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+The Project Gutenberg EBook of Color Value, by C. R. Clifford
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Color Value
+
+Author: C. R. Clifford
+
+Release Date: April 11, 2008 [EBook #25042]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COLOR VALUE ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Anne Storer and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+Transcriber's Note: (TN: --) in text = comments added by Transcriber.
+
+
+       *       *       *       *       *
+
+
+
+
+               Color Value
+
+           _By_ C. R. CLIFFORD
+
+    _Published by_ CLIFFORD & LAWTON
+       373 Fourth Avenue, New York
+
+
+
+
+           Copyrighted, 1907
+         By Clifford & Lawton
+
+            Fourth Edition
+
+   GROLIER CRAFT PRESS, INC., N. Y.
+
+
+
+
+FUNDAMENTAL CONDITIONS
+
+LIGHT, COLOR, FORM, PROPORTION
+AND DIMENSIONS
+
+
+Whatever is good in interior decoration is the result of consistent
+relationship between Light, Color, Form, Proportion and Dimensions. The
+choice of Color should be guided by the conditions of Light. The beauty
+of Form and the symmetry of Proportion can exist only by a balance with
+Dimensions.
+
+Therefore, apart from any knowledge of historic or period decoration,
+effective or successful work must observe the technical laws governing
+conditions.
+
+
+#LIGHT#
+
+1. The white light of the sun is compounded of an almost innumerable
+number of color elements, as shown by the phenomena of the rainbow or by
+experimenting with the prism. (See ¶ 7.) When a ray of sunshine passes
+through a glass prism it is decomposed or separated, and if the
+prismatic colors are received upon a white screen you will find on the
+spectrum among the colors generated a pure blue, a pure red and a pure
+yellow. These are the primary colors, and it is necessary when thinking
+color to bear these prismatic colors in mind as standards.
+
+2. Color is an internal sensation originating in the excitation of the
+optic nerve by a wave action which we call light.
+
+3. The theory of light, the wave theory, is based upon the assumption
+that throughout all space there is an infinitely thin medium called
+ether. Scientists differ as to what this may be, but its movements
+constitute light, a reflection from a luminous body.
+
+4. Everything which we see is visible because it either emits light,
+like a flame, or reflects light.
+
+5. A piece of black cloth upon a white plate reflects but a small
+proportion of the light. The plate reflects a large proportion. A piece
+of black velvet reflects less light than black cloth and gives the
+effect of absolute blackness, or an empty and dark space.
+
+6. In practical demonstrations the study of color will be confusing
+unless it is understood at the outstart that pure prismatic colors can
+seldom be found in manufactured pigments, hence any demonstration of the
+theory of color composition is usually unsatisfactory.
+
+7. The theory which brings out of a ray of sunshine the disunited
+prismatic colors carries with it the deduction that before separation
+these colors constitute white light; but it must be manifest to even the
+superficial reader that such colors are mere spectrum colors--vision
+colors--and any amalgamation of material or pigment colors, so far from
+producing white, produces almost black.
+
+8. The theory that red and yellow make orange, and that a red and blue
+make violet, is correct; but if one attempts to demonstrate the theory
+with pigments, one is confronted not only by the lack of standard
+manufactured colors but by impurities, adulterations and chemical
+reaction in the pigments. The adulteration may not be perceptible in one
+primary color, but it is manifest when that color is brought into action
+with another primary, for it is seldom that a pure secondary results.
+
+
+#COLOR NOMENCLATURE--HARMONIES#
+
+9. Color nomenclature includes primary, secondary and tertiary colors,
+and innumerable hues, shades and tints. All these colors bear relations
+to one another, either relations of analogy, or relations of contrast.
+(See ¶ 18 and ¶ 19.)
+
+The Circle Diagram I shows the manner in which the various colors are
+formed. (See also Diagram III.)
+
+ [Illustration: DIAGRAM I]
+
+The third circle shows how slate, citrine and russet are made. For
+instance, slate is one part of violet and one part of green. Hence, a
+tertiary color is made of equal parts of two secondaries.
+
+The outer circle, buff, sage and plum, can be analyzed in the same way.
+
+This Diagram I is arranged to show not only component parts of a color,
+but the parts that properly harmonize.
+
+
+#CONTRASTS#
+
+10. In music it is an established fact that certain notes used in
+pleasing combination produce sounds we call harmonies. The moment that
+more than one note is struck, there is danger of discord, and when ten
+notes resound to the touch of the player, they must be the right notes,
+or they jar upon the sensibilities. In the use of color the same
+immutable law applies.
+
+11. In Circle Diagram II the letters RV mean reddish violet, being a
+violet having more red than blue in its composition. BV means bluish
+violet, being a violet having more blue than red in its composition. BG
+means bluish green, being a green having more blue than yellow in its
+composition. YG means yellow green, being a green having more yellow
+than blue in its composition. YO means yellowish orange, being an orange
+having more yellow than red in its composition. RO means reddish orange,
+being an orange having more red than yellow in its composition. Thus we
+may advance from red to yellow by graduations almost imperceptible, by
+the addition of yellow, to a reddish orange, and so on gradually to
+orange, continuing on to yellowish orange, finally revealing pure
+yellow.
+
+ [Illustration: DIAGRAM II]
+
+12. The contrasting color at any stage may be determined by proceeding
+in a direct line across the circle: Red has for its contrasting color
+green; hence, reddish orange would have for its contrasting color a
+bluish green, for the simple reason that if red contrasts with green
+and orange contrasts with blue, the color between the red and the orange
+would contrast with the color between the green and the blue. Let us
+determine the contrasting color for crimson. Crimson is simply a red
+slightly tinged with blue. If red contrasts with green, a shade a little
+to the left of red slightly tinged with blue would contrast with a shade
+a little to the right of green slightly tinged with yellow. In other
+words, crimson, RV, would contrast with yellowish green, YG. Determine
+at what point of the circle any color that you have in mind will come,
+and the contrasting color would be immediately opposite.
+
+ [Illustration: DIAGRAM III]
+
+13. The harmony of analogy consists of the harmony of related colors or
+tones of one color. (See ¶ 17.)
+
+14. The harmony of contrast consists of colors in no way related. As an
+example of the harmony of analogy, we would mention red and orange,
+because both of these colors have ingredients in common, red being one
+of the two component parts of orange. As an example of the harmony of
+contrast, we suggest red and green, because there is nothing in common
+between the two, red being a primary color, and green a secondary,
+composed of the other two primaries, yellow and blue. (See ¶ 17.)
+
+15. Green is called the complement of red. The complement of blue
+would be orange, because orange is formed by combining the remaining
+primaries, red and yellow; and the complement of yellow would be violet,
+because violet is composed of blue and red, the other primaries.
+
+16. In Diagram II we have arranged at opposite points the primaries 1,
+the secondaries 2, the tertiaries 3, the quaternaries 4.
+
+But Diagram III goes further into the subject.
+
+It is easy to understand the composition of secondaries, but it is not
+so easy to know the tertiaries and quaternaries. (See also Diagram I.)
+
+
+#CONTRAST ANALOGIES#
+
+17. Diagram III is of the utmost value to the colorist, illustrating not
+only the composition of color, but showing the origin of each secondary
+from the two primaries, the origin of each tertiary from two
+secondaries, and of each quaternary from two tertiaries. It shows by
+groupings the harmonies of analogy or related colors; also the harmonies
+of contrast: By moving on the board one color on one line to another
+color upon another line, like the moving of a knight in a game of chess,
+and confining the moves always to adjoining lines, like yellow to
+violet, violet to citrine, citrine to plum, plum to brown. Yellow and
+violet are true contrasts, the one color having nothing in common with
+the other. The citrine and the plum, however, are approximate contrasts.
+For greater convenience, we have numbered the contrasting colors A's and
+B's. Absolute contrast is where the two colors have nothing in common.
+For composition purposes, however, citrine and violet may be considered
+contrasts, or correctly speaking, contrast analogies. (See ¶ 19.)
+
+18. A harmony of contrast means the utilization of a primary color with
+its complementary, or a color in conjunction with another color in no
+degree related: a primary with a secondary. But when we soften these
+contrasting colors by the addition of white we have in the lighter tints
+a scale of chroma that is a form of analogy.
+
+19. All combinations of secondary and tertiary colors, while apparently
+harmonies of contrast (the tertiary being made by the composition of two
+secondaries), constitute, in fact, contrast analogies, because by
+analysis we find that all tertiaries possess color components occurring
+in the apparently contrasting secondaries. (See Diagram III.)
+
+20. The harmony of contrast, literally, can only occur in the pure
+primary colors juxtaposed to the pure secondary colors, for in no case
+does the color formed by the combination of the two primaries have
+anything in common with the third primary; while a tertiary composed of
+two secondaries invariably has qualities possessed by the third
+secondary.
+
+21. In a room which is small or dark, the light tints in harmonies of
+analogy are advisable.
+
+
+#PROPORTIONS#
+
+22. In the use of one color with another of contrasting character the
+question frequently arises, what proportion of each should be used to
+obtain the best effect? Illustrative color books show usually samples of
+color of the same size, leading one unconsciously to the error that
+contrasting colors should occupy the same surface dimensions.
+
+23. In every room there must be a prevailing or dominant color, and the
+use of a contrasting color must be limited to proportions which give
+simply a pleasing emphasis. Let us assume that a room has a deep frieze
+pronouncedly green. To treat the rest of the wall in red of a direct
+contrast would be ineffective.
+
+24. If a rule can be applied we would say that no strong normal color
+should be used in large surfaces. If we were dealing with pigments we
+would say that if one-sixth of a side-wall is devoted to a frieze in
+green, the balance of the wall space should be treated with the same
+amount of red, mixed with the same amount of gray.
+
+25. For a room that is small and well lighted the fresh tints are not
+as desirable as the gray shades or tertiaries in conjunction with
+secondaries.
+
+
+#COLOR IN LARGE OR SMALL ROOMS#
+
+26. For a large room well lighted, yellow, red and orange in delicate
+shades are not as desirable as orange, violet and russet in light
+shades. This rule, however, may be reversed for a large room that is
+dimly lighted.
+
+A superabundance of light gives an uncomfortable glare.
+
+27. One may mechanically obtain harmony of analogy in proper proportions
+for the treatment of a room or a design by following the guidance of
+Diagram I. It will be noted in this diagram that the inner circle is
+blue, red and yellow, the primary colors.
+
+The second circle is composed of the secondaries; the third circle, the
+tertiaries, and the outer circle, the quaternaries.
+
+There is a nice distinction in the combination of primaries for the
+formation of secondaries, and exact proportions are quite necessary.
+
+An orange, for instance, would be off shade if it did not consist of
+half red and half yellow, but in the making of the quaternaries, which
+are, at best, gray shades, exact proportions are not necessary.
+
+Nevertheless, in Diagram I we have observed exact proportions in order
+to make our demonstration clear.
+
+The harmony of analogy is the combination of colors related, but the
+relationship must be displayed in proportions consistent with the origin
+of each and every color used.
+
+Let us assume that the prevailing note in a room, in either the
+side-wall or floor, is sage.
+
+ [Illustration: DIAGRAM IA]
+
+We can tell by drawing lines from the center of Diagram I to the
+extremities of the space marked sage that there is a little blue and a
+little yellow, some green and slate and citrine used in the composition
+of sage, and hence the use of these colors constitutes the harmony of
+relationship or analogy.
+
+
+#COLOR PROPORTIONS#
+
+28. But to arrive at proportions we must reduce the circular table to a
+geometrical table. We must straighten out the lines so that the exact
+proportions are apparent. We need not confuse the reader by mathematics,
+but to establish our theory we produce the Diagram IA, and it will be
+here seen that the relative proportions existing in the segments of the
+circles have been observed in the triangles.
+
+Thus we have thirty-two right-angled triangles.
+
+Sage occupies fourteen-thirty-seconds of the entire composition; slate
+occupies five-thirty-seconds; citrine, five-thirty-seconds; green,
+six-thirty-seconds; blue, one-thirty-second; yellow, one-thirty-second;
+and these colors, to observe the proper harmony of analogy in a room,
+should be used in the proportions above indicated.
+
+Sage should be in the preponderance; citrine and slate should occupy
+nearly one-sixth of the entire composition, green about one-fifth, and
+the whole should be picked out with touches of sharp blue and sharp
+yellow, representing each one-thirty-second.
+
+Let us take, for instance, a room that is in white woodwork, and apply
+the sage to the walls and the slate to the floor, and lighten the sage
+with citrine and lighten the slate with violet, and intersperse orange
+and green in a way permitted by the proportions at our command. When the
+work is completed we find a harmony of analogy which can be then
+relieved by touches of the primitive colors, blue and yellow, in the
+proportions shown.
