The Ohio Democrat. (Logan, O. [Ohio]) 1886-1906, 1888-03-10
LANGUAGE OF ooLoRs.
ideas and Sentiments which Arc Expressed
by Different Hues.

q
by Different Bues.
Tho three primary colors. red, blue
and yellow, are the base of the lam
guago, and the secondary lines, from
the blending of which tho most COM
plicated aud delicate tints are derived,
correspond to the grammatical roots
Of spoken tongues.
Red is warm color. Its type Is
found in the rainbow or prismatic
spectrum and the common wild poppy.
1t is indicative of jubilation, victory
and ardent love. BY the law of oppo-
sites, that is to say, on the old principle
that extremes meet, ii Is the emblem
of bloodshed and revenge.
In medinval art, blue was eminently
symbolical. Azure was typical of i'm
mortality. and it became the custom to
cover the collins of children with blue
cloth. The ceiling of churches were
painted blue and powdered with stars,
to represent the canopy of heaven over
the faithful. This color was used in
draperies by the old masters to typify
modesty and the Virgin Mary is found
in their works clothed in u blue mantle.
In heroic shields blue stood for chastity,
loyalty and good rcputc. From this
last Specification, doubtless, the term
'bluc blood" took its rise.
Love, constancy and wisdom are the
attributes of yellow This tint is found
in all its winsome purity in the COM
mon buttercup of the pastures. In
China, yellow is emblamatic of faith.
On the other hand, yellow stands for
treason and jealousy. In Spain, the
garb of the public executioner is red and
yellow. and symbolizes the vengeance
of the law and the infamy of the crimi-
nal. In the olden time the French were
accustomed to daub the lintels of
traitors house with yellow paint, and
in commemoration of Christ's betrayal.
Jews were obliged in many countries
to wear garments of the same color.
Judas. in the illuminated missals of the
middle ages, was always pictured in
yellow raiment.
The secondary colors are equally
pregnant with significance. Brown,
ever since the most remote period, has
been the sign of woe. The dun robes
of certain religious orders are eloquent
of remuneration and penitence Green.
among all nations, is considered en-
blcmatc of the joy of spring and the
promise of harvest. With the Greeks
it betokened victory. The standards
of Mahomet's armies were green. The
color is still held sacred by the fol-
lowers of Islam, and none but the bona
tide descendants of Allah's prophet
may indulge in the luxury of q green
turban.
The blended hue of red and yellow,
namely, orange, has been the symbol
Of indissoluble marriage from time inn
memorial. The wife of the priest Of
Jupiter wore an orange veil and her
divorce was prohibited. The color
thus became felicitous omen. Virgil
arrays Helen of Troy in u saffron
bridal veil, and the wreath of orange
blossoms on the head of the modern
belle is survival of the tradition.
Black, the negation of color, has a
universal significance of grief and
mourning. In sacred paintings it
often looms up on the canvas as the
shadow of evil. White. on the con-
trary, is the hue of innocence and
virginal purity. The priests of an
tiquity wore white vestments, and, un-
consciously, mother dresses her new
born babe in clothing of the same
spotless hue. White horses were
sacrificed to the sun by the Egyptian
priests. Y Press.