rkness from those attributes which have been
acquired through associations. Possibly light and color have no innate
powers but merely appear to have because the acquired attributes have
been so thoroughly established through usage and common consent. Space
does not permit a discussion of this point, but the chief aim is
consummated if the existence of an expressiveness and impressiveness of
light is established. There are many other symbolisms of color and light
which have arisen in various ways but it is far beyond the scope of this
book to discuss them.

Psychological investigations reveal many interesting facts pertaining to
the influence of light and color upon mankind. When choosing color for
color's sake alone, that is, divorced from any associations of usage,
mankind prefers the pure colors to the tints and shades. It is
interesting to note that this is in accord with the preference
exhibited by uncivilized beings in their use of colors for decorating
themselves and their surroundings. Civilized mankind chooses tints and
shades predominantly to live with, that is, for the decoration of his
surroundings. However, civilized man and the savage appear to have the
same fundamental preference for pure colors and apparently culture and
refinement are responsible for their difference in choice of colors to
live with. This is an interesting discovery and it has its applications
in lighting, especially in spectacular and stage-lighting.

It appears to be further established that when civilized man chooses
color for color's sake alone he not only prefers the pure colors but
among these he prefers those near the ends of the spectrum, such as red
and blue. Red is favored by women, with blue a close second, but the
reverse is true for men. It is also thoroughly established that red,
orange, and yellow exert an exciting influence; yellow-green, green, and
blue-green, a tranquilizing influence, and blue and violet a subduing
influence upon mankind. All these results were obtained with colors
divorced from surroundings and actual usage. In the use of light and
color the laws of harmony and esthetics must be obeyed, but the
sensibility of the lighting artist is a satisfactory guide. Harmonies
are of many varieties, but they may be generally grouped into two
classes, those of analogy and those of contrast. The former includes
colors closely associated in hue and the latter includes complementary
colors. No rules in simplified form