+
+29. Good examples of contrast color effects may be found in the
+following series of combinations:
+
+PROPORTIONS OF COLOR ANALYSIS FROM
+ASSYRIAN TILES.
+
+           Example No. 1.
+
+ Blue-Green               60
+ Greenish-Yellow           8
+ Orange                    6
+ Purple-Brown              6
+ White                    20
+                         ---
+                         100
+
+               No. 2.
+
+ Blue                     35
+ Yellow                   30
+ White                    15
+ Dull Red                 10
+ Black                    10
+                         ---
+                         100
+
+               No. 3.
+
+ Blue                     60
+ Deep Yellow              20
+ Light Yellow             10
+ White                    10
+                         ---
+                         100
+
+               No. 4.
+
+ Pale Yellow              34
+ Green                    27
+ Blue                     25
+ Red                       6
+ Gold                      4
+ Black                     2
+ White                     2
+                         ---
+                         100
+
+               No. 5.
+
+ Black                    63
+ Yellow                   17
+ Green                     9
+ Red                       4
+ Light Red                 3
+ Blue                      3
+ White                     1
+                         ---
+                         100
+
+               No. 6.
+
+ Green                    36
+ Blue-Green               24
+ Yellow                   14
+ Red                      11
+ White                    10
+ Dull Red                  3
+ Black                     2
+                         ---
+                         100
+
+               No. 7.
+
+ Green                    36
+ Blue-Green               24
+ Yellow                   14
+ Red                      11
+ White                    10
+ Dull Red                  3
+ Black                     2
+                         ---
+                         100
+
+
+#BLACK--WHITE--GRAY#
+
+30. We do not wish to be understood as stating that the work of the
+colorist is solely mechanical; but we would emphasize that the
+influences of color are very largely the result of studied proportions.
+The basis upon which one operates must be soundly constructed upon the
+theory of scale, and scale is mechanically determined. If red is
+lightened by the addition of white, or darkened by the addition of
+black, it is removed to another scale, and can only harmonize by
+contrast with its complement by adding to green the same amount of white
+or black that has changed the character of the red, and this should be
+mathematically accurate.
+
+31. To place white by the side of a color heightens or intensifies the
+tone of that color. To put black beside a color has the opposite effect.
+It weakens the color. Every woman looks better in white, hence white is
+the universal wedding gown, the universal party dress for children, and,
+wherever practical, the universal Summer dress for adults as well. White
+is worn universally by men and women next to the face, in collars or in
+neckwear, and the reason for it is that the contiguous white intensifies
+whatever color they may possess. Black, on the other hand, lessens the
+color or lowers its tone.
+
+32. Gray is a medium between the two. While it renders an adjacent color
+less brilliant, it takes to itself at the same time a tint that is a
+complement of that adjacent color. In other words, gray by the side of
+green appears faintly pinkish.
+
+33. Black is always desirable as an associate with luminous colors.
+Black does not associate as well with two colors, one of which is
+luminous and the other sombre, as when associated with two luminous
+colors.
+
+    ORANGE     YELLOW     YELLOW
+    BLACK      BLACK      BLACK
+    RED        ORANGE     RED
+
+    YELLOW     GREEN      ORANGE
+    BLACK      BLACK      BLACK
+    VIOLET     YELLOW     GREEN
+
+    _The green being yellowish and the violet reddish._
+
+White is preferable when associated with a luminous and a sombre color.
+Thus,
+
+    RED          ORANGE       RED       YELLOW
+    WHITE        WHITE        WHITE     WHITE
+    BLUE         BLUE         VIOLET    BLUE
+
+    ORANGE       GREEN        GREEN     YELLOW
+    WHITE        WHITE        WHITE     WHITE
+    VIOLET       BLUE         VIOLET    VIOLET
+
+    _The violet being bluish, the green yellowish._
+
+
+#ROOM COMBINATIONS#
+
+34. The harmony of analogy is a subject that is little understood. It
+may be color sequence, progression, development or succession.
+
+ [Illustration: Showing Four-Color Combinations.
+ DIAGRAM IV and DIAGRAM V]
+
+ [Illustration: #SEQUENCE OF HARMONIES#
+ DIAGRAM VI
+ As these twenty-one sections are arranged, one has the layout for a
+ suite of seven rooms; following the top line across in a light scale,
+ the harmony is complete; following the center line across in a normal,
+ the harmony is complete; so also with the bottom line in a lower scale.
+ Follow the colors diagonally and you find they are repeats, or very
+ close to repeats--red, russet, red, for instance; violet, violet,
+ violet; blue, slate, blue; green, green, green; yellow, citrine, yellow;
+ orange, orange, orange. To the colorist the combinations here suggested
+ are full of inspiration.]
+
+Thus we may combine red, green and blue by starting with crimson and
+maintaining the following sequence: Crimson, red, scarlet, orange,
+yellow, greenish yellow, green, bluish green, blue, violet, and with
+added red get back to crimson.
+
+A room or a series of rooms may run to all colors and be still a harmony
+of analogy if the sequence or succession is gradual.
+
+35. No more delightful harmonies can be imagined than those provided by
+nature. One may start with the brown of the earth and run into several
+shades of green, and from that touch upon yellow, and from yellow to
+orange, and from orange to red, and red to violet, and violet to the
+blue of the sky. Or one may follow the colorings and the proportion of
+colorings in flora and never go astray. (See ¶ 22.)
+
+36. In the application of color to the home nothing is more pleasing
+than the harmony of sequence; the coloring of all rooms must be in
+sympathy with contiguous rooms. (Diagram VII.) (See ¶ 34.)
+
+37. All rooms are subject to the influence of a north or a south light,
+or much or little light, and the colorings must be considered
+accordingly. The ceiling and the upper parts of a wall require more pale
+colors where more light is needed. On the floor, however, where the
+greatest light falls, a little black may be added to soften the tone.
+
+38. Red and green are sharply contrasting colors; violet and yellow and
+blue and orange sharply contrast, and while their combinations may be
+used in adjoining rooms, it will be seen that in Diagram IV these
+contrasting tones are not in contact, but by their arrangement form
+analogies of contrast combinations.
+
+39. Yellow, orange, red, violet, blue and green are related; orange,
+russet, violet, slate, green and citrine are related; red, violet, blue,
+green, yellow and orange are related. Viewing the ceilings, the
+side-walls or the floor, there is the harmony of progression that we
+observe in the tinting of a flower. Viewed collectively the harmony is
+the same.
+
+40. To illustrate further our point we would take the ceiling line. We
+start with yellow, a primary color; orange possesses yellow; orange
+likewise possesses red, the adjoining color; violet possesses red, and
+it likewise possesses blue. On the side-wall, russet possesses orange,
+and it also possesses violet; it is the tertiary color made of these two
+secondaries. Slate is made of green and violet, and is thus also related
+to citrine.
+
+We do not wish it understood that these colors are to be applied flat,
+but simply in the predominating expression. (See ¶ 27.)
+
+41. The value of the diagram is obvious when one considers that in no
+particular is there a break in the sequence; but if we wish a harmony of
+analogy in a room, or a harmony of related parts, and wish the adjoining
+room to be in absolute contrast, we simply adopt the red, violet and
+blue for one room, and the green, citrine and orange for another; or the
+orange, russet and violet for one room, and the blue, green and yellow
+for the other. If, however, the sequence of color is desirable where we
+move from one apartment to another, and the eye is pleased by a gradual
+changing color, we can adopt any of these combinations in the order as
+presented.
+
+42. A vital point in the use of color, regarded usually with
+indifference or totally misunderstood, is the Unity of Composition to be
+preserved in the treatment of a series of _floors_ in a house; for on
+each floor of a house the conditions of light vary. As we ascend the
+stairs we find each floor requires an altered treatment, because of the
+added light given from the skylight. (See ¶ 37.) Moreover, in the
+arrangement of a floor the relation of one room to another is frequently
+so influential that no one room should be treated without due
+consideration to the adjacent apartment. (See Diagram VIII.)
+
+Too frequently the whole question of color is dismissed when the matter
+of north or south exposure is discovered, but the north room on the
+lower floor of a house is by no means so well lighted as the north room
+of the fourth or fifth floor, and the scale of color which would lend
+warmth to such a room would be weak in a more exposed apartment.
+(See ¶ 30.)
+
+43. Where the artist has but one room to consider there is little scope
+for his application of color knowledge. He must frequently compromise to
+meet the conditions. But presuming that he must treat a floor
+through, he should adopt a Unity which will apply harmoniously to all
+the rooms and hallways.
+
+ [Illustration: DIAGRAM VII]
+
+ [Illustration: DIAGRAM VIII]
+
+ [Illustration: DIAGRAM IX For Key to Numbers see Diagram VII.]
+
+
+#CONTIGUOUS HARMONIES#
+
+44. For the lower floor he must arrange his colors so that while they
+moderate the direct glare of a sunny exposure or brighten the
+cheerlessness of a north light, they will also form a composition that
+pleases when seen from a point of common observation.
+
+45. On the upper floors the scale of color should be gradually softened,
+for the yellow or ivory tints that are pleasing on the first floor would
+be harsh and glaring where there is greater light. Exterior conditions
+must be borne always in mind.
+
+46. Recalling that the primary colors are yellow, red and blue, and that
+the secondary colors are orange, violet and green, and that the tertiary
+colors are russet, slate and citrine, all with many tints and shades,
+let us arrange a series of five rooms seriatim, so treating ceiling,
+side-wall and floor (See Diagram IX) that in passing from one room to
+another they will be in sequence of color harmony--each complete from
+floor to ceiling and all in harmony along the ceiling lines, the wall
+lines and the floor lines.
+
+Let us take the suite of rooms suggested in Diagram IX. We must consider
+desirable colorings in all of the rooms to be treated, and so far as
+possible adjust the sequence of treatments, as shown in Diagram VIII, so
+that the approach to each room will be in harmonious order as viewed
+from any room. We have five rooms to treat. The library happens to be
+on the north side, hence we wish to treat it in colorings that supply
+the deficiency of sunshine. The hallway is rather dark. The living-room
+has only one window, and requires more warmth of color than the
+billiard-room and dining-room, which being sunshiny can be treated in
+more sombre tones. Therefore we select combination 6 for the hallway.
+The one room on the right we treat in No. 1. The rooms on the left we
+treat in Nos. 5, 4 and 3. We have, therefore, as we stand in room No. 6,
+treated in green, citrine and orange, a view to the right of yellow,
+orange and red, which is in harmonious juxtaposition. To the left we
+have a glimpse of rooms, the floors of which adjoining the orange floor
+of the entrance hall, are yellow, green and blue. The wall spaces
+adjoining the citrine wall space of the hall treatment are green, slate
+and violet. The frieze lines adjoining the green of the hall treatment
+are blue, violet and red--all juxtaposed harmonies. The floors of all
+rooms are of one deep scale; the walls lighter scale; the friezes and
+ceiling still lighter. If viewed from room 4 the harmonies are equally
+effective.
+
+47. Diagram VII is useful for many reasons. In its present shape it
+shows the harmonies of analogy or related parts. To arrange harmonies of
+contrast, combine the colors of the first room with the fourth room, the
+colors of the second room with the fifth room, the colors of the third
+room with the sixth room. (See ¶ 37.)
+
+
+#HARMONIES FOR THE ROOM#
+
+48. The floor should usually enter into the color scheme as the low
+note in the scale. It is the background for the furniture, and should be
+deeper than the dado or wainscoting. The wood trims--baseboard, doors,
+plate-rails, and everything of that character, except the picture
+molding--should be like the woodwork of the furniture. This brings the
+woodwork into contrast with the wainscoting (unless the wainscoting be
+wood) and into harmony with the side-walls, although the degree of
+harmony is far removed. Thus, if the woodwork of the furniture is
+mahogany, the wainscoting green, the side-walls pink and gray, we would
+find the window trims of mahogany, or imitation mahogany, in harmony
+with the side-walls. (See ¶ 51 and ¶ 52.)
+
+49. I would lay down the rule that the wood trims of a room should
+harmonize by analogy with the side-walls where such walls are provided
+with a contrasting wainscoting; but if there is no wainscoting, or the
+wainscoting be also of wood, then the wood trims and furniture contrast
+with the side-wall.
+
+Substitute green side-wall for the pink, ¶ 48.
+
+White woodwork is always permissible. Study Diagram VI on page 22.
+
+50. The picture molding may harmonize with the ceiling. Indeed, a white
+picture molding frequently is better than one matching the general
+woodwork (See ¶ 37); a dark upper molding, moreover, reduces the
+apparent size of a room.
+
+51. Where black furniture is used, or gold furniture, it will of course
+be understood that the wood trims shall not be black or gold; but so
+long as they are in harmony, that will be sufficient. White wood trims
+are nearly always permissible as a substitute for colored wood.
