Fig. 3.
Fig. 4.
Figs. 3. and 4. Here the spectator will find, as he recedes or turns down the light, that all the monochrome figures, even the dimmest, can be seen further, or in a less illumination, than the two normally and brightly patterned ones. These latter fade first. They show how contrasted juxtaposed color-notes destroy each other, so that, contrary to the current theories. monochrome is far better both for revealing the wearer, and also for proclaiming his identity amidst the innumerable details of wild places.
