Theory of Colours

Chapters

1. 1 Translator's Preface and Preface to the First EditionLynne T 29:04
2. 2 IntroductionNathan Rosquist 16:11
3. 3 Part I - Physiological Colours Section 1 - Effects of Light and Dark on the EyeDylan Campbell 5:12
4. 4 Section II - Effects of Black and White Objects on the EyeNathan Rosquist 13:32
5. 5 Section III - Grey Surfaces and Objects; Section IV - Dazzling Colourless ObjectsDeborah Balm 9:19
6. 6 Section V - Coloured ObjectsDeborah Balm 13:39
7. 7 Section VI - Coloured ShadowsDeborah Balm 12:43
8. 8 Section VII - Faint Lights; Section VIII - Subjective HalosKieren Metts 8:55
9. 9 Pathological Colours - AppendixKieren Metts 14:15
10. 10 Part 2 - Physical Colours - Section IX - Diotropical Coloursplayonwords 6:19
11. 11 Section X - Diotropical Colours of the First Classplayonwords 18:55
12. 12 Section XI - Diotropical Colours of the Second Class - RefractionGillian Hendrie 8:10
13. 13 Subjective Experiments - Section XII - Refraction Without the Appearance of Colour; Section XIII - Conditions of the Appearance of ColourGillian Hendrie 7:13
14. 14 Section XIV - Conditions Under Which the Appearance of Colour IncreasesLynne T 5:23
15. 15 Section XV - Explanation of the Foregoing PhenomenaMichelle Tan 12:01
16. 16 Section XVI - Decrease of the Appearance of Colour; Section XVII - Grey Objects Displaced by RefractionLynne T 6:53
17. 17 Section XVIII - Coloured Objects Displaced by RefractionGillian Hendrie 19:50
18. 18 Section XIX - Achromatism and Hyperchromatism; Section XX - Advantages of Subjective Experiments. - Transition to the ObjectiveDrPGould 11:02
19. 19 Objective Experiments - Section XXI - Refraction Without the Appearance of Colour; Section XXII - Conditions of the Appearance of ColourDrPGould 9:02
20. 20 Section XXIII - Conditions of the Increase of Colour; Section XXIV - Explanation of the Foregoing PhenomenaDrPGould 8:27
21. 21 Section XXV - Decrease of the Appearance of Colour; Section XXVI - Grey Objects ; Section XXVII - Coloured Objects; Section XXVIII - Achromatism and HyperchromatismKatarina Petric 11:14
22. 22 Section XXIX - Combination of Subjective and Objective Experiments; Section XXX - TransitionSimona Rusu 8:24
23. 23 Section XXXI - Catatropical ColoursSimona Rusu 11:11
24. 24 Section XXXII - Paroptical ColoursSimona Rusu 17:22
25. 25 Section XXXIII - Epoptical ColoursSimona Rusu 29:59
26. 26 Part III - Chemical Colours - Section XXXIV - Chemical Contrastjcrosbie 3:25
27. 27 Section XXXV - White; Section XXXVI - Black; Section XXXVII - First Excitation of Colourjcrosbie 10:23
28. 28 Section XXXVIII - Augmentation of Colour; Section XXXIX - Culmination; Section XL - Fluctuation; Section XLI - Passage Through the Whole ScaleToddHW 9:25
29. 29 Section XLII - Inversion; Section XLIII - Fixation; Section XLIV - Intermixture, Real; Section XLV - Intermixture, ApparentToddHW 10:59
30. 30 Section XLVI - Communication, Actual; Section XLVII - Communication, ApparentToddHW 8:26
31. 31 Section XLVIII - Extraction; Section XLIX - NomenclatureSuzie 12:41
32. 32 Section L - Minerals; Section LI - PlantsChris Gray 9:45
33. 33 Section LII - Worms, Insects, Fishes; Section LIII - BirdsGillian Hendrie 12:31
34. 34 Section LIV - Mammalia and Human Beingsjenno 15:32
35. 35 Section LV - Physical and Chemical Effects of the Transmission of Light Through Coloured Mediums; Section LVI - Chemical Effect in Dioptrical Achromatism;Chris Gray 7:59
36. 36 Part IV - General Characteristicsbrianna 18:10
37. 37 Part V - Relation to Other PursuitsLynne T 30:04
38. 38 Part VI - Effect of Colour With Reference to Moral Associations; Yellow; Red-Yellow; Yellow-Red; Blue; Red-Blue; Red; GreenAvaille 18:15
39. 39 Completeness and Harmony; Yellow and Blue; Yellow and Red; Blue and Red; Yellow-Red and Blue-Red; Combinations Non-Characteristic; Relations of the Combinations to Light and Dark; Considerations…Availle 19:20
40. 40 Aesthetic Influence; Chiaro-Scuro; Tendency to Colour; Keeping; Colour in General Nature; Characteristic ColouringAvaille 14:47
41. 41 Harmonious Colouring; Genuine Tone; False Tone; Weak Colouring; The Motley; Dread of Theory; Ultimate Aim; Grounds; PigmentsAvaille 13:10
42. 42 Allegorical, Symbolic, Mystical Application of Color; Concluding ObservationsAvaille 8:56