+
+52. Tones of gray with soft colorings (See ¶ 32), are always safe.
+
+To summarize (Note ¶ 37):
+
+53. In harmonies of contrast the side-walls, the furniture woodwork,
+wood trimming, cove, ceiling and the curtains should be related.
+
+54. The rugs, frieze, wainscoting or dado, furniture upholsterings and
+the curtain borders should be related. (See ¶ 49.)
+
+55. If the curtains have no borders, then the curtains contrast with the
+wood trims.
+
+56. Remember always cove and ceiling should be the palest tint of the
+side-wall color, and the rug should be of the deepest contrast to the
+side-wall, in harmony with the wainscoting, if there is a wainscoting.
+Remember, also, that the colors here prescribed are never to be of the
+same scale. The rug or carpet is of the deepest, and the ceiling of the
+palest. While certain colors are to contrast, they are not to contrast
+in the same scale. (See ¶ 37 and ¶ 40.)
+
+57. If we find that the tone of color of the wainscoting, for instance,
+is a bluish green, the side-wall should be of a reddish orange; for the
+reason that if green contrasts with red, and if blue contrasts with
+orange, a bluish green would contrast with a reddish orange.
+
+58. Exception to ¶ 56. Only large or well-proportioned rooms can stand
+the diminishing or reduction effects of contrast. In low ceiling rooms,
+leave out the contrasting frieze, and let border, cornice and ceiling be
+in receding colors. (See ¶ 89.)
+
+59. We all know that a northern exposure gives a room a deficiency of
+sunlight, and the wall treatment should supply this. A southern room, on
+the other hand, gives so much sunlight that counteracting wall
+treatments in cold color are permissible.
+
+60. In the color treatment of a room one has either to adopt a harmony
+of analogy or a harmony of contrast, and this is a matter which depends
+upon so many conditions that it should be carefully considered.
+(See ¶ 88 and ¶ 89.) Where a plate-rail is used one must remember that a
+great deal of color may be furnished by the bric-à-brac, and that the wall
+behind this plate-rail should be of a color in contrast to the contents
+of the plate-rail.
+
+61. When we follow a scheme of _contrast_ the borders should be usually
+complements, and if the reader has studied our diagram he will very
+readily understand how to determine the exact complementary color.
+
+
+#WALL PROPORTIONS#
+
+62. The wainscoting or dado should be the same as the top border or
+frieze, but of a darker tone. The intermixture of white or black is
+always permissible; thus a paper as a side-wall might have as its
+frieze the complementary coloring with more white, while the wainscoting
+or dado should be the complementary with black added.
+
+63. The cornice should be lighter than the border, and its members may
+show several tints, with the ceiling lighter still. (See ¶ 92.)
+
+64. As a rule the color of the chair coverings should be the
+complementary of the side-walls, and the color of the furniture frames
+should be complementary to the wainscoting; so by following this rule we
+find that the wainscoting serves as a contrasting background to the
+chair frame.
+
+65. Let us imagine a room wherein the side-walls are of a reddish tint;
+the wainscoting, being a complementary color, is of a greenish cast. The
+furniture is of mahogany, and in contrast to the wainscoting, while the
+chair covering, being greenish in contrast to the chair frame, is also
+in contrast to the side-wall. Here we have, then, the color relations of
+side-wall, wainscoting, furniture-frames and covering; but it is
+undesirable that these tones should be in the same scale. (See ¶ 62 and
+¶ 92, also tables pages 42 and 43.)
+
+      {         {         { _Furniture_: Large pieces, preserving broken
+      {         {         {   heights.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rules of proportion.
+      {         { HIGH    { _Color_: Subdued contrasts of somber tones
+      {         { CEILING {   picked out in contrasts of gold, red
+      {         {         {   and orange. Masses of luminous color are
+      {         {         {   permissible in well-lighted rooms. Borders,
+      {         {         {   friezes, dadoes and wainscotings may be
+      {         {         {   used, and a bordered carpet or large rug
+      { WELL    {         {   in the low tone of the color scheme.
+      { LIGHTED {
+      {         {         { _Furniture_: Avoid high pieces, excepting as
+      {         {         {   relief to the use of many low pieces.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rule of proportion,
+      {         { LOW     {   using perpendicular stripes to give height
+      {         { CEILING {   effect on wall; avoid friezes, wainscoting,
+      {         {         {   dadoes. Carpet borders may be safely used.
+      {         {         { _Color_: Subdued contrast of somber tones
+      {         {         {   picked out in bright effects; luminous
+      {         {         {   masses permissible.
+ LARGE{
+ ROOM {         {         { _Furniture_: Large pieces, preserving broken
+      {         {         {   heights.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rules of proportion.
+      {         { HIGH    { _Color_: Softly luminous, soft orange, yellow,
+      {         { CEILING {   green, sunshiny colors to give artificial
+      {         {         {   light, picked out  with contrasting color.
+      {         {         {   Border, frieze and wainscoting may be used,
+      {         {         {   also carpet or large rugs in the low tone
+      { POORLY  {         {   of the color scheme.
+      { LIGHTED {
+      {         {         { _Furniture_: Low pieces relieved by some high
+      {         {         {   pieces.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rule of proportion,
+      {         { LOW     {   using perpendicular stripes to give wall
+      {         { CEILING {   height; avoid friezes, wainscoting or
+      {         {         {   dado; carpet borders may be safely used
+      {         {         {   in the low tone of the color scheme.
+      {         {         { _Color_: Softly luminous, soft orange, yellow,
+      {         {         {   green, sunshiny colors to give artificial
+      {         {         {   light, picked out with contrasting color.
+
+      {         {         { _Furniture_: Small pieces, relieved by small
+      {         {         {   high pieces.
+      {         {         { _Designs_: Small, proportionate to the size
+      {         {         {   of the room.
+      {         { HIGH    { _Color_: Use harmonies of analogy or related
+      {         { CEILING {   parts and of a receding character, blue
+      {         {         {   or gray green, gray predominating; avoid
+      {         {         {   orange or red, excepting in the
+      { WELL    {         {   bric-à-brac. Small rugs. Horizontal
+      { LIGHTED {         {   effects on walls.
+      {         {         {
+      {         {         { _Furniture_: Low pieces relieved by small high
+      {         {         {   pieces.
+      {         {         { _Designs_: Small on draperies and furniture
+      {         { LOW     {   coverings; use perpendicular stripes to
+      {         { CEILING {   give height effect on wall; avoid deep
+      {         {         {   friezes, wainscoting, dado or borders.
+      {         {         { _Color_: Use harmonies of analogy or related
+      {         {         {   parts, of greens or blues, grays
+      {         {         {   predominating; avoid luminous colors--yellow,
+      {         {         {   orange or red, excepting in the
+      {         {         {   bric-à-brac. Small rugs.
+ SMALL{
+ ROOM {         {         { _Furniture_: Small pieces, relieved by small
+      {         {         {   high pieces.
+      {         {         { _Designs_: Small on wall and fabrics.
+      {         {         {   Horizontal effects.
+      {         { HIGH    { _Color_: White in the woodwork gives artificial
+      {         { CEILING {   light; use pale gray colors on wall,
+      {         {         {   slightly tinted green or yellow, faintly
+      {         {         {   relieved by red or orange--the stronger
+      {         {         {   colors only for the bric-à-brac. For the
+      {         {         {   floor avoid bordered carpets; use small
+      {         {         {   rugs.
+      { POORLY  {
+      { LIGHTED {         { _Furniture_: Low pieces.
+      {         {         { _Designs_: Follow the rule of proportions,
+      {         {         {   with perpendicular stripes on wall, to
+      {         {         {   give height effect. Avoid borders on
+      {         { LOW     {   wall; use small rugs on floor.
+      {         { CEILING { _Color_: A preponderance of white in woodwork
+      {         {         {   and fresh gray on wall with a touch of
+      {         {         {   yellow and green in soft tones.
+      {         {         {   Contrasting colors only in bric-à-brac
+      {         {         {   and small details.
+
+
+#ROOM PROPORTIONS#
+
+66. In small rooms harmonies of contrast are unsafe, because contrasts
+must involve advancing colors, which make a room look smaller. (See ¶ 86
+and ¶ 90.) Harmonies of analogy are far better; and as frieze,
+wainscoting and dado are not recommended in the small room, we suggest
+that the furniture woodwork and the wood trims should be of one color
+note, unless it is desired that the wood trims should be white; and that
+the side-walls, curtains and chair upholsterings should be of a note in
+some degree related and of receding color, picked out with just a touch
+of contrasting color. (See ¶ 90 and ¶ 91.)
+
+This contrasting color may be introduced in the accessories, the
+pictures, bric-à-brac, flowers (natural or artificial) or books.
+
+ [Illustration: "... pronounced patterns must balance," etc.
+ (See page 38.)]
+
+
+ [Illustration: Broken heights. (See ¶ 75.)]
+
+#DECORATIVE PROPORTIONS#
+
+(SEE CHART)
+
+On the preceding pages we present a quick-reference chart of rules that
+should be followed in furnishing rooms under various conditions of Light
+and Proportion.
+
+    67. A large room with high ceiling and well lighted.
+    68. A large room with low ceiling and well lighted.
+    69. A large room with high ceiling and poorly lighted.
+    70. A large room with low ceiling and poorly lighted.
+    71. A small room with high ceiling and well lighted.
+    72. A small room with low ceiling and well lighted.
+    73. A small room with high ceiling and poorly lighted.
+    74. A small room with low ceiling and poorly lighted.
+
+There are two considerations to bear uppermost in mind: Proportions
+affected by Color and Proportions affected by Design.
+
+75. It is easily understood that a large room may be safely furnished
+with large pieces of furniture, but where there is a wide expanse of
+floor space care must be exercised to secure broken heights: In a
+high-ceilinged room the furniture must not be all high; in a
+low-ceilinged room the furniture must not be all low.
+
+Avoid straight line effects in the furniture heights and in the
+wall-paper, which, if in pronounced patterns, must balance in
+conspicuous wall members and show the broken junctures or bad matchings
+in inconspicuous or obscure corners.
+
+
+#COLORS THAT GIVE SIZE TO A ROOM#
+
+76. The wall and fabric designs must be of a size proportionate to the
+size of the room. The color treatment of a well-lighted room must be
+subdued to offset the glare of the natural illumination, and the natural
+illumination be subdued to soften the color treatment; glare must be
+avoided.
+
+77. Advancing colors are colors which contain red or yellow in the
+ascendancy; _receding_ colors are those which contain blue in the
+ascendancy. Green in its purity, being half yellow and half blue, is
+almost neutral. In the same way violet, being made up of half red and
+half blue, is theoretically neutral, although the blue tone is usually
+more assertive than the red and makes the color recede. Any color or hue
+possesses advancing or receding qualities according to the ascendancy of
+red, blue or yellow in its composition.
+
+78. Orange is an advancing color; so also is violet in the shades
+approaching red; green in the shades approaching yellow.
+
+79. Of the tertiary colors russet is an advancing color, because while
+it contains some blue in the violet of its composition, it contains a
+preponderance of red and orange.
+
+
+#ADVANCING AND RECEDING COLORS#
+
+80. Citrine is an advancing color, because while it contains some blue
+in the green of its composition, it contains a preponderance of yellow
+and orange; slate is a receding color, because while it contains some
+yellow in the green of its composition, it contains a preponderance of
+blue; in the same way plum may be regarded as an advancing color,
+because of its preponderance of red; buff is an advancing color, because
+of its preponderance of yellow; sage is a receding color, because of its
+preponderance of blue.
+
+81. The carpet should always be in the low tone, and in a small room a
+bordered carpet should be always tabooed. So also should one avoid the
+use of one rug so placed that a border of woodwork shows around it,
+because this gives the border effect and makes a small floor space look
+still smaller. Better use small rugs. The use of a lot of narrow rugs
+lengthwise along a narrow room will make the room look all the narrower,
+but the same rugs placed crosswise would make a room look wider.
+
+The diagrams which we have prepared will give even the man who
+understands it all a quicker grasp of the points involved.
+
+82. Width effect and distance effect are obtained best by arranging the
+smaller pieces at the farthest points.
+
+83. It is the same with pictures. While a room should be balanced, and
+the pictures placed in a manner to give this result, it is best, where
+possible, to keep the larger pictures, larger effects, always near the
+eye. The crowding of large pieces at the farthest point diminishes the
+apparent size of the room.
+
+
+#FLOOR TREATMENTS#
+
+ [Illustration]
+
+84. Continuous design in ceiling or carpet weakens the size effect;
+hence rugs which break the continuity by being laid across the room
+instead of lengthwise are preferable. (See Diagrams and ¶ 81.)
+
+85. It is a safe rule to do a small or narrow room in harmonies of
+analogy or related colors, colors of a light tone and of receding
+character. Apart from any effect which color may possess decoratively or
+pictorially, its value cannot be overestimated in its application to the
+laws of proportion.
