Chapter

 1 I  |           There is no artificial color. The~{p. 2}~plain wood1
 2 II | sentiment,~{p. 32}~allusion, and color. But to understand the compositions
 3 III|         an illusion of light and color and noise made just to deceive,
 4 III|    images, ideographs, dashes of color, fragments of melody; countless
 5 III|       Artistic sense of line and color suffices for any transformation.
 6 V  |          of the intense charm of color in Japanese prints; but
 7 V  |         full significance of its color I did not know: much that
 8 V  |       larger law. Or look at his color studies of sunsets and sunrises:
 9 V  |    dominant laws of contrast and color, for the general character
10 V  |          natural law in form and color, the perception of natural
11 VII|   burning sky-blue, - a tropical color that makes the profession
12 VII|         p. 140}~is wool, and the color usually light brown or grey.
13 VII|    almost inexplicable caress of color. To illustrate Mr. Morse'
14 VII|        particularly in regard to color. The rules of color in the
15 VII|    regard to color. The rules of color in the composition of a
16 VII|       exacting than the rules of color in the matter of dress, -
17 IX |          sensations of light and color; - other vibrations, acting
18 IX |       tremulosities of light and color; always and everywhere grouped
19 XI |        music, - the delusions of color and form, - the delusions