Balfe's setting can be played to sound like a naive love song, but its dissonances, unexpected harmonies, and constantly shifting tonal centers subtly undercut the speaker's sense of certainty and sanity, as does the text itself, making the song, like the poem, both participate in and disrupt the sentimental tradition.
Somervell's version subtly avoids cadences and incorporates minor keys to convey the speaker's insanity from within the prison of his own mind.
(See CMYK color model.) Traditionally, it was viewed as a primary subtractive colour, along with yellow and blue, in the RYB color space and traditional color wheel formerly used by painters and artists.
While multiple different versions exist, dating from the year of the poem's publication to 1900, two of them have been particularly influential: Balfe's parlor song setting "Come into the Garden, Maud" (1857) and Somervell's song cycle Maud (1898).Light tan was often used on painted Greek amphorae and vases, either as a background for black figures, or the reverse.The Ancient Greeks and Romans produced a fine reddish-brown ink, of a color called sepia, made from the ink of a variety of cuttlefish.This ink was used by Leonardo da Vinci, Raphael and other artists during the Renaissance, and by artists up until the present time.In Ancient Rome, brown clothing was associated with the lower classes or barbarians.