+
+ [Illustration]
+
+86. Borders may be safely used on the wall or on the carpet of any large
+room with high ceiling, but wall friezes should be avoided where the
+ceilings are low, for they foreshorten the height effect.
+
+87. We would avoid borders on the floor of a small room to make it look
+larger, and we would use wide borders in a large room with a low ceiling
+so that the floor may be foreshortened.
+
+88. One may utilize in a large, poorly lighted room masses of luminous
+colors to give artificial sunlight to the room deficient therein, but in
+the small, poorly lighted room this treatment should be avoided.
+
+
+#COLOR SCHEMES FOR ROOMS UNDER NORMAL CONDITIONS#
+
+ (TN: left page of two page table)
+                                                      KEYNOTE
+               #B#                        #B#         COLORS       #B#
+    #A#     #Drapery#       #A#                        #A#      #Furniture#
+  #Floor#   #Border#    #Wood Trim#  #Wainscoting# #Side-Wall#  #Coverings#
+
+ (Brown
+ and gray
+ tones)    (Full tones)(Wood tones)(Deep tones)(Soft tones)(Soft tones)
+
+ Brown        Yellow     Mission       Green       Red         Green
+ Deep oak
+   brown      Orange     Mission       Blue        Orange      Blue
+ Light oak    Green      Light oak     Violet      Yellow      Violet
+ Deep olive   Blue       Oak           Red         Green       Red
+ Mission
+   tones of   Violet     Mahogany      Orange      Blue        Orange
+   slate
+ Deep plum    Red        Violet toned  Yellow      Violet      Yellow
+                         or tulip
+
+ (TN: right page of two page table)
+
+      #A#         #B#         #A#          #B#             #A#
+  #Furniture#  #Frieze#   #Draperies#   #Ceiling#       #Cornice#
+
+ (Wood tones)(Soft tones)(Full tones)(Pale wash tones)(Pale wash tones)
+
+ Mahogany       Pale green    Red       Palest green     Pale yellow
+ Deep oak       Blue          Orange    Palest blue      Pale green
+ Gold, gray or  Violet        Yellow    Palest violet    Pale blue
+   yellow
+ Walnut gray    Grayish red   Green     Palest red       Pale violet
+ Mission brown  Gray orange   Blue      Palest orange    Pale orange
+ Gold or violet Yellow        Violet    Palest yellow    Pale pink
+   tone
+
+Exception 1. The ceiling, where there is no pronounced cornice or cove,
+should follow the wall tint.
+
+Exception 2. Independent of rule, a low ceiling should be in receding
+color.
+
+       *       *       *       *       *
+
+It is impossible to tabulate directions for using color without an
+understanding of the conditions, the size, light and height of a room.
+(See pages 34 and 35.) The above tables relate only to normal
+conditions.
+
+White woodwork can be used effectively in the trims of a room and give
+greater light and size. The darker the wood trims the smaller the room
+appears. We have left out of consideration the window treatments which,
+as a rule, should be of white lace, perhaps overdraped in colored
+stuffs. If the room is poorly lighted, it is obviously undesirable to
+cut off any light from the window by even laces; the curtains,
+therefore, in a poorly lighted room should be draped back. Colored
+laces, grenadines or madras stuffs are frequently used to give period
+style or color tone, and wherever they are used, such curtains should
+harmonize with the wall. So also with the overdraperies to the lace
+curtains.
+
+89. Luminous or advancing colors make a small room look all the smaller;
+therefore in small rooms we suggest the use of white woodwork, and in
+the color treatment we would avoid contrasts, but would suggest
+harmonies of analogy in receding colors, soft grays, greens and blues.
+These are not luminous colors and will make a small room look the
+larger, while the white will give light effects, and if the room appears
+a trifle somber it can be easily relieved by the bright colors of the
+bric-à-brac and by a touch of gold here and there on the wall. (See ¶ 66
+and ¶ 85.)
+
+90. There are cases where a small room has a northern exposure, and
+while apparently expedient to treat such a room in warm colors to supply
+the deficiency of sunlight, such a course would make a room look
+smaller.
+
+91. Under the circumstances treat the room in light hues, gray
+preferred, and get the deficiency of sunlight through some warm isolated
+details and in the lace curtains.
+
+
+#THE WALL THE KEYNOTE COLOR#
+
+92. Our theory of color as applied to room furnishings provides always
+that the side-wall is the keynote and this keynote is usually fixed for
+practical reasons in sympathy with the furniture; above to the ceiling's
+center the note ascends and below to the floor center it descends; it
+goes into tints as it ascends and into deeper shades of gray and brown
+as it descends.
+
+If, for instance, blue is the keynote, by adding black you have drabs,
+slates or grays for the floor, while if the keynote be red you have
+écrus and browns for the floor light or gray, according to the color
+scale of the keynote.
+
+93. It must be understood that in designating a color we do not mean
+that it shall be solid or pure, but merely that it prevails. (See ¶ 29.)
+
+A side-wall may be treated in several colors, but as long as orange
+prevails, it follows the conditions of the combination, pages 42 and
+43. The factors included in the line designated A are all of one color
+family. The factors indicated by B are also family colors. It will be
+seen that the A or B colors taken by themselves form HARMONIES OF
+ANALOGY; it is only by combining the A's with the B's that we have
+HARMONIES OF CONTRAST.
+
+If a room is to be done in harmonies of analogy, use the A colors alone
+or the B colors alone, but never A and B together.
+
+
+#THE PSYCHOLOGY OF COLOR#
+
+94. Whatever may be the charm conveyed by design there is a reason for
+it. We can analyze it.
+
+It has an inherent quality of beauty or historic interest, and there is
+a definite and distinct reason for our liking it.
+
+But the effect of color is exciting or disturbing, tranquilizing or
+pleasing, inexplicable and inexpressible, affecting the senses like an
+appeal to the passions or the appetite. One might as well explain the
+love of sport, literature, art or vice. The sense of color is a nerve
+sense, and this sense varies in the individual. We know that colors
+which are strongest in direct sun rays, like red and orange, arouse the
+normal senses, while the blues and violets quiet.
+
+Nature provides vast fields of green because favorable in its effects
+upon humanity. Experiments prove that men of extreme sensibility exposed
+to the influences of red light finally show excitement which gives
+muscular development fifty per cent. in excess of the power possessed by
+the same subject when exposed for the same period under the influences
+of blue light.
+
+
+#TO DETERMINE THE COLOR SENSE#
+
+Color, like music, while subjected to positive rules of harmony, appeals
+to natures according to the responsiveness of their nerve sense, and the
+practical decorator in dealing with a customer should discover at the
+outstart the character of that nerve sense. Some natures respond to the
+normal colors, barbaric colors. Some respond to the softer tints and are
+disturbed by the sharper tones. A dulled sense requires sharp contrasts;
+a quickened sense is satisfied with the soft gray tones. Apart from any
+question of propriety or environment the individual taste for color must
+be determined before the individual taste can be pleased.
+
+A demonstration of four examples in color may serve the purpose of
+determining one's color sense.
+
+First. Combinations of normal primary and secondary colors, (_a_)
+arranged in contrasts, (_b_) in analogies.
+
+Second. Combinations of tones of the above colors, (_a_) arranged in
+contrasts, (_b_) in analogies.
+
+Third. Combinations of tints of the above colors, (_a_) arranged in
+contrasts, (_b_) in analogies.
+
+Fourth. Combinations of the gray (tertiary) tones of the above colors,
+(_a_) arranged in contrasts, (_b_) in analogies.
+
+95. Do not allow your personal color-sympathies to dominate your work.
+All colors have their usefulness, for there are occasions when it is
+proper they should be used, apart from any question of harmony; one
+must consider always the uses of colors, the lights, and the purpose of
+the room under treatment.
+
+96. Nature gives to the dark forest depths great brilliancy of
+floriculture, and dark-skinned people indulge unconsciously the same
+bright scale of color. But as we come out of the forest and advance in
+civilization we use barbaric colorings more discriminately.
+
+97. We employ gold, orange or yellow for the north room not for inherent
+beauty, but for the sense of warmth which they convey to an atmosphere
+chilled by the absence of sunlight. We employ receding colors in a small
+room that the room may look larger. We employ cold colors in a sunny
+room, especially in the summer home, for reasons psychological rather
+than æsthetic.
+
+
+#PERIOD USES OF COLOR#
+
+98. If our furniture is white and gold, it is clearly evident that the
+colorings of a room should be soft and harmonious. If we adopt the dark
+teakwood of India or the deep brown of Flanders, our color scheme again
+changes. The preponderance of white in Colonial rooms was due to
+architectural conditions. White illuminates; and in the days when our
+ceilings were no higher than seven and a half feet, and our windows were
+small, the room needed an artificial light, and white supplied this.
+
+99. In furnishing an Empire room, the decorators have, little by little,
+led themselves to believe that what is known as Empire green is a
+distinct shade of green. On the contrary, green was used in the period
+of the Empire simply because it was in pleasing contrast with the
+mahogany and brass so much used. If the mahogany is dark, a dark green
+is desirable; if light, a light green.
+
+100. Egyptian decoration was full of gold and brilliant coloring, and a
+popular form of combination was the triad form:
+
+    Black, yellow and red.
+    Red, blue and white.
+    Dark blue, light blue and white.
+    Cream color, blue and black.
+    Dark red, medium yellow and blue.
+
+101. The Greek decorators, who painted in fresco, used white, red, blue,
+yellow and black. Natural marbles were much used in green and red and
+alabaster, and bronze, gold and silver.
+
+We see the flat colors of the Greek, Etruscan and Pompeiian age and we
+imagine they are typical of the period, but we must consider that the
+examples of that period which we now possess are faded and emasculated,
+and that the more authentic the example, the more aged it is, and hence
+the more weakened in color character.
+
+The Greeks loved color, and their embroideries were in gold and blue and
+Tyrian purple.
+
+Roman coloring was but a continuance of the Greek, characterized by dark
+and rich backgrounds, which were frequently black, red or deep yellow
+and dark blue, on which figures and landscapes, or animals, or groups
+from still life, were executed in bright colorings of powerful
+contrasts. Black and white were used, and later, when the Byzantine
+artists and craftsmen found their way to Western Italy, they spread this
+love of bold coloring, so that at the dawn of the Renaissance we find a
+return to the Greek and Roman coloring, which, however, was modified in
+England, Germany and Flanders, according to temperamental conditions.
+
+102. We find, for instance, some forms of Florentine decoration, full of
+yellow, red-yellow, blue-greens and light slate blues. Botticelli used
+whites, creams, reds and citrine, with umber tones heightened by gold,
+and if we examine carefully the Sixteenth and Seventeenth Century
+Italian brocades which are preserved in the museums, we discover a great
+preponderance of yellow-green as an ornament on dark violet, or light
+olive green on dark blue, or dull orange on crimson brown.
+
+In some of the richest early Italian fabrics we find:
+
+     Purple and sage-green ornaments on indigo ground; outlines in gold.
+
+     Dull crimson, pale blue and chrome yellow ornaments on dark gray
+     ground.
+
+     Pale yellow-green ornaments on deep amber ground.
+
+     Dark blue-green and light greenish-yellow ornaments on deep crimson
+     ground.
+
+     Pale greenish-blue ornaments on dark gray-blue ground, with white
+     and gold picked out in small quantities.
+
+     Emerald green and dull orange ornaments on dark gray-green ground
+     outlined in gold.
+
+103. The French Renaissance takes inspiration from the Roman and Greek.
+
+The Louis XIV is a development of the Renaissance, with a conspicuous
+use of gold.
+
+The Louis XV is an elaboration along the same lines.
+
+The Louis XVI is a simplification and a return to the classic.
+
+The Georgian is largely Roman and Pompeiian.
+
+104. The Adam style was taken directly from the Pompeiian, but in most
+cases, instead of having the Pompeiian solid color background with
+design lightly executed, the background is in the light color, and the
+design dark. To follow strictly the Pompeiian palace style would be too
+garish in our modern circumscribed environment.
+
+105. It is a nice psychological problem to decorate the house in a way
+to give true balance to the æsthetic sense. No matter how great one's
+admiration for a thing, there is always a final point of satiety at
+which the desire needs rest or balance. A woman may love flowers, for
+example, but in the season of flowers, when all nature supplies an
+over-abundance, the visual sense becomes satiated, and the house
+interior that is furnished in cool tints and two-tones gives positive
+relief.
+
+106. On the other hand, floral decorations in the home are the balance
+needed to the mind that craves them during the Winter period when there
+is a lack of color without.
+
+
+ [Illustration: Compare perpendicular and horizontal lines: The angles
+ and curves which enclose them change their relative equality.]
