He desired colors whose expressiveness would be displayed in the artificial light of lamps.  To him it mattered not at all if they were lifeless or crude in daylight, for it was at night that he lived, feeling more completely alone then, feeling that only under the protective covering of darkness did the mind grow really animated and active.  He also experienced a peculiar pleasure in being in a richly illuminated room, the only patch of light amid the shadow-haunted, sleeping houses.  This was a form of enjoyment in which perhaps entered an element of vanity, that peculiar pleasure known to late workers when, drawing aside the window curtains, they perceive that everything about them is extinguished, silent, dead.

Slowly, one by one, he selected the colors.

Blue inclines to a false green by candle light:  if it is dark, like cobalt or indigo, it turns black; if it is bright, it turns grey; if it is soft, like turquoise, it grows feeble and faded.

There could be no question of making it the dominant note of a room unless it were blended with some other color.

Iron grey always frowns and is heavy; pearl grey loses its blue and changes to a muddy white; brown is lifeless and cold; as for deep green, such as emperor or myrtle, it has the same properties as blue and merges into black.  There remained, then, the paler greens, such as peacock, cinnabar or lacquer, but the light banishes their blues and brings out their yellows in tones that have a false and undecided quality.

No need to waste thought on the salmon, the maize and rose colors whose feminine associations oppose all ideas of isolation!  No need to consider the violet which is completely neutralized at night; only the red in it holds its ground—­and what a red! a viscous red like the lees of wine.  Besides, it seemed useless to employ this color, for by using a certain amount of santonin, he could get an effect of violet on his hangings.

These colors disposed of, only three remained:  red, orange, yellow.

Of these, he preferred orange, thus by his own example confirming the truth of a theory which he declared had almost mathematical correctness—­the theory that a harmony exists between the sensual nature of a truly artistic individual and the color which most vividly impresses him.

Disregarding entirely the generality of men whose gross retinas are capable of perceiving neither the cadence peculiar to each color nor the mysterious charm of their nuances of light and shade; ignoring the bourgeoisie, whose eyes are insensible to the pomp and splendor of strong, vibrant tones; and devoting himself only to people with sensitive pupils, refined by literature and art, he was convinced that the eyes of those among them who dream of the ideal and demand illusions are generally caressed by blue and its derivatives, mauve, lilac and pearl grey, provided always that these colors remain soft and do not overstep the bounds where they lose their personalities by being transformed into pure violets and frank greys.