Blue and green are transcendent, spiritual, non-sensuous colours. They are missing in the strict Attic fresco and _therefore dominant_ in oil- painting. Yellow and red, the Classical colours, are the colours of the material, the near, the full-blooded. Red is the characteristic colour of sexuality—hence it is the only colour that works upon the beasts. It matches best the Phallus-symbol—and therefore the statue and the Doric column—but it is pure blue that etherealizes the Madonna’s mantle. This relation of the colours has established itself in every great school as a deep-felt necessity. Violet, a red succumbing to blue, is the colour of women no longer fruitful and of priests living in celibacy. Yellow and red are the _popular_ colours, the colours of the crowd, of children, of women, and of savages. Amongst the Venetians and the Spaniards high personages affected a splendid black or blue, with an unconscious sense of the aloofness inherent in these colours. For red and yellow, the _Apollinian, Euclidean-polytheistic_ colours, belong to the foreground even in respect of social life; they are meet for the noisy hearty market-days and holidays, the naïve immediateness of a life subject to the blind chances of the Classical _Fatum_, the point- existence. But blue and green—the Faustian, monotheistic colours—are those of loneliness, of care, of a present that is related to a past and a future, of destiny as the dispensation governing the universe from within. The relation of Shakespearian destiny to space and of Sophoclean to the individual body has already been stated in an earlier chapter. All the genuinely transcendent Cultures—that is all whose prime-symbol requires the _overcoming_ of the apparent, the life of struggle and not that of acceptance—have the same metaphysical inclination to space as to blues and blacks. There are profound observations on the connexion between ideas of space and the meaning of colour in Goethe’s studies of “entoptic colours” in the atmosphere; the symbolism that is enunciated by him in the _Farbenlehre_ and that which we have deduced here from the ideas of Space and Destiny are in complete agreement.