+
+       *       *       *       *       *
+
+#ILLUSION EFFECT AND EXPRESSION IN THE USE OF LINES#
+
+107. We very often notice a room which has been carefully carried out
+but is utterly lacking in charm. The color seems right, and, considered
+in detail, the furniture and the furnishings are appropriate, but the
+room lacks effectiveness.
+
+It is uninteresting.
+
+It is like a doll face that is, perhaps, perfect in detail, but utterly
+devoid of EXPRESSION.
+
+The artist who paints a portrait is a failure without the ability to
+give expression: hence in architecture the acute-angled spires or
+arched roofs have the same expression that the "long face" carries.
+
+ [Illustration]
+
+If we smile, the mouth curves upward; if we grieve, the lines turn
+downward.
+
+108. In festival decorations, joy is expressed by loops, curves and
+festoons.
+
+109. In serious decorations (libraries, studies, church or office work)
+straight lines are used; curtains are gathered in plaits so that the
+sags and drapes are all out of them; they are drawn. It is the same when
+we say of a person: "He looks serious, his face is drawn; it is full of
+lines."
+
+110. The observation, "a broad smile on his face," means literally just
+that; the lines extend outward and upward, giving an expression of
+breadth and joy to the countenance.
+
+
+#ILLUSION#
+
+111. A doorway looks wider that has at the top a drapery which crosses
+in one complete curved sweep. A side-wall is larger apparently if along
+the frieze line long, wide loops or festoons are arranged. The same wall
+is more contracted and higher if treated in arrow-point forms of design.
+
+ [Illustration]
+
+The decorator should study these matters of illusion, for they are
+vital to the success of his labor. (See ¶ 116.)
+
+112. Perpendicular lines contract the wall space and extend the apparent
+height of a room; horizontal lines shorten the apparent height of the
+ceiling and lengthen the width of the room. (See exceptions, ¶ 119.)
+
+These straight lines may be used where extremes are needed. (See pages
+61 and 63.)
+
+A short doorway, for instance, looks higher where the portière is hung
+in straight folds; so also with a cottage window.
+
+ [Illustration]
+
+113. Every decorator who handles fabrics, every cabinetmaker who lays
+out the woodwork of a room, every stained glass window maker, should
+appreciate one fact: A line which is finished at the top or bottom, or
+both, with acute angles appears longer than the line that is finished
+top and bottom with an obtuse or right angle. It is the same with the
+finish of a wall frieze.
+
+If the wall frieze ends abruptly (Illustration A on page 57), it is
+foreshortened; if it is finished by angles (Illustration B), the height
+of the room is apparently greater. (See the illustration on page 51.)
+
+114. It is the same way with curves; given two lines of equal length and
+enclose one with convex and the other with concave curves, and the line
+enclosed convex will appear longer.
+
+ [Illustration: Treated for Broken Heights.]
+
+115. In dress a collar brought down to an acute angle in the front of
+the waist gives height effect, whereas a perfectly straight collar
+around the neck reduces the apparent height and gives width effect.
+
+ [Illustration]
+
+116. The use of arches should be studied. A space that is arched looks
+wider than it actually is, for the eye unconsciously follows the lines
+of the arch, and a distance or width effect is the result. The same
+space treated with a straight line is quickly bridged. The same space
+treated with lines that come to an angle looks narrower, for the reason
+that the eye becomes focused by the apex of the angle, and a height
+effect, not a breadth effect, is the result. (See page 57.)
+
+117. This illusion is best shown in the illustrations of the parallel
+lines that are crossed diagonally, with the result that the lines no
+longer look parallel because of the angles. Nevertheless, they are
+parallel, and the lines running diagonally at the bottom of this page
+are also parallel.
+
+ [Illustration]
+
+We present two practical illustrations of illusion in the use of lines.
+(See ¶ 112.) They represent the side-walls of two rooms of the same
+dimensions, but showing apparently different proportions, the
+perpendicular lines making the side-wall look higher and the horizontal
+lines making the side-wall look lower. (See page 59.)
+
+ [Illustration: Illustration A.]
+
+ [Illustration: Illustration B. (See ¶ 113.)]
+
+ [Illustration]
+
+The length of the wall space is shortened, moreover, by the
+perpendicular lines and lengthened by the horizontal lines.
+
+118. No period expresses more clearly the joy of curves as opposed to
+the severity of straight lines than that voluptuous period of Louis XV
+known as Rococo. It was a profligate era, an era of pleasure, and the
+appended illustration of part of a frieze is in no way exaggerated, but
+a true example of a common expression. (See page 60.)
+
+ [Illustration]
+
+ [Illustration]
+
+119. Distinct perpendicular lines give height effect, but they also
+narrow the apparent width of a wall space. It is best to have such line
+effects indistinct unless they appear as in the illustration on page 63,
+where they are intended to reduce the breadth effect of the pattern and
+neutralize a squat tendency.
+
+Indistinct perpendiculars give height effect, and do not reduce the wall
+width.
+
+ [Illustration: (See ¶ 111.)]
+
+ [Illustration: Perpendicular lines, giving height effect.]
+
+ [Illustration: Perpendicular lines, giving height effect.]
+
+
+#COLOR TERMS#
+
+120. In the study of color and its application authorities differ so
+materially that it is not only impossible to reconcile their theories,
+but the different terms used to express color thought create
+inextricable confusion.
+
+121. One authority fixes the neutrals as being black, gray and white;
+another regards them as those hues or tones which lack definite color,
+like quaternaries. Authorities differ, moreover, upon even the
+fundamental principles. Chevreuil selects red, yellow and blue as the
+primaries; Dr. Thomas Young selects red, green and violet. Helmholtz
+selects carmine, pale green and blue-violet; Maxwell scarlet red,
+emerald green and blue-violet; Professor Rood agrees with Maxwell;
+Professor Church, of the Royal Academy of Arts, London, regards the
+primaries as red, green and blue; George Hurst, the English authority,
+fixes upon red, yellow and blue, the Brewsterian theory.
+
+122. One must remember always in studying color that we are treating
+with the material, not with the illusion. We are dealing with pigments,
+not with prismatic phenomena, and it must be obvious that the only three
+primary colors that can be used in a way to produce all other colors are
+red, yellow and blue.
+
+123. Whatever may be the spectrum theories of Sir Isaac Newton, Young or
+Helmholtz, for practical reasons we prefer to follow an authority as
+eminent as Chevreuil, for years the head of the National Gobelin Works
+of France, and a man experienced in the practice as well as the theory
+of color. Any effort to fix the character of color and describe it by
+periods and epochs will always prove unsatisfactory, for the reason that
+terms and expressions have changed with every period since the Egyptian,
+4000 B.C.
+
+124. We think we know purple until we discover that the purple of
+royalty, the ermine and purple, the purple of the cardinals' robes,
+frequently approximated what we now call carmine. Royal purple and
+Venetian blue are mere trade terms. Practical men in the purchase of
+things decorative soon discover that color terms convey only individual
+impressions and no distinctive qualities that may be relied upon; so
+that any effort to fix the color value by periods would be futile. We
+may assume that in the age of oak, mahogany, white and gold or walnut
+furniture, the fabric and wall colors harmonized with the wood colors,
+and to that degree we may fix the period character of color. The moment
+that the tone of the woodwork or the light conditions varied, color
+character varied also.
+
+125. We must also bear well in mind that colors which have come down to
+us as examples of ancient times have been subjected to the changing
+influences of centuries, and have faded and altered. The colors on the
+walls of the historic rooms of European palaces have greatly altered.
+The flat reds and the deadish blues of the Pompeiian frescoes have been
+altered by chemical action during the 1,850 years' burial under the lava
+of Vesuvius. We are not justified in judging of the colors of A.D. 79
+by the restoration-examples in 1900. Hence the mere expressions
+Pompeiian red, Pompeiian blue, can convey no definite, positive meaning.
+
+
+ [Illustration: Fig. 1.]
+
+#COLOR VOCABULARY#
+
+126. In music, a tone which is formed by a certain number of vibrations
+per second is the same the world over, and each and every tone has a
+name; but in color no such standards exist. People have attempted to
+formulate a system by denominating the primary colors, red, yellow and
+blue, respectively as R, Y and B, and the combinations of these colors
+as combinations of letters. For example, red, with varying degrees of
+yellow added, is denominated by the letters R R O, or R O R, or O O R.
+This system tends to confusion, and is inadequate to express tints and
+shades. Various other systems have been devised. Color charts have been
+made, and in each system arbitrary names have been assigned, so that
+each color may be known by one of several names. The difficulty of
+insuring accuracy under these circumstances becomes very evident.
+
+127. In discussing color combinations, one is usually confused because
+the subject is not a tangible expression that can be grasped like the
+sound of a note in music. With color charts, every maker has a standard
+of his own and the term "red" may mean anything within a wide range; a
+yellow-red or a blue-red, the yellow-red perhaps being cherry, the
+blue-red perhaps being carmine. An appreciation of the Harmonies of
+Contrast or Harmonies of Analogy or Relationship is accompanied by great
+confusion because of this lack of standardization.
+
+128. There is only one true standard of color, and that is the standard
+as shown in the prism, and expressed by the spectrum. It is within the
+province of any man to determine the proper relationship of color if he
+starts with the chart we here present. We fix definitely the three
+primary and the three secondary colors, the primaries, red, yellow and
+blue, being those indicated by the heavy black lines; the secondaries,
+orange, green and violet, being indicated by the broad stipple lines.
+
+All other lines are the tertiary or quaternary colors.
+
+If we have clearly in our minds the appearance of the normal red and
+yellow, and clearly in our minds the orange that is made up by combining
+the two, we ought to be able to fix in our imagination the colors that
+come midway between the red and the orange, or the colors that come
+nearer the red or nearer the orange. Let us assume we are to select
+colors in the harmony of _contrast_. Take a ruler and lay across the
+chart and the contrasting colors are always opposite; the direct
+contrast of red is green because green is composed of the other two
+primary colors, yellow and blue; the contrast of blue is orange because
+orange is a combination of the other two primaries, yellow and red; the
+contrast of yellow is violet, a combination of blue and red.
+
+Now, to determine the niceties of distinction, let us take a red that is
+a little off shade, a little yellowish; one must determine in the mind's
+eye about how much yellow there is in it and, to determine the true
+contrast, carry your line across from the point which you think is
+represented by the yellowish and you find that it is green with a little
+blue added, or bluish-green.
+
+129. One must also determine the scale of color. The parallel circular
+lines on the chart designate four scales, or four grades, of each color,
+growing lighter by adding white, to the center; as you add more and more
+white the tint becomes more and more light. In determining contrast, be
+careful to stick to your scale. Contrasts, to be in harmony, must be
+colors of the same scale.
+
+130. Harmony of analogy or relationship is clearly expressed in the
+chart. The family relations of red are the things which go with red. We
+may have a harmony of analogy in violet which includes the relations of
+red and blue. We must not attempt to carry the family relationship too
+far. There is a wide range of variety in these combinations of analogy
+because they may include not only all scales of each color from the
+darkest tones to the lightest tints but they include tertiaries and
+quaternaries.
+
+Each man must establish his own standard, and by establishing it he
+forms unconsciously a very comprehensive understanding of color. It has
+never been possible to print a true colored chart because no two copies
+of the sheet off the press would be alike. A little more ink or a little
+less ink, or a little lighter or a little heavier impression, changes
+the values.
