Red
792.
We are here to forget everything that borders on yellow or blue. We are to imagine an absolutely pure red, like fine carmine suffered to dry on white porcelain. We have called this colour “purpur” by way of distinction, although we are quite aware that the purple of the ancients inclined more to blue.
793.
Whoever is acquainted with the prismatic origin of red, will not think it paradoxical if we assert that this colour partly actu, partly potentiâ, includes all the other colours.
794.
We have remarked a constant progress or augmentation in yellow and blue, and seen what impressions were produced by the various states; hence it may naturally be inferred that now, in the junction of the deepened extremes, a feeling of satisfaction must succeed; and thus, in physical phenomena, this highest of all appearances of colour arises from the junction of two contrasted extremes which have gradually prepared themselves for a union.
795.
As a pigment, on the other hand, it presents itself to us already formed, and is most perfect as a hue in cochineal; a substance which, however, by chemical action may be made to tend to the plus or the minus side, and may be considered to have attained the central point in the best carmine.
796.
The effect of this colour is as peculiar as its nature. It conveys an impression of gravity and dignity, and at the same time of grace and attractiveness. The first in its dark deep state, the latter in its light attenuated tint; and thus the dignity of age and the amiableness of youth may adorn itself with degrees of the same hue.
797.
History relates many instances of the jealousy of sovereigns with regard to the quality of red. Surrounding accompaniments of this colour have always a grave and magnificent effect.
798.
The red glass exhibits a bright landscape in so dreadful a hue as to inspire sentiments of awe.
799.
Kermes and cochineal, the two materials chiefly employed in dyeing to produce this colour, incline more or less to the plus or minus state, and may be made to pass and repass the culminating point by the action of acids and alkalis: it is to be observed that the French arrest their operations on the active side, as is proved by the French scarlet, which inclines to yellow. The Italians, on the other hand, remain on the passive side, for their scarlet has a tinge of blue.
800.
By means of a similar alkaline treatment, the so-called crimson is produced; a colour which the French must be particularly prejudiced against, since they employ the expressions—“Sot en cramoisi, méchant en cramoisi,” to mark the extreme of the silly and the reprehensible.