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The final color was inspired by studies undertaken by Morrow in cooperation with other architects, engineers, painters, sculptors, and others. Morrow also included black, grey, and aluminum in the studies, ruling each out for a range of reasons. Black would be unattractive and would reduce the scale of the bridge more than any other color. Proponents for the aluminum color reported that this color would give beauty as the beauty of a dirigible aircraft. Morrow rejected it as the towers would be deprived of substance and made tiny. Battleship grey and warm grey were studied. Warm grey was named as the distant second to orange vermillion.

Under the current regulation, Soldiers are only authorized to dye, tint, or bleach their hair. The color of their hair must also be uniform and not detract from their professional appearance. Unauthorized pigments include, but are not limited to, purple, blue, pink, green, orange, bright red, and fluorescent or neon colors.

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According to the updated policy, extreme colors and nail shapes, such as a coffin, ballerina, and stiletto nails, are prohibited while in uniform or on duty in civilian clothes. Unauthorized pigments include, but are not limited to, purple, blue, pink, green, orange, bright red, and fluorescent or neon colors.

The New York Knicks were sporting bright orange uniforms when they took the floor against the Los Angeles Lakers at the Staples Center on Christmas. The Knicks' orange-orange combo contrasted sharply with the Lakers' all-white Christmas kit. Both uniforms are part of Adidas' attempt to use the NBA's 5-game Christmas schedule to move some product. You may remember both these uniforms from that "Carol of the Bells" commercial that was released a few weeks ago.

So far this season, through five games, Tennessee has worn four different uniform combinations. Tennessee is undefeated in their traditional look of an orange jersey with white pants, which was worn against Bowling Green and Tennessee Tech. In the second week, during the Johnny Majors Classic in Knoxville, Tennessee wore their all-orange uniform combination in a loss.

With Plato things were comparatively simple, even though somewhat mysterious. The formulation of the theory is not lengthy. Yet for most students Plato's transcendent beauty remains obscure and remote. The problem is to connect Plato's Form of Beauty with the familiar beauties found in ordinary experience. Plato's concentration on abstract beauties steers one away from the most familiar experiences of beauty, which being familiar should fall within our powers of analysis. One is pushed beyond these commonplace experiences in a pell mell ascent toward the mysterious, lofty ideal, the experience of which could hardly help being hard to analyze precisely because in that experience our mental powers are extended to, perhaps beyond, their very limits.

[12. Actually Hutcheson cares quite a bit, as the sequel will show. The sense of beauty theory depends on the distinction. 13. Curiously, color-blindness was not well known in Hutcheson's day. So he probably overestimates the uniformity of color-perception.in his treatise. 14. Note this reference to better/worse environmental circumstances for making color-discriminations. It is one of the very few such references in his treatise. 15. Note the analogy here with variable sensory capacity. Extreme cases of sensory impairment are colorblindness, deafness, absence of olfaction, etc.]

III. The figures which excite in us the idea of beauty seem to be those in which there is uniformity amidst variety. There are many conceptions of objects which are agreeable upon other accounts, such as grandeur, novelty, sanctity, and some others, which shall be mentioned hereafter. But what we call beautiful in objects, to speak in the mathematical style (23), seems to be in compound ratio of uniformity and variety; so that where the uniformity of bodies is equal, the beauty is as the variety; and where the variety is equal, the beauty is as the uniformity.(24) This will be plain from examples.

[23. "Mathematical style" is somewhat misleading, since many sorts of uniformity and variety cannot be quantitatively measured. Perhaps none can. 24. In Euclid a compound ratio is the product of two ratios with a middle term in common: e.g. 1:2 and 2:3 "compound" to 1:3. Thus the areas of two equiangular parallograms are said to be in a compound ratio of the length of their sides. If the short sides are 1:2 and the long sides are 2:8 then the areas are 1:8. But since neither uniformity nor variety by itself is a ratio, this cannot be Hutcheson's meaning. Judging by his explanation and examples, the compound ratio of U and V boils down to (a) U and V being independent merits and (b) the only merits, so that the overall ranking of any two things that are equal in one of them will be determined by how much of the other they have. Note that this leaves unanswered the question of whether uniformity and variety are equal merits, or whether there is some other optimum ratio or balance producing the greatest beauty.