+
+The chart illustrates contrasts of all of the primaries and secondary
+colors and the broken colors or hues. In the same way the tertiary or
+quaternary colors may be arranged, but for convenience we show the
+contrasts as follows:
+
+RUSSET:
+
+ Tertiary,
+    32 parts Red, 16 parts Yellow, 16 parts Blue
+    31 parts Red, 16 parts Yellow, 17 parts Blue
+    30 parts Red, 16 parts Yellow, 18 parts Blue
+    29 parts Red, 16 parts Yellow, 19 parts Blue
+    28 parts Red, 16 parts Yellow, 20 parts Blue
+    27 parts Red, 16 parts Yellow, 21 parts Blue
+    26 parts Red, 16 parts Yellow, 22 parts Blue
+    25 parts Red, 16 parts Yellow, 23 parts Blue
+
+SLATE:
+
+ Tertiary,
+   32 parts Blue, 16 parts Red, 16 parts Yellow
+   31 parts Blue, 16 parts Red, 17 parts Yellow
+   30 parts Blue, 16 parts Red, 18 parts Yellow
+   29 parts Blue, 16 parts Red, 19 parts Yellow
+   28 parts Blue, 16 parts Red, 20 parts Yellow
+   27 parts Blue, 16 parts Red, 21 parts Yellow
+   26 parts Blue, 16 parts Red, 22 parts Yellow
+   25 parts Blue, 16 parts Red, 23 parts Yellow
+
+CITRINE:
+
+ Tertiary,
+    32 parts Yellow, 16 parts Blue, 16 parts Red
+    31 parts Yellow, 16 parts Blue, 17 parts Red
+    30 parts Yellow, 16 parts Blue, 18 parts Red
+    29 parts Yellow, 16 parts Blue, 19 parts Red
+    28 parts Yellow, 16 parts Blue, 20 parts Red
+    27 parts Yellow, 16 parts Blue, 21 parts Red
+    26 parts Yellow, 16 parts Blue, 22 parts Red
+    25 parts Yellow, 16 parts Blue, 23 parts Red
+
+SAGE:
+
+ Quaternary,
+    24 parts Blue, 16 parts Red, 24 parts Yellow
+    25 parts Yellow, 23 parts Blue, 16 parts Red
+    26 parts Yellow, 22 parts Blue, 16 parts Red
+    27 parts Yellow, 21 parts Blue, 16 parts Red
+    28 parts Yellow, 20 parts Blue, 16 parts Red
+    29 parts Yellow, 19 parts Blue, 16 parts Red
+    30 parts Yellow, 18 parts Blue, 16 parts Red
+    31 parts Yellow, 17 parts Blue, 16 parts Red
+
+BUFF:
+
+ Quaternary,
+    24 parts Yellow, 16 parts Blue, 24 parts Red
+    25 parts Red, 23 parts Yellow, 16 parts Blue
+    26 parts Red, 22 parts Yellow, 16 parts Blue
+    27 parts Red, 21 parts Yellow, 16 parts Blue
+    28 parts Red, 20 parts Yellow, 16 parts Blue
+    29 parts Red, 19 parts Yellow, 16 parts Blue
+    30 parts Red, 18 parts Yellow, 16 parts Blue
+    31 parts Red, 17 parts Yellow, 16 parts Blue
+
+PLUM:
+
+ Quaternary,
+    24 parts Red, 16 parts Yellow, 24 parts Blue
+    25 parts Blue, 23 parts Red, 16 parts Yellow
+    26 parts Blue, 22 parts Red, 16 parts Yellow
+    27 parts Blue, 21 parts Red, 16 parts Yellow
+    28 parts Blue, 20 parts Red, 16 parts Yellow
+    29 parts Blue, 19 parts Red, 16 parts Yellow
+    30 parts Blue, 18 parts Red, 16 parts Yellow
+    31 parts Blue, 17 parts Red, 16 parts Yellow
+
+ [Illustration]
+
+131. One who attempts to make color compositions with no more reliable
+guide than taste can expect to accomplish no more than he who in music
+possesses a good ear but no musical training.
+
+132. The note of discord in color is best avoided by an infallible
+guide, as the discord in music is best avoided by thorough training in
+the law of harmony. The color chart on page 73 has been so arranged that
+each of the shades is in exact harmony with the shade directly opposite.
+
+133. For example, to ascertain the color that is in harmony with the
+shade denominated Red-Orange, it is necessary simply to lay a ruler
+across the diagram to find the corresponding harmony, which is
+Blue-Green.
+
+134. We know that the primary colors are red, yellow and blue, and that
+the combination of any two of these gives a secondary color. The
+secondary color is the complement of the remaining third color; thus
+yellow and blue form green, and green is the complement or contrasting
+harmony of red. Red and yellow form orange, and orange is the complement
+of blue. Blue and red form violet, and violet is the complement of
+yellow. These are facts we all know. Now, if red is the complement or
+contrasting harmony of green, and yellow contrasts with violet, then red
+with one, two or three degrees of yellow added will contrast with green
+with one, two or three degrees of blue added.
+
+Assume, for example, that a decorator dealing with a red side-wall
+wishes upholsterings in the correct shade of green. He knows he has a
+red wall, he knows also that he wishes to use some shade of green, but
+without some fixed standard it is impossible for him to do more than
+approximate the correct shade of green to use. If, however, he could
+compare the red of his wall with his color chart and determine exactly
+which of the many shades of red, or which of the many yellow reds, or
+blue reds, the wall is toned in, it is a simple process to ascertain the
+exact green harmonizing with this red.
+
+The second great use of the color chart is then an infallible guide to
+color harmony, whether analagous or contrasting.
+
+OLD
+SYSTEM| R |RRO|RO |ROO|   O  |OOY| OY|OYY|  Y   |YYG| YG|YGG|  G  |GGB| GB|
+------|===|===|===|===|======|===|===|===|======|===|===|===|=====|===|===|
+NEW   | 1 | 2 | 3 | 4 |   5  | 6 | 7 | 8 |   9  | 10| 11| 12|  13 | 14| 15|
+SYSTEM|RED|R 7|R 6|R 5|ORANGE|R 3|R 2|R 1|YELLOW|Y 7|Y 6|Y 5|GREEN|Y 3|Y 2|
+      |   |Y 1|Y 2|Y 3|      |Y 5|Y 6|Y 7|      |B 1|B 2|B 3|     |B 5|B 6|
+      +---+---+---+---+------+---+---+---+---+--+---+---+---+-----+---+---+
+  H[A]|   |56R|48R|40R|  32R |40Y|48Y|56Y|      |56Y|48Y|40Y| 32Y |40B|48B|
+NORMAL| 64|   |   |   |      |   |   |   |  64  |   |   |   |     |   |   |
+ LINE |   | 8Y|16Y|24Y|  32Y |24R|16R| 8R|      | 8B|16B|24B| 32B |24Y|16Y|
+      +---+---+---+---+------+---+---+---+---+--+---+---+---+-----+---+---+
+  I[B]|56R|49R|42R|35R|  28R |35Y|42Y|49Y|  50Y |49Y|42Y|35Y| 28Y |35B|42B|
+      |   | 7Y|14Y|21Y|  28Y |21R|14R| 7R|      | 7B|14B|21B| 28B |21Y|14Y|
+      | 8W| 8W| 8W| 8W|   8W | 8W| 8W| 8W|   8W | 8W| 8W| 8W|  8W | 8W| 8W|
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     J|48R|42R|36R|30R|  24R |30Y|36Y|42Y|  48Y |48Y|36Y|30Y| 24Y |30B|36B|
+      |   | 6Y|12Y|18Y|  24Y |18R|12R| 6R|      | 6B|12B|18B| 24B |18Y|12Y|
+      |16W|16W|16W|16W|  16W |16W|16W|16W|  16W |16W|16W|16W| 16W |16W|16W|
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     K|40R|35R|30R|25R|  20R |25Y|30Y|40Y|  40Y |35Y|30Y|35Y| 20Y |25B|30B|
+      |   | 5Y|10Y|15Y|  20Y |15R|10R| 5R|      | 5B|10B|15B| 20B |15Y|   |
+      |  W|24W|24W|24W|  24W |24W|24W|24W|  16W |24W|24W|24W| 24W |   |   |
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     L|32R|28R|24R|20R|  16R |20Y|24Y|28Y|  32Y |28Y|24Y|20Y|     |   |   |
+      |   | 4Y| 8Y| 8Y|  16Y |12R| 8R| 4R|      | 4B| 8B|   |     |   |   |
+      |32W|32W|32W|32W|  32W |32W|32W|32W|  32W |32W|   |   |     |   |   |
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     M|24R|21R|18R|15R|  12R |15Y|18R|21Y|  24Y |   |   |   |     |   |   |
+      |   | 3Y| 6Y| 9Y|  12Y | 9R| 6R|   |      |   |   |   |     |   |   |
+      |40W|40W|40W|40W|  40W |40W|   |   |      |   |   |   |     |   |   |
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+
+A color is indicated by the intersection lines perpendicular and
+horizontal.
+
+  [A] This line shows the colors of the normal scale running from Red (R)
+  to Yellow (Y) to Blue (B) to Red (R).
+
+  [B] This line and all below it show the same primary and secondary
+  colors lightened by added white.
+
+
+#ARTIFICIAL LIGHTING#
+
+135. In considering artificial light, we will avoid all efforts to
+analyze the different forms of energy, magnetic energy, electric energy,
+heat energy, mechanical momentum, radiating energy, and deal with result
+rather than with cause and effect. It will be sufficient to state as the
+deduction of the scientist that certain waves or vibrations which affect
+the fibers of the optic nerve are transmitted by the brain into color.
+(¶ 3.) Self-luminous bodies are bodies which produce light. Illuminated
+bodies shine by borrowed light, and are distinguished by the different
+amounts and quantities of light which they reflect. A dense cloud which
+appears nearly black when between the observer's eye and the sun, owing
+to the degree of density with which it intercepts the light, may become
+brilliantly white when the sun's rays fall upon its constituent
+particles, for the light which cannot penetrate the cloud is continually
+reflected to and from the surface of its minute parts. Thus it happens
+that the lower part of a cloud seen against a background of dark
+mountain may appear white, while the upper part may appear dull gray. In
+the alteration of reflection we have an alteration of color. A stick of
+sealing wax will show in some positions white reflected light, while in
+other positions we see only the red. A polished plane furnishes one kind
+of reflection, a piece of chalk another.
+
+136. The decorator has for years past been disposed to defer to the
+illuminating engineer in the artificial lighting of a home. But while
+the technical man or engineer may have a knowledge of power and energy,
+he has not studied the decorative value of lighting. His problem has
+been economic rather than psychologic. The illuminating engineer cannot
+be expected to appreciate fully the harmonies of color in decoration.
+
+137. It is the decorator's province to consider not only the power of
+light in the furnishing of a house, but the character of the light--not
+only its color influence, but the structural character of its
+introduction, as affecting these furnishings. It is beyond his province
+to determine whether carbon should be replaced by tantalum, osmium or
+tungsten to get higher efficiency, but he must understand the effects of
+these lights and prescribe accordingly.
+
+
+#ABSORPTION AND REFLECTION#
+
+138. The architect who designates the number and location of outlets for
+the lighting sources, and specifies the candle-power of the lamps, knows
+nothing of the ultimate decoration of the house. Very often the
+specifications are finished before the color scheme has been decided
+upon, and as a result the degree of illumination either falls short of
+what is needed in case of dark-colored interiors, or proves excessive
+with light-tinted rooms. The architect works from one point, economy,
+the decorator from another, æsthetic; while the householder, the
+consumer who pays the illuminating bills, cannot comprehend why his
+lighting bills increase as his taste for luminous or dark-colored
+furnishings is gratified. Many houses are left in the white plaster for
+a year or more until the plaster settles. In this condition a small unit
+of light is sufficient, but when the decorator completes his work,
+adding fabrics and wall-papers which absorb and diminish the light, the
+householder, unaware of the cause, notices a material increase in his
+bills for illumination. These facts must be understood to be remedied,
+and it remains for the illuminating engineer to determine by direct
+experiment the value of any light as it affects and influences color, as
+well as the value of color as it affects light. It may be assumed
+without danger that the softest light is that of the candle, but we are
+not living in the candle age, and have to deal with either gas or
+electricity as the main illuminating agents.
+
+139. We have to consider the mercury arc light, the yellow flame carbon,
+the white magnetite and titanium arc--all of high efficiency, giving
+orange yellow in the flame-carbon to yellow and yellow white in the
+acetyline of the tungsten filaments. Then we have the greenish yellow of
+the Welsbach mantle, the bluish green of the mercury arc, the yellowish
+white of the carbon arc, as well as the clear white of the titanium
+arc.
+
+140. The subject may be divided into three heads: Quality, or
+approximation to natural light. Quantity, as demanded by reflection or
+absorption. Installation, diffusion or mechanical distribution.
+
+141. Normal light is the light of general diffusion in daylight, and
+when we can find an artificial light that has the character of natural
+light we will have what is obviously the best illuminant for the home.
+Bear in mind that natural light as it appears out of doors is materially
+altered when indoors by the presence of different planes and angles,
+which cast and receive various depths of shadow; the quality required is
+that which will provide illumination without glare. The sun's rays are
+softened and mellowed by the depth of air through which they pass, and
+it is this mellowness that is the chief requisite in illumination.
+
+Good decorative illumination does not mean illumination that reveals
+every hidden corner of a room. We need shadows to betray form, relieve
+monotony and give depth to the _ensemble_. If in an illuminated area
+light is of a uniform intensity, we have a bad effect. The variation of
+tone in a fabric is due to the light reaching it from a given point.
+Differences in intensity make shadows and tones.
+
+142. The illuminating engineer treats the home as he treats a public
+hall. He ignores the individuality of the room; the ball-room and the
+sickroom are lighted alike. He does not always consider the diminished
+force of light as it passes through a refracting surface, for it must be
+borne in mind that any method of indirect lighting by refraction is apt
+to cause a loss of volume. The use of various kinds of globes or lamp
+shades must all be considered. A light-colored wall reflects
+illumination, a dark-colored wall absorbs it; hence the amount of
+illumination is increased or diminished by the color of the walls.
