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The House in Good Taste
·
Elsie De Wolfe
43
VI
THE
EFFECTIVE
USE
OF
COLOR
What
a
joyous
thing
is
color!
How
influenced
we
all
are
by
it,
even
if
we
are
unconscious
of
how
our
sense
of
restfulness
has
been
brought
about.
Certain
colors
are
antagonistic
to
each
of
us,
and
I
think
we
should
try
to
learn
just
what
colors
are
most
sympathetic
to
our
own
individual
emotions,
and
then
make
the
best
of
them.
If
you
are
inclined
to
a
hasty
temper,
for
instance,
you
should
not
live
in
a
room
in
which
the
prevailing
note
is
red.
On
the
other
hand,
a
timid,
delicate
nature
could
often
gain
courage
and
poise
by
living
in
surroundings
of
rich
red
tones,
the
tones
of
the
old
Italian
damasks
in
which
the
primitive
colors
of
the
Middle
Ages
have
been
handed
down
to
us.
No
half
shades,
no
blending
of
tender
tones
are
needed
in
an
age
of
iron
nerves.
People
worked
hard,
and
they
got
downright
blues
and
reds
and
greens--primitive
colors,
all.
Nowadays,
we
must
consider
the
effect
of
color
on
our
nerves,
our
eyes,
our
moods,
everything.
Love
of
color
is
an
emotional
matter,
just
as
much
as
love
of
music.
The
strongest,
the
most
intense,
feeling
I
have
about
decoration
is
my
love
of
color.
I
have
felt
as
intimate
a
satisfaction
at
St.
Mark's
at
twilight
as
I
ever
felt
at
any
opera,
though
I
love
music.
Color!
The
very
word
would
suggest
warm
and
agreeable
arrangement
of
tones,
a
pleasing
and
encouraging
atmosphere
which
is
full
of
life.
We
say
that
one
woman
is
"so
full
of
color,"
when
she
is
alert
and
happy
and
vividly
alive.
We
say
another
woman
is
"colorless,"
because
she
is
bleak
and
chilling
and
unfriendly.
We
demand
that
certain
music
shall
be
full
of
color,
and
we
always
seek
color
in
the
pages
of
our
favorite
books.
One
poet
has
color
and
to
spare,
another
is
cynical
and
hard
and--gray.
We
think
and
criticize
from
the
standpoint
of
an
appreciation
of
color,
although
often
we
have
not
that
appreciation.
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