First, the variety increases the beauty in equal uniformity. The beauty of an equilateral triangle is less than that of the square, which is less than that of a pentagon, and this again is surpassed by the hexagon. When indeed the number of sides is much increased, the proportion of them to the radius or diameter of the figure (or circle to which regular polygons have an obvious relation), is so much lost to our observation, that the beauty does not always increase with the number of sides (25), and the want of parallelism in the sides of heptapons, and other figures of odd numbers, may also diminish their beauty. So in solids, the eicosiedron surpasses the dodecaedron, and this the octaedron, which is still more beautiful than the cube, and this again surpasses the regular pyramid. The obvious ground of this is greater variety with equal uniformity.

The greater uniformity increases the beauty amidst equal variety in these instances: an equilateral triangle, or even an isosceles, surpasses the scalenum; a square surpasses the rhombus or lozenge, and this again the rhomboides, which is still more beautiful than the trapezium, or any figure with irregular curved sides. So the regular solids vastly surpass all other solids of equal number of plane surfaces. (26) And the same is observable not only in the five perfectly regular solids, but in all those which have any considerable uniformity, as cylinders, prisms, pyramids, obelisks, which please every eye more than any rude figures, where there is no unity or resemblance among the parts.

Instances of the compound ratio we have in comparing circles or spheres with ellipses or spheriods not very eccentric, and in comparing the compound solids, the exoctaedron and eicosidodecaedron, with the perfectly regular ones of which they are compounded; and we shall find that the want of that most perfect uniformity observable in the latter is compensated by the greater varied in the others, so that the beauty is nearly equal.

Hutcheson goes on at considerable length illustrating his principle of uniformity and variety in relation to the solar system and the animal and plant kingdom, in physical phenomena such as the behavior of fluids, in the relation of overtones to musical harmony, and so forth. From this he proceeds to the beauty of abstract truths in mathematics, which state a uniform principle governing an infinitely numerous variety of specific truths. All these count as cases of original or absolute (non-comparative) beauty.

If there is a sense of beauty analogous to color vision then there must be a way to distinguish its truthful perceptions from erroneous ones (beauty-illusions). Hutcheson is aware that skeptics claim taste is determined solely by social conditioning, "by custom, education, and example". Here his strategy is to concede that our preferences are partly determined by social factors, producing effects in the mind which are often mistaken for the pristine deliverance of the sense of beauty. For example, religious persons may be partial to a "dim, religious light" because it is connected with ideas of divine presence; while atheists may dislike that ambience because of the association. In both cases, says Hutcheson, "their approbations, or distastes, are remote from ideas of beauty, being plainly different ideas." (Section 6, para. 1) Or people may be variously pleased or displeased by music which they associate with different emotions because of the different lyrics, In such cases "it is no wonder "that they should disagree in their fancies of objects, even though their sense of beauty and harmony were perfectly uniform."' Or one person may respond mostly to a scene's grandeur or novelty, whereas another may respond only to its beauty, and a difference of preference result without the sense of beauty itself varying. In all cases there is thus either error or else a misunderstanding between the disputants as to what is being referred to.

Custom (27)...may make it easier for any person to discern the use of a complex machine and approve it as advantageous; but he would never have imagined it beautiful had he no natural sense of beauty. Custom may make us quicker in apprehending the truth of complex theorems, but we all find the pleasure or beauty of theorems as strong at first as ever. Custom makes us more capable of retaining and comparing complex ideas, so as to discern more complicated uniformity which escapes the observation of novices in any art; but all this presupposes a natural sense of beauty in uniformit . For had there been nothing in forms which was constituted the necessary occasion of pleasure to our senses, no repetition of indifferent ideas as to pleasure or pain, beauty or deformity, could ever have made them grow pleasing or displeasing. 006ab0faaa