Page:A color notation (Munsell).djvu/15



Writing from Samoa on Oct. 8, 1892, to Sidney Colvin in London, Stevenson says: “Perhaps in the same way it might amuse you to send us any pattern of wall paper that might strike you as cheap, pretty and suitable for a room in a hot and extremely bright climate. It should be borne in mind that our climate can be extremely dark too. Our sitting room is to be in varnished wood. The room I have particularly in mind is a sort of bed and sitting room, pretty large, lit on three sides, and the colour in favour of its proprietor at present is a topazy yellow. But then with what colour to relieve it? For a little work-room of my own at the back, I should rather like to see some patterns of unglossy—well, I’ll be hanged if I can describe this red—it’s not Turkish and it’s not Roman and it’s not Indian, but it seems to partake of the two last, and yet it can’t be either of them because it ought to be able to go with vermilion. Ah, what a tangled web we weave—anyway, with what brains you have left choose me and send me some—many—patterns of this exact shade.”

(1) Where could be found a more delightful cry for some rational way to describe color? He wants “a topazy yellow” and a red that is not Turkish nor Roman nor Indian, but that “seems to partake of the two last, and yet it can’t be either of them.” As a cap to the climax comes his demand for “patterns of this exact shade.” Thus one of the clearest and most forceful writers of