Shaded Chromatic Theory

from the surviving notes of Vietr the Forgetful

The Chromatic Theory

That there is, for any individual, one personal or 'soul' colour,
That this colour is constant and can be determined independently by two or more practitioners,
That this colour, used in specific ways, has measurable (beneficial) psychological and other effects

Interpretation

No research is known to have been done into the non-human quarters implied by "any individual". In these days of off-world contact, perhaps it will even be possible to test the theory against alien species.

The "practitioners" referred to were probably those of the magical arts. This term is now more commonly taken to mean anyone familiar with, and qualified to carry out the measurement process.

Many object particuarly to the use of the term "soul", which is at best oblique. Some prefer the phrase "true colour".

Application of the theory

Research has barely scratched the topsoil in finding where a child's true colour can be used beneficially in its development.

In magic-able subjects:

Clothes in the true colour tend to have a harmonious effect, particularly while learning. This applies to any subject, not just magical arts. Study rooms painted in the colour (or a lighter hue) also conducive to better learning.

For ritualists, working robes in the true colour are known to aid in difficult procedures.

Visual magical manifestations¹ are commonly seen to be coloured (believed natural and unconscious) as the true colour.
¹ ed.note: "visual manifestation" typically = light, flame, trails or sparks, as in spell effects or magelights

White, greys and black are neutrals, not valid colours. They are used to counterbalance the true colour, and these together can even produce better results than the colour on its own.

The true colour is frequently, though not usually, linked to eye colour. More research is needed to confirm whether tendency towards a particular true colour runs within a family in a similar way to eye colour. Psychological generalisations have been made concerning the different colours, and whole systems similar to astrological profiling have been proposed, although no evidence has been shown to support any such conclusions. Some ice-blues may indeed be "intellectual, calculating, powerfully magical, creative, courtly", but many are undoubtedly not.

Though the theory is not widely accepted or even known, adherents have included many distinguished witches, experimental magicians and child-rearers; not least the late Lady of Applestone, whose treatise on the subject, unfinished by the occasion of her death, is unfortunately believed lost.

History of the theory

Possibly traditional. Origins are unknown. Unreliably claimed to have been the invention of a particular coven of kitchen witches in Brahnya; reported names vary. Formalised as a theory by Gery Illumin in his/her² seminal, encyclopaedic work Nature's Laws and Wonders. Gery is thus responsible for the wording of this form.
² ed.note: surprisingly for Vietr, not a fact-checking omission; reports on Gery's gender conflict, unresolved to this day

Theory has only lately come back into fashion amongst a minority.

Commentary

There is little doubt that colour, be it of paint, cloth or light, has a definite effect on the human brain. It is equally certain that such effects remain largely undocumented and not at all understood by the modern

[ed.note: pages from here on appear to refer to a different topic altogether; Vietr was not in the habit of showing consideration for his biographers by binding his notes or including page numbers]

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