But fortunately there is a way by which we can produce, approximately at all events, the intermediate colours by mixtures of the others. The second colour of the spectrum, for example, orange, can be obtained by mixing its neighbours on either hand--namely, red and yellow. We can, indeed, imitate very closely the imperceptible change from red to yellow through orange, by skilful mixture of red and yellow pigments. First there is the pure red, then just a suggestion of yellow is added; more and more yellow brings us to orange; after which by gradually diminishing the amount of red we reach the pure yellow. Next, by introducing blue pigment, we can gradually change the yellow into green, and further manipulation of the same two colours will lead us on to pure blue. Indeed by mixtures of red, yellow and blue we can obtain almost all the perceptible varieties of colour. And it must be remembered that when, by mixing blue and yellow pigments, we get the effect of green, that is only the result of an optical illusion. The particles of which the yellow pigment is made remain yellow, and the particles of blue remain blue. The one sort reflect yellow light to our eyes, the other sort reflect blue light, and owing to what in one sense may be called a defect in our vision, these two mingling together look as if the whole were green. In the spectrum we see real green light; from green paint made by mixing yellow and blue, we only see an imitation or artificial green. If the particles were large enough, we should see the yellow and the blue ones quite separate, but since they are too small for us to see at all, except in the mass, our eyes blend the whole together into the intermediate colour. Thus we see that, although the variety of colours is infinite, we can for practical purposes reproduce as much difference as our eyes can perceive by the judicious blending of three--namely, red, yellow and blue. And there is a further fortunate fact--we can filter light. The red glass with which the photographer covers his dark-room lamp looks red, and throws a red light into the room, because it is acting as a filter to the light proceeding from the lamp behind it. The lamp is sending out light of many colours, but the glass is only transparent to the red. It holds up all the others but lets the red pass freely. So if we were to take a photograph through a red screen, we should get on the plate only those parts which were more or less red in colour. For example, if we thus photographed a group of three flowers, one red, one orange and one yellow, the red one would come out prominently, the orange one would come out faintly, and the yellow one not at all. Then suppose we took the same picture again through a yellow screen. In that case the yellow flower would be prominent, the orange would again be faint, but the red would be absent.