+
+
+#LIGHT EFFECT ON COLOR#
+
+143. To illuminate a city, with the dull grim environment of streets and
+houses, a soft yellow glow will give warmth and tone; the greenish
+yellow of the Welsbach or the blue green of the mercury arc may even be
+desirable, but the same green or violet rays are ghastly in a house, and
+should never be permitted.
+
+144. The warm glow of the yellow light, while pleasing to the
+complexion, is, however, objectionable as disturbing the color
+composition of dress or furnishings. A gaslight sends a yellow glow over
+all that it reaches, and has the same effect as the introduction of
+yellow into every color tint in the room. The walls that are red take on
+a scarlet hue; the scarlet ones are yellowed to orange; the blues become
+greenish.
+
+145. In order that the decorator may more readily grasp the subject, we
+have arranged a table showing the color changes effected by rays of
+yellow, blue, green and violet:
+
+ Orange rays falling on white make it appear orange.
+   "            "     red it appears reddish-orange.
+   "            "     orange it appears deeper orange.
+   "            "     yellow it appears orange-yellow.
+   "            "     green it appears dark yellow-green.
+   "            "     blue it appears dark reddish-gray.
+   "            "     violet it appears dark purplish-gray.
+   "            "     black it appears brownish-black.
+
+ Yellow rays falling on white make it appear yellow.
+   "            "     red make it appear orange-brown.
+   "            "     orange make it appear orange-yellow.
+   "            "     yellow make it appear deeper yellow.
+   "            "     green make it appear yellowish-green.
+   "            "     blue make it appear slaty-gray.
+   "            "     violet make it appear purplish-gray.
+   "            "     black make it appear olive-black.
+
+ Green rays falling on white make it appear green.
+   "            "     red make it appear yellowish-brown.
+   "            "     orange make it appear grayish-leaf-green.
+   "            "     yellow make it appear yellowish-green.
+   "            "     green make it appear deeper green.
+   "            "     blue make it appear bluish-green.
+   "            "     violet make it appear bluish-gray.
+   "            "     black make it appear dark greenish-gray.
+
+ Blue rays falling on white make it appear blue.
+   "            "     red make it appear purple.
+   "            "     orange make it appear plum-brown.
+   "            "     yellow make it appear yellowish-gray.
+   "            "     green make it appear bluish-green.
+   "            "     blue make it appear deeper blue.
+   "            "     violet make it appear bluer.
+   "            "     black make it appear bluish-black.
+
+ Violet rays falling on white make it appear violet.
+   "            "     red make it appear purple.
+   "            "     orange make it appear reddish-gray.
+   "            "     yellow make it appear purplish-gray.
+   "            "     green make it appear bluish-gray.
+   "            "     blue make it appear bluish-violet.
+   "            "     violet make it appear deeper violet.
+   "            "     black make it appear violet-black.
+
+146. The pale tints of electric lights, which make every face in a room
+look ghastly, will affect quite as disastrously every soft color in the
+furnishings. In ordinary gaslight a pair of white gloves looks yellow,
+and we have seen Welsbach lamps which threw out a violet-blue
+illumination, depressing in the extreme. Under a yellow glow, blues,
+greens, violets and purples are greatly changed. Under a violet glow,
+yellows and greens are ruined. To see all colors in about the same value
+that they possess by daylight one must have a light in which no color
+tone is apparent.
+
+The question as to the disposition and intensity of the lights is of
+vital importance, and must be considered with the requirements of each
+particular room in mind.
+
+147. For the drawing-room and reception-room it is desirable that all
+parts of the room be evenly lighted, without a pronounced glare in any
+particular part of the room. One of the most effective ways of
+accomplishing this is by distributing the lights around the room, either
+on the ceiling, in the cove or above a wide molding, so that the ceiling
+acts as a reflecting agent, and distributes an even tone of light to all
+parts.
+
+
+#ILLUMINATION#
+
+148. For the dining-room and living-room a different plan must be used,
+because of the different requirements. The table is usually in such
+rooms the chief feature of the furnishings, and it is customary to focus
+upon it the main body of light. While this is obviously necessary, the
+surroundings must not be ignored; neither is it possible to raise the
+center light to such a height that its radiation may reach all parts of
+the room, because in so doing the light reaches the eye at an extremely
+unpleasant angle. The drop fixture should be low enough to effectively
+light all parts of the table, while at the same time its shade should
+screen the light from the eyes of the room's occupants. To illuminate
+the surrounding parts of the room other lights should be distributed
+where they will most effectively supply what further illumination is
+required.
+
+149. For the bedroom or boudoir the location of the lights should also
+be subordinated to the purposes of the room, and in addition to
+providing sufficient illumination to the entire area, special
+illumination should be provided for the mirrors and the dressing-table.
+The lights for the mirrors should be planned to illuminate the person
+and not the image.
+
+150. For large reception-rooms in hotels and public institutions the
+plan is frequently adopted of having all light provided by small table
+lamps with opalescent shades. These provide a medium glow throughout the
+entire room that is pleasing, and avoid entirely the garishness usually
+associated with such rooms. One of the mistakes of the day is the use of
+high-power lights, which are so intense that they require to be screened
+or shaded, involving waste of light and concentrating an unnecessary
+amount of illumination upon a narrow sphere.
+
+
+#REFLECTIVE POWER OF COLOR#
+
+The following table will give an idea of the percentage of light
+reflected from ordinary wall-hangings and papers:
+
+                                        Per Cent.
+                                       Reflection
+
+    White blotting-paper                   .82
+    White cartridge-paper                  .80
+    Ordinary foolscap                      .70
+    Ordinary newspaper              .50 to .70
+    Chrome yellow paper                    .62
+    Orange paper                           .50
+    Yellow wall-paper                      .40
+    Yellow painted wall (clean)            .40
+    Tracing cloth, pale blue               .35
+    Light pink paper                       .36
+    Blue paper                             .25
+    Emerald green                          .18
+    Dark brown paper                       .13
+    Vermilion paper                        .12
+    Blue green paper                       .12
+    Cobalt blue paper                      .12
+    Black paper                            0.5
+    Deep chocolate paper                   0.4
+    French ultramarine blue paper          3.5
+    Black cloth                            1.2
+    Black velvet                           0.4
+
+151. It is very difficult to select practical artificial illuminants,
+because of the various color properties possessed by each. A Welsbach
+mantle, which gives a greenish tint, is pretty sure to alter the
+character of any color other than green. Incandescent electric light, as
+well as ordinary gaslight, contains a yellow tint.
+
+
+#THE COLOR OF ARTIFICIAL LIGHTS#
+
+152. In planning or matching colors for a room, it is best to consider
+the purpose for which the room is to be used, and match the colors under
+the same light conditions that will prevail in the finished room.
+
+Deep, full colors are less affected by the shadings in artificial
+illuminants than lighter tones of the same color.
+
+    ILLUMINANT.                        COLOR.
+
+ Sun (high in sky)             White.
+ Sun (near horizon)            Orange red.
+ Sky light                     Bluish white.
+ Electric arc (short)          White.
+ Electric arc (long)           Bluish white to violet.
+ Nernst lamp                   White.
+ Incandescent (normal)         Yellow-white.
+ Incandescent (below voltage)  Orange to orange-red.
+ Acetyline flame               Nearly white.
+ Welsbach light                Greenish white.
+ Gaslight (Siemens burner)     Nearly white, faint yellow tinge.
+ Gaslight (ordinary)           Yellowish white to pale orange.
+ Kerosene lamp                 Yellowish white to pale orange.
+ Candle                        Orange yellow.
+
+
+#ARTIFICIAL LIGHT APPLICATION#
+
+153. The introduction of light by the medium of a wire, which may be
+carried to any point in a room, encourages so many possibilities for
+comfort and effect that it behooves us to forget traditional customs
+which were established during the gaslight period. The introduction of
+gaslight through tubes was a rather complex problem, and the carrying of
+the pipes into the room through a main chandelier was the most
+advisable constructive form. But we have no need for such cumbersome
+fixtures in this day of wiring.
+
+A mere cord takes the place of an inch pipe. Modern German and Austrian
+lighting fixtures frequently are mere pendants, with the cord frankly in
+evidence. In this way the lights may be placed wherever needed--at the
+head of the lounge, so one may read more clearly by it; close by the
+piano; over the tea-table. In fact, supplementary lights to the general
+illumination are a convenience that the decorator should consider.
+
+154. The lighting of a house is a matter so dependent upon æsthetic
+conditions that it is never within the scope of the electrician. It is a
+problem for a decorator alone to solve. Intense and glaring lights of
+unusual power must be avoided. Luminants of low intrinsic brilliancy are
+preferable.
+
+155. The floor is the least important surface for illumination, and has
+no reflecting power of value. The walls vary in value according to their
+color and surface. With lights radiating upward, however, the ceiling
+possesses definite power, and should be considered.
+
+156. Dark colors absorb light, while white and light colors reflect, and
+this must always be remembered; for upon the character of the
+decorations and furnishings of various rooms the quantity as well as the
+quality of light has serious influence.
+
+
+#POWER NECESSARY#
+
+157. While the list which we give herewith is based largely upon area,
+it may be taken as a basis of calculation for lighting equipment.
+
+It is estimated that 300 square feet of a hallway requires four
+sixteen-candlepower, or eight eight-candlepower units.
+
+In a room 20 x 20 feet, with furnishings of mahogany and green, broken
+up by bookcases and other furniture producing heavy shadows, it is
+estimated that twelve eight-candlepower lights are sufficient if worked
+into the frieze, and that a reading lamp of not less than
+thirty-two-candlepower be used as a drop light.
+
+Assuming a room is 15 x 15 feet, and furnished in light tones, four
+eight-candlepower lamps are ample.
+
+A living-room 20 x 25 feet, in light tones of color, requires two
+thirty-two-candlepower lights, centrally located, and about twelve
+eight-candlepower lights. This should provide brilliant illumination.
+
+A room 15 x 20 feet, in dark wood and hangings, needs eight
+eight-candlepower reflector lamps, backed up by six more
+eight-candlepower lamps.
+
+Bedrooms 15 x 15 feet in size, where they are not furnished in deep
+colors, should be equipped with two sixteen-candlepower lights.
+
+
+#COLOR CONTROL#
+
+158. Mechanical lighting is so easily undertaken that it predisposes one
+to extravagance. Properly applied, artificial light adds materially to
+the charm of a room, but with illumination secured by the mere twist of
+the wrist one is prone to ignore the value of shadows and kill the
+beauty of light and shade by throwing illumination into the remotest
+corners. The danger to good decoration is not only in overlighting, but
+in overdecorating, and commercialism naturally encourages this tendency.
+The floor is frequently best treated if not entirely covered with a
+one-pattern treatment; the walls are frequently most pleasing if done in
+several papers instead of one. The most effective room is the one
+lighted in various degrees of strength, and while the decorator
+unconsciously follows this idea and avoids superabundance of pattern by
+using panels, friezes and wainscotings, we believe that each and every
+section or part of a room should be treated separately, observing, of
+course, a consistent spirit of design, preserving the period style and
+the general color effect; we would vary the actual shade of coloring and
+the size of pattern according to the dimensions of the wall space it
+occupies. The large patterns and the strong colorings which may be
+appropriate to an exposed wall are all out of proportion in narrow or
+darkened confines. Dark and deep recesses should obviously be treated
+differently to advanced or conspicuous spaces.
+
+159. At a recent meeting of the Illuminating Engineering Society, D.
+McFarlan Moore made the following observations: "A few years ago there
+was practically no way of changing the colors of the various forms of
+lamps, that is, the candle had its color perforce; such a thing as
+modifying it was not dreamed of. The oil lamp had its color; the open
+burner gas flame its color, the incandescent lamp its color, and the
+arc lamp its color. At the present time there are only two ways widely
+in use of varying the color; that is, if a person wishes to have a light
+of a different color, there are two main ways of getting it. One way is
+to get another light source, and the other way is to use a diffusion
+globe of some kind, which in any instance is extremely unscientific and
+inefficient. Some of the most recent advances in this line are connected
+with the flaming arc lamp. There we have an instance where the first
+step, at least, was taken toward scientifically controlling the color
+value. I refer to placing different chemicals in the carbon and thereby
+obtaining a color which can, to a very great extent, be determined
+previously. But still it by no means can be said that by means of the
+flaming arc lamp the color factor is under perfect control. However, it
+is possible now to have the color value under perfect control, and this
+is obtained by utilizing a vacuum tube, and by changing the various
+gases used in the tube to change the color. This has many advantages,
+and from a scientific standpoint it cannot be criticised, as can the
+other methods which have been used. For example, if you use a properly
+regulated vacuum tube and feed it with air only, a pink light results;
+if you feed it with nitrogen a yellow light results, and such a light
+can be used for a great many purposes; in fact its range of usefulness
+so far as the color is concerned, is about the same as that of the
+ordinary incandescent lamp, and therefore can be used by florists or by
+clothing merchants, and the distortion is not any worse than that of
+the ordinary incandescent lamp. However, it is not by any means claimed
+that when a tube is fed nitrogen, that the color is at all near
+daylight; it is simply a color which appears about the same as that
+produced by the ordinary incandescent lamp. Due to the enormous
+radiating surfaces of the tube, the color in day time looks considerably
+redder than that of the incandescent lamp because the lamp is extremely
+small as compared with the tube. When such a tube is fed with carbon
+dioxide at a definite pressure, and at a definite intensity, a light is
+obtained that undoubtedly is closer to average daylight color values
+than any light which has ever been produced before, and we can almost
+say that it is entirely satisfactory. For instance, experts in matching
+colors in the largest dye works of this country, men who have tried all
+other forms of light, and found them not at all suitable for their uses,
+have matched their colors under a vacuum tube supplied with carbon
+dioxide and have found after months of practical use that they could not
+detect any difference between most delicate lavender shades, when they
+are matched at night time under the tube and in day time by daylight,
+not direct sunlight."
