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Goethe's Theory of Colours

Name: Goethe's Theory of Colours
Author: Johann Wolfgang von Goethe

Johann Wolfgang von Goethe; trans. Charles Lock Eastlake

Read by Lynne T, Nathan Rosquist and Dylan Campbell · LibriVox · public domain · Archive.org recording · License · Translated by Charles Lock Eastlake

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Chapters

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01 - Translator's Preface and Preface to the First Edition (29:03)
02 - Introduction (16:13)
03 - Part I - Physiological Colours Section 1 - Effects of Light and Dark on the Eye (5:12)
04 - Section II - Effects of Black and White Objects on the Eye (13:34)
05 - Section III - Grey Surfaces and Objects; Section IV - Dazzling Colourless Objects (9:19)
06 - Section V - Coloured Objects (13:38)
07 - Section VI - Coloured Shadows (12:43)
08 - Section VII - Faint Lights; Section VIII - Subjective Halos (8:54)
09 - Pathological Colours - Appendix (14:15)
10 - Part 2 - Physical Colours - Section IX - Diotropical Colours (6:19)
11 - Section X - Diotropical Colours of the First Class (18:54)
12 - Section XI - Diotropical Colours of the Second Class - Refraction (8:10)
13 - Subjective Experiments - Section XII - Refraction Without the Appearance of Colour; Section XIII - Conditions of the Appearance of Colour (7:13)
14 - Section XIV - Conditions Under Which the Appearance of Colour Increases (5:22)
15 - Section XV - Explanation of the Foregoing Phenomena (12:00)
16 - Section XVI - Decrease of the Appearance of Colour; Section XVII - Grey Objects Displaced by Refraction (6:53)
17 - Section XVIII - Coloured Objects Displaced by Refraction (19:50)
18 - Section XIX - Achromatism and Hyperchromatism; Section XX - Advantages of Subjective Experiments. - Transition to the Objective (11:02)
19 - Objective Experiments - Section XXI - Refraction Without the Appearance of Colour; Section XXII - Conditions of the Appearance of Colour (9:01)
20 - Section XXIII - Conditions of the Increase of Colour; Section XXIV - Explanation of the Foregoing Phenomena (8:26)
21 - Section XXV - Decrease of the Appearance of Colour; Section XXVI - Grey Objects ; Section XXVII - Coloured Objects; Section XXVIII - Achromatism and Hyperchromatism (11:16)
22 - Section XXIX - Combination of Subjective and Objective Experiments; Section XXX - Transition (8:23)
23 - Section XXXI - Catatropical Colours (11:10)
24 - Section XXXII - Paroptical Colours (17:22)
25 - Section XXXIII - Epoptical Colours (29:59)
26 - Part III - Chemical Colours - Section XXXIV - Chemical Contrast (3:25)
27 - Section XXXV - White; Section XXXVI - Black; Section XXXVII - First Excitation of Colour (10:22)
28 - Section XXXVIII - Augmentation of Colour; Section XXXIX - Culmination; Section XL - Fluctuation; Section XLI - Passage Through the Whole Scale (9:25)
29 - Section XLII - Inversion; Section XLIII - Fixation; Section XLIV - Intermixture, Real; Section XLV - Intermixture, Apparent (10:58)
30 - Section XLVI - Communication, Actual; Section XLVII - Communication, Apparent (8:25)
31 - Section XLVIII - Extraction; Section XLIX - Nomenclature (12:41)
32 - Section L - Minerals; Section LI - Plants (9:45)
33 - Section LII - Worms, Insects, Fishes; Section LIII - Birds (12:31)
34 - Section LIV - Mammalia and Human Beings (15:32)
35 - Section LV - Physical and Chemical Effects of the Transmission of Light Through Coloured Mediums; Section LVI - Chemical Effect in Dioptrical Achromatism; (7:58)
36 - Part IV - General Characteristics (18:09)
37 - Part V - Relation to Other Pursuits (30:04)
38 - Part VI - Effect of Colour With Reference to Moral Associations; Yellow; Red-Yellow; Yellow-Red; Blue; Red-Blue; Red; Green (18:15)
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 Derived from the Evidence of Experience and History (19:19)
40 - Aesthetic Influence; Chiaro-Scuro; Tendency to Colour; Keeping; Colour in General Nature; Characteristic Colouring (14:47)
41 - Harmonious Colouring; Genuine Tone; False Tone; Weak Colouring; The Motley; Dread of Theory; Ultimate Aim; Grounds; Pigments (13:10)
42 - Allegorical, Symbolic, Mystical Application of Color; Concluding Observations (8:55)

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