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Updated: June 29, 2025
Boone; Richard here is studying the color in flowers. He has a theory that eclipses Goethe's 'Farbenlehre." "Oh, indeed!" Wesley was quite unconscious of what Goethe's doctrine of colors might be, so he prudently avoided urging fuller particulars regarding Dick's theory, and said, vaguely; "You have color enough here to theorize on, I'm sure."
For the way in which Ruskin in his Modern Painters speaks of the effect of the modern scientific concept of colours upon the ethical-religious feeling of man, shows that he deplores the lack of just what Goethe had long since achieved in his Farbenlehre where, starting with purely physical observations, he had been able to develop from them a 'physical-moral' theory of colour.
During the war in the Champagne, and amid all the bustle of the camp, he made observations for his theory of color; and as soon as the numberless calamities of that war allowed of his retiring for a short time to the fortress of Luxembourg, he took up the manuscript of his Farbenlehre.
In the section of his Farbenlehre dealing with 'physiological colours', Goethe devotes by far the most space to the so-called 'afterimages' which appear in the eye as the result of stimulation by external light, and persist for some little time. To create such an afterimage in a simple way, one need only gaze at a brightly lit window and then at a faintly lit wall of the room.
Goethe's constant endeavour was not to become the victim of this blindness that is, not to be led by day-time experience to forget the night-side of human life. The passage quoted from the Introduction to his Farbenlehre shows how, in all that he strove for, he kept this goal in view.
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