It must be remembered that Young's diagram of colours corresponds to the admixture of coloured lights, not of colouring materials or pigments. The admixture of blue and yellow lights in proper proportions may make white or pink, but never green. The admixture of blue and yellow pigments makes a green, because the blue absorbs nearly all the light except green, blue, and a little violet, while the yellow absorbs all except orange, yellow, and green. The green light is the only light common to the two, and therefore the only light which escapes absorption when the pigments are mixed. Another point already noticed must also be carefully borne in mind. Young was quite aware that, physically, there are an infinite number of different kinds of light differing continuously in wave-length from the ultra-red to the ultra-violet, though colour can hardly be regarded as an attribute of the light considered objectively. The question of colour is essentially one of perception--a physiological, not a physical, question--and it is only in this sense that Young maintained the doctrine of three primary colours. In his paper on the production of colours, read before the Royal Society on July 1, 1802, he speaks of "the proportions of the sympathetic fibres of the retina," corresponding to these primary colour-sensations. According to this doctrine, white light would always be produced when the three sensations were affected in certain proportions, whether the exciting cause were simply two kinds of homogeneous light, corresponding to two pure tones in music, or an infinite number of different kinds, as in sunlight; and a particular yellow sensation might be excited by homogeneous yellow light from one part of the spectrum, or by an infinite number of rays of different wave-lengths, corresponding to various shades of red, orange, yellow, and green. Subjectively, the colours would be the same; objectively, the light producing them would differ exceedingly.