sunshine; as may be seen by holding a
glass of water up to the eye; when, in the glass--where there are
those minute bubbles always seen in coarse glass--each bubble, even
though the sun does not fall on it, will produce on one side all the
colours of the rainbow; as you may see by placing the glass between
the day light and your eye in such a way as that it is close to the
eye, while on one side the glass admits the [diffused] light of the
atmosphere, and on the other side the shadow of the wall on one side
of the window; either left or right, it matters not which. Then, by
turning the glass round you will see these colours all round the
bubbles in the glass &c. And the rest shall be said in its place.

THAT THE EYE HAS NO PART IN PRODUCING THE COLOURS OF THE RAINBOW.

In the experiment just described, the eye would seem to have some
share in the colours of the rainbow, since these bubbles in the
glass do not display the colours except through the medium of the
eye. But, if you place the glass full of water on the window sill,
in such a position as that the outer side is exposed to the sun's
rays, you will see the same colours produced in the spot of light
thrown through the glass and upon the floor, in a dark place, below
the window; and as the eye is not here concerned in it, we may
evidently, and with certainty pronounce that the eye has no share in
producing them.

OF THE COLOURS IN THE FEATHERS OF CERTAIN BIRDS.

There are many birds in various regions of the world on whose


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