The colours of the prismatic spectrum obviously do form a continuous series; green is intermediate between its neighbours yellow and blue, orange between red and yellow; and if we suppose the two ends of the spectrum bent round to meet each other, so that the arrangement of the colours may be circular, the violet and indigo will find their appropriate place between the blue and red. And all the interjacent tints of the spectrum, as well as the ones just named, will result from such an arrangement. Thus all the _pure_ colours are produced by combinations two and two of three primary colours, Red, Yellow, and Blue: and the question suggests itself whether these three are not really the only Primary Colours, and whether all the impure colours do not arise from mixtures of the three in various proportions. There are various modes in which this suggestion may be applied to the construction of a scale of colours; but the simplest, and the one which appears really to verify the conjecture that all possible colours may be so exhibited, is the following. A certain combination of red, yellow, and blue, will produce black, or pure grey, and when diluted, will give all the shades of grey which intervene between {345} black and white. By adding various shades of grey, then, to pure colours, we may obtain all the possible ternary combinations of red, yellow, and blue; and in this way it is found that we exhaust the range of colours. Thus the circle of pure colours of which we have spoken may be accompanied by several other circles, in which these colours are tinged with a less or greater shade of grey; and in this manner it is found that we have a perfect chromatometer; every possible colour being exhibited either exactly or by means of approximate and contiguous limits. The arrangement of colours has been brought into this final and complete form by M. Merimée, whose Chromatic Scale is published by M. Mirbel in his _Elements of Botany_. We may observe that such a standard affords us a numerical exponent for every colour by means of the proportions of the three primary colours which compose it; or, expressing the same result otherwise, by means of the pure colour which is involved, and the proportion of grey by which it is rendered impure. In such a scale the fundamental elements would be the precise tints of red, yellow, and blue which are found or assumed to be primary; the numerical exponents of each colour would depend upon the arbitrary number of degrees which we interpose between each two primary colours; and between each pure colour and absolute blackness. No such numerical scale has, however, as yet, obtained general acceptation[28\4].