We have now said enough on the subject of the odoriferous flowers; in relation to which, luxury not only glories in having vanquished Nature in the composition of unguents, but has even gone so far as to challenge, in her fabrics, those flowers which are more particularly recommended by the beauty of their tints. I remark that the following are the three principal[1] colours; the red, that of the kermes[2] for instance, which, beginning in the tints of the rose, reflects, when viewed[3] sideways and held up to the light, the shades that are found in the Tyrian purple,[4] and the colours of the dibapha[5] and Laconian cloths: the amethystine colour, which is borrowed from the violet, and to which, bordering as it does on the purple, we have given the name of "ianthinum"[6]—it must, however, be remembered, that we here give a general name to a colour which is subdivided into numerous tints[7]—and a third, properly known as the "conchyliated" colour, but which comprehends a variety of shades, such, for instance, as the tints of the heliotropium, and others of a deeper colour, the hues of the mallow, inclining to a full purple, and the colours of the late[8] violet; this last being the most vivid, in fact, of all the conchyliated tints. The rival colours being now set side by side, Nature and luxury may enter the lists, to vie for the mastery.

I find it stated that, in the most ancient times, yellow was held in the highest esteem, but was reserved exclusively for the nuptial veils[9] of females; for which reason it is perhaps that we do not find it included among the principal colours, those being used in common by males and females: indeed, it is the circumstance of their being used by both sexes in common that gives them their rank as principal colours.