SECTION III.—ON COLOURING IN PAINTING 82 CHAP. I.—On Colouring 82 Of Aërial Perspective 83 Of Colouring in respect to the Harmony of the Colours of the various Objects composing the Picture 85 CHAP. II.—Utility of the Law of Simultaneous Contrast of Colours in the Art of Colouring 87 Utility of this Law in order to imitate promptly and surely the Modification of Light on the Model 89 Utility of the Law in order to Harmonize those Colours of a Composition which are inherent to the Nature of the Object represented 95 SECOND DIVISION.—IMITATION OF COLOURED OBJECTS BY MATERIALS OF A DEFINITE SIZE, AS THREADS, &C. 102 CHAP. I.—On the Elements of Gobelins Tapestry 104 RULE I.—The Binary Mixture of Primary Colours 104 RULE II.—The Mixture of Complementary Colours 105 RULE III.—The Mixture of the Three Primary Colours in such proportions that they do not become neutralized, because one or the other of them is in excess 108 THIRD DIVISION.—COLOUR PRINTING 118 On Calico-Printing, and printing Paper-hangings 118 False Judgment of the Value of Recipes for Colouring Compositions 119 CHAP. II.—On the Law of Simultaneous Contrast of Colours in relation to Paper-hangings with Figures, Landscapes, or large Flowers of varied Colours 121 On the Law of Simultaneous Contrast of Colours relatively to the Borders of Paper-hangings 123 Printed or written Characters on Papers of different Colours 136 On the Assortment of Colours for reading by diffused Daylight 138