Newton"s insistence on bending the rainbow to accommodate a redundant seventh colour, indigo, to sit alongside blue, merely to ensure that there were as many colours as there are the planets in the heavens and notes on the musical scale, is often raised as proof that he shaped what his eyes actually saw to fit an airy ideal. The century between his eventual publication of Opticks: A Treatise of the Reflexions, Refractions, Inflections and Colours of Light – in which Newton formally presents his ideas – and Gartside"s and Goethe"s volumes on colour theory in the first decade of the 18th Century, would witness a flurry of publications by writers and artists keen to reconcile Newton"s clinical notions of colour with the practicalities of actually mixing pigments on a palette.

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