Warm red, intensified by a suitable yellow, is orange. This blend brings red almost to the point of spreading out towards the spectator. But the element of red is always sufficiently strong to keep the colour from flippancy. Orange is like a man, convinced of his own powers. Its note is that of the angelus, or of an old violin. Just as orange is red brought nearer to humanity by yellow, so violet is red withdrawn from humanity by blue. But the red in violet must be cold, for the spiritual need does not allow of a mixture of warm red with cold blue. Violet is therefore both in the physical and spiritual sense a cooled red. It is consequently rather sad and ailing. It is worn by old women, and in China as a sign of mourning. In music it is an English horn, or the deep notes of wood instruments (e.g. a bassoon). [Footnote: Among artists one often hears the question, "How are you?" answered gloomily by the words "Feeling very violet."] The two last mentioned colours (orange and violet) are the fourth and last pair of antitheses of the primitive colours. They stand to each other in the same relation as the third antitheses--green and red--i.e., as complementary colours (see Fig. 2). FIGURE II Second Pair of antitheses (physical appeal of complementary C and D colours) C. Red Green = Third antithesis Movement of the spiritually extinguished First antithesis Motion within itself [CIRCLE] = Potentiality of motion = Motionlessness Red Ex-and concentric movements are absent In optical blend = Gray In mechanical blend of white and black = Gray D. Orange Violet = Fourth antithesis Arise out of the first antithesis from: 1. Active element of the yellow in red = Orange 2. Passive element of the blue in red = Violet <---Orange---Yellow<--<--<--Red-->-->-->Blue---Violet---> In excentric Motion within In Concentric direction itself direction As in a great circle, a serpent biting its own tail (the symbol of eternity, of something without end) the six colours appear that make up the three main antitheses. And to right and left stand the two great possibilities of silence--death and birth (see Fig. 3). FIGURE III. A Yellow / \ / \ / \ D C B Orange Green B White | | Black | | | | C D Red Violet \ / \ / \ A / Blue