We see that _red_, a brilliant colour, indicated the greater part of the principal lines; that _blue_, associated with _black_ in the triglyphs and their channels, formed an harmonious and distinct union of the neighbouring parts: also that the dominant colour, light _yellow_, produced a much better effect than it would if the most intense or the most sombre colours had predominated. Finally, the colours were distributed in the most intelligent manner possible without being motley, presenting a variety and lightness in the tints, with easy separation of parts. III. ON THE EMPLOYMENT OF COLOURS IN GOTHIC ARCHITECTURE. 436. In the great Gothic churches, colour has rarely been employed on the exterior, except in a few cases, and always in a restrained manner, and without injury to the general harmony; for the colour on porches and in niches is altogether insignificant in this point of view; and, besides, there is nothing to show that it was not added long after the erection of the structure on which it is found. One of the things I most admire in these vast edifices is the art, or, if you will, the luck, with which they have succeeded without colour, by having recourse only to architecture and sculpture, in giving to the exterior of the edifice a variety which in no respect injures the imposing effect of the whole. 437. If we now regard the interior of these churches, the magic of the colours of the stained windows will complete the enjoyments the sight can receive from colour allied to architecture—enjoyments which can only strengthen the power of the religious sentiment in all who enter these edifices to address their prayers to God. M. Boiserée, author of a work full of research, as original as profound, on the cathedral of Cologne, thinks that the ceilings of Gothic churches ought, according to a general custom, to represent the celestial vault, and be painted blue, studded with gilt stars. 438. If painting has from the beginning really concurred with architecture, and even with painted sculpture, in the interior decoration of Gothic churches, it can only have been in a secondary degree and on the system of flat tints, from the time when it had been decided to put in windows of stained glass; for no painting applied upon an opaque body, such as stone, wood, &c., could sustain itself beside the brilliant coloured light transmitted by the glass; and if this painting had been graduated according to the rules of chiaro-’scuro, all its merit would have disappeared, for want of pure and white light, the only kind suitable for illuminating it.