The National tribune., 1883-02-22

NDAI, LDhUAnI *. 1000.
toward Tabbie This little lady bore them
with admirable complacency, but, as every one
noticed, she did not venture TO return them
Aunt Helen's part was done, but her paper had
lent a pleasant impetus to the family converSa-
tion which filled up the remainder of the even
ing.
COLOR IN DRESS.
In the preceding chapters on this subject,
color was considered in relation with complex
ion. and we shall now consider the grouping of
color with color In costume nothing is more
common than to see tints employed together
which are discOrdant: for example, purple and
green. Now. be the dress or bonnet ever so
well made, and the wcarer ever so beautiful,
the effect of such ignorance will be unpleasant
in the extreme. Every color has its perfect
harmony, which is called its contrast, and also
other colors which harmOnize with it in differ
ent degrees When two colors are associated
which do not accord, the addition of third
may make a harmonious group. The same rule
holds good with three OF more colors. In the
grouping of colors, two kinds of harmony are
acknowledged, namely, the harmony Of contrast
aud the harmony Of analogy. When two colors
which are Gissimilar are associated agreeably,
such as blue and orange, or lilac and cherry, they
form q harmony Of contrast. And when two dis
tant tones of one color are associated, such as
light and very dark blue, they harmonize by
contrast And in the latter instance, the
harmony is neither so striking nor so perfect.
When two colors are grouped which are SINH
lar to each other in disposition, such as orange
and scarlet, crimson and crimsOn-brOwn
orange and Orange-brown they form a harmony
of analogy. And if two or more tones of one
color be associated, closely approximating in
intensity, they harmonize by analogy. The
harmOnies of contrast are more effective al
oh pnt M thOSa 0f
Ogy; the former are characterized by brilliancy
and decision while the latter are peculiar for
their quiet retiring, and undemOnstrative
nature. In affairs of dress both hold equal
positions; and in arranging cCOrs in costumes.
care must be taken to adopt the proper species
of harmony. The simplest rules to be OBJ
served are the following: First when a color
is selected which is favorable to the complex
ion, it is advisable to associate with it tints
which will harmoniZe by analogy because the
adoption OF contrasting colOrs would diminish its
favorable effect. Second, when a color is en-
plOyed in dress which is injurious to the COM
plexion, contrasting colors must be associated
with it, as they have the power to neutralize
its Objectionable influence.
We will take an example illustrative of the
first rule: Green suits the blonde, and, when
worn by her, its associated colors should be
tones of itself Slightly lighter or darker),
which will rather enhance than reduce its
effect. As an example of the second rule, we
may take violet, which, although unsuitable to
brunettes, may be rendered agreeable by having
tones of yellow or orange grouped with it.
COlOrs of similar power which contrast with
each other, mutually intensity each others
brilliancy, as blue and scarlet, scarlet and
green. When dark and very light cOlOrs are
associated, they do not intensity each other in
the same manner; the dark color is made to
appear deeper, and the light to appear lighter.
as dark blue and straw-color, or any dark color
and the light tints of the complexion. Colors
which harmonic with each other by analogy
reduce each others brilliancy to greater or
less degree; as white and yellow, blue and
purple, black and brown. In dress it is objec-
tiOnable to associate together different hues OF
one color; for instance, yellow-green and
blue-green, or Orange-brOwn and purple-brown.
Care must therefore be taken in selecting diff
ferent tones of color to see that they belong
to the same scale.
1t is important to remember that tints which
accord by daylight may appear unharmonious
by artificial light, and Uace rerSG; thus, purple
and orange harmonize by day, but are disa-
greeable by gaslight; and white and yellow,
which are unsatisfactory by daylight are suit
able for evening dress. There many color5
which lose much of their briliancy and hue
by gaslight, and are, therefore, unserviceable
for evening costume; of this class we may
enumerate all the shades of purple and lilac,
and dark blues and greens. Others gain
brilliancy in artificial light as orange, scarlet.
crimson, and the light browns and green's. 1t
is advisable that all these circumstances be
considered in the selection of morning and
evening costumes.
OUR LITTLE FOLKS.
Baby.
Where did you come from, Baby dear?
Out of the everywhere into here.
Where did you get those eyes so blue?
Out of the sky as | came through
What makes the light in them sparkle and spin?
Some of the starry spikes left in.
Where did you get that little tear?
found it waiting when got here.
What makes your forehead so smooth and high?
soft hand stroked it as l went by.
What makes your cheek like a warm white rose?
saw something better than any one knows.
Whence that hree-cornered smile of bliss?
Three angels gave me at once kiss.
Where did you get this pearly ear?
God spoke and it came out to hear.
Where did you get those arms and hands?
Love made itself into bonds and bands
Feet whence did you come you darling things?
From the same box as the cherubs wings.
How did they all just come to be you?
God thought about me and so i am here.
But how did you come to us, you dear?
God thought about you, and so l am here.
George Macdonald.
OJTp TETTER-ROy