Much is yet to be learned in regard to color. Men have understood its correspondence sufficiently to associate red and cruelty as its lowest expression, so that the men of the bloody French Revolution received an undying name from the red cap of the Carmagnole costume--and yellow with shame, for a ruff of this color on the neck of a woman hanged drove this fashion out of England--and white with purity, as the ermine of the judge shows; although, thousands of years ago, the men of Tartary and Thibet prized the wool of the Crimean sheep stained of a peculiar gray by its feeding upon the _centarina myriocephala_, and although modern gardeners deepen the hues of plants by feeding them judiciously, yet few attach the requisite importance to color as history. Writers for the most part pass silently by this great aid to a correct understanding of past events. Color in costume is no less essential to a true description or representation than form; in some instances it is more so.

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