+
+
+#DRESS AND COMPLEXION#
+
+160. The nerves of the eye, exhilarated by any pronounced color,
+unconsciously observe the complement of that color when turned from it.
+The eye accustomed to the red of a woman's dress, unconsciously sees a
+greenish cast in the face that is naturally pale, and in the same way
+the pallor of a woman's face takes on a tint of red as the complement
+or contrast of a green dress. As one's appetite for the thing that is
+sweet becomes exhausted by a superabundance of sweets, so the eye
+resting upon a mass of red in the dress of a woman fails to appreciate
+the red tint in the face, and the face thus juxtaposed becomes pallid. A
+red-faced woman often wears brighter red in dress, so that her face may
+appear less red. The blue dress gives yellow to the face; the yellow
+dress gives blue; these results are altered materially by the
+intervention of white between the face and the dress. White intensifies
+color. If there is a tinge of pink in the face white brings it out. If
+there is sallowness in the face white accentuates it. It is for this
+reason that many women wear yellow instead of white at the neck, so that
+the yellow of the face becomes less conspicuous by contrast. (See ¶ 31.)
+
+161. It is dangerous, however, in matters of dress to strictly apply
+this rule, because color has a temperamental influence apart from the
+purely visual. Some women are positively depressed by certain colors;
+such colors are to be avoided, no matter what the deductions of theory.
+(See ¶ 94.)
+
+162. The black dress will make a woman look pale, for the reason that
+the black absorbs whatever color there may be in her face. A dark color
+has also absorbent characteristics. The lighter the color, the less
+absorbent. Hence light greens are preferable to bring out the color in
+the face than dark greens, assuming that we are to consider only this
+point, which is all that is necessary to consider in house decoration.
+Therefore light greens as a background to theater boxes or as a wall
+background are always desirable.
+
+ [Illustration: Lighting by wires. See ¶ 153.]
+
+
+#COLOR TERMS#
+
+ BROKEN COLOR. Color changed by the addition of black,
+    white or gray.
+
+ CHROMA. Color.
+
+ COLD COLORS are colors containing very little, if any, red or
+    yellow.
+
+ CONTRAST ANALOGIES. Apparent contrasts of secondary and
+    tertiary colors which have constituent parts that are
+    related. Thus compositions of citrine and plum are apparent
+    contrasts, citrine being one of the three tertiary
+    colors, russet, slate and citrine, and plum being composed
+    of russet and slate, but in both citrine and plum
+    there is red, yellow and blue; hence related. There can
+    be no true contrasts excepting between primaries and
+    secondaries.
+
+ GRAY. Normal gray is black and white mixed, but quaternary
+    colors are also called grays, or colors of the dull or
+    neutral scale.
+
+ HARMONY OF ANALOGY is produced by using related colors.
+
+ HARMONY OF CONTRAST. The juxtaposition of a primary
+    color, for example, with a secondary made of the other
+    two primaries. Thus of the primaries red, yellow and
+    blue, the contrasts would be red and green. Of the two
+    colors thus forming contrast the one is said to be the
+    COMPLEMENTARY of the other.
+
+ HUE. Applied to the predominating color in a composition.
+
+ INTENSE OR SATURATED COLORS. Colors that are pure, having
+    no tint or shade.
+
+ NEUTRAL COLORS. Applied to black, gray and quaternary
+    colors.
+
+ NORMAL. Intense colors of the prism. Colors of the natural
+    scale.
+
+ PRISMATIC COLORS are the colors viewed through a prism.
+
+ QUATERNARY COLORS. Made by combining two tertiary colors.
+    Quaternary colors are plum, sage and buff.
+
+ SCALE. Relates to colors of the same degree of tone.
+
+ SECONDARY COLORS. Orange, green and violet, each a combination
+    of two primaries.
+
+ SHADE. Produced by the addition of black to a normal color.
+
+ SOMBRE COLORS. Blue, violet and the subdued tones of luminous
+    colors.
+
+ SPECTRUM. The illusion of color produced by means of the
+    prism.
+
+ TERTIARY COLORS. Made by combining two secondary colors;
+    tertiary colors are slate, russet and citrine.
+
+ TINT. Produced by the addition of white to a normal color.
+
+ TONES are the gradations of color by adding either black or
+    white.
+
+ WARM COLORS or luminous colors are those having normal
+    yellow or red in the preponderance.
+
+ ADVANCING COLORS. Reds and bright yellow arouse the nerve
+    sense more quickly than blue or tones of color predominating
+    in blue. Hence they are called advancing colors.
+
+ RECEDING COLORS. Blue colors or colors in which blue predominate
+    or the exciting influences of yellow or red are
+    subjugated, are cold or receding colors.
+
+
+       *       *       *       *       *
+
+
+ TABLE OF CONTENTS
+
+                                       Paragraph.    Page.
+
+ Adjoining Rooms                         38 to 47
+ Advancing Colors              77, 78, 79, 80, 89
+ Angles, Illusion of           113, 114, 115, 117
+ Artificial Light, Colors of                            86
+
+ Balance of Pattern                        75, 76
+ Borders                           61, 62, 81, 86
+ Bric-à-brac                               60, 89
+ Black, The Use of                             33
+
+ Color Nomenclature                             9
+ Complexion                                   160
+ Contrasting Colors                  12, 14 to 24
+ Contrast Analogies                      17 to 20
+ Ceiling                           37, 42, 43, 93
+ Curtains                                53 to 56
+ Cove and Ceiling                              56
+ Cornice                                       63
+ Chair Coverings                               64
+ Colors that Give Size to a Room (See Receding Colors)
+ Carpet                                        81
+ Color Sympathies                              95
+ Curves, The Use of  107, 108, 111, 114, 116, 118
+ Color Terms                           120 to 134
+ Chart                                        127
+
+ Dress, Depressing Influences                 161
+ Dress, Woman's                               160
+ Decorative Illumination                      141
+ Definitions                                          89
+ Draperies                                        42, 43
+ Decorative Proportions                               37
+
+ Exciting Colors                          94, 160
+
+ Frieze, The Use of (See Wall Proportions, also Room Combinations)
+ Floors                        42, 81, 84, 86, 87   42, 43
+
+ Gray, The Use of                      32, 91, 92
+ Guide to Color Harmony                       127
+
+ Harmonies Mechanically Determined            132
+ Height Effects                            75, 76
+ Harmony of Analogy                13, 17, 27, 93
+ Harmonies                                     10
+
+ Illusion in the Use of Lines          107 to 119
+ Intensification of Color             31, 33, 159
+
+ Joy in Lines (See Curves)
+
+ Lights and Shadows                          158
+ Lighting a Room, Candle-power Needed        157
+ Light Installation                                     84
+ Light, Effect on Color                                 82
+ Luminous Colors (See Advancing Colors)
+ Large Room, Dark                                       34
+ Low-Ceiling Rooms                            58
+ Large Rooms                                  58
+ Large, Well-Lighted Rooms                    26        34
+ Light                                      1, 8
+
+ Mixing Colors                                 8
+
+ Neutrals                                    121
+ National Types of Color                            47, 48
+ Nature Colors                            35, 96
+ North Light                      37, 59, 90, 91
+
+ Proportions in Color
+     Contrast             22 to 24, 28 to 30, 35
+ Pigments, The Use of                         22
+ Proportions Effected by Design (See Decorative Proportions)
+ Proportions Effected by Color                 77
+ Period Uses of Color                               47, 48
+ Psychology of Color                           94
+ Picture Moldings                              50
+ Plate-Rails                             48 to 59
+ Progression of Color                      34, 39
+ Prismatic Colors                         6, 7, 8
+
+ Room Combinations                                23 to 28
+ Rugs                                      81, 84
+ Rooms Under Normal Conditions                      42, 43
+ Receding Colors                       77, 80, 89
+ Reflection                      5, 135, 155, 156
+
+ Spectrum                                       1
+ Small Dark Rooms                              21       35
+ Small Well-Lighted Rooms                      25       35
+ Sequence of Color                 34, 35, 36, 41
+ South Light                               37, 59
+ Side-wall                           48 to 57, 92
+ Small Room, High Ceiling                               35
+ Small Room, Low Ceiling                                35
+ Side-wall as Keynote                          92
+ Straight Lines, Effect of 107, 109, 111-113, 115-117, 119
+ Seriousness in Lines (See Straight Lines)
+ Spectrum Theories                       121, 122
+
+ Trade Terms Meaningless                 124, 125
+ Taste in Color, to Determine                  94
+
+ White, The Use of   31, 33, 88, 89, 98, 159, 160
+ Wood Trims                              48 to 59
+ Wainscoting                     48 to 57, 62, 93   42, 43
+ Width Effects                       82 to 85, 87
+ Wall Proportions                                 33 to 34
+
+
+
+
+
+End of the Project Gutenberg EBook of Color Value, by C. R. Clifford
+
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diff --git a/25042-8.zip b/25042-8.zip
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@@ -0,0 +1,3755 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Color Value, by C. R. Clifford.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+
+    .notes {background-color: #eeeeee; color: #000; padding: .5em;
+            margin-left: 30%; margin-right: 30%; text-align: center;}
+
+    p {  margin-top: .75em;
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+    .box { width: 400px;
+           margin: 0 auto;
+           text-align: center;
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+
+    .pagenum  { visibility: hidden;
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
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+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Color Value, by C. R. Clifford
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Color Value
+
+Author: C. R. Clifford
+
+Release Date: April 11, 2008 [EBook #25042]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COLOR VALUE ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Anne Storer and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<p class="notes">Transcriber&#8217;s Notes:<br />
+1) Table of contents/index at end as in original.<br />
+2) (TN: --) in text = comments added by Transcriber.</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<div class="box">
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h1>Color Value</h1>
+
+<p class="center"><strong><em>By</em> C. R. CLIFFORD</strong></p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/img1.png" width="150" height="146" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p class="center"><strong><em>Published by</em> CLIFFORD &amp; LAWTON<br />
+<span style="letter-spacing: .1em;">373 Fourth Avenue, New York</span></strong></p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<p class="center"><span style="letter-spacing: .1em;">Copyrighted, 1907</span><br />
+By Clifford &amp; Lawton<br />
+&mdash;&mdash;&mdash;<br />
+<span style="letter-spacing: .1em;">Fourth Edition</span></p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p class="center"><span style="letter-spacing: .1em;" class="smcap">
+grolier craft press, inc., n. y.</span></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img3.png" width="600" height="243" alt="page decoration" title="" />
+</div>
+
+<h2>FUNDAMENTAL CONDITIONS</h2>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>LIGHT, COLOR, FORM, PROPORTION<br />
+AND DIMENSIONS</strong></p>
+
+
+<p>Whatever is good in interior decoration is the result of consistent
+relationship between Light, Color, Form, Proportion and Dimensions. The
+choice of Color should be guided by the conditions of Light. The beauty
+of Form and the symmetry of Proportion can exist only by a balance with
+Dimensions.</p>
+
+<p>Therefore, apart from any knowledge of historic or period decoration,
+effective or successful work must observe the technical laws governing
+conditions.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>LIGHT</strong></p>
+
+<p><a name="para1" id="para1"></a></p>
+<p>1. The white light of the sun is compounded of an almost innumerable
+number of color elements, as shown by the phenomena of the rainbow or by
+experimenting with the prism. (See <a href="#para7">&para; 7</a>.)
+When a ray of sunshine passes
+through a glass prism it is decomposed or separated, and if the
+prismatic colors
+<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+are received upon a white screen you will find on the
+spectrum among the colors generated a pure blue, a pure red and a pure
+yellow. These are the primary colors, and it is necessary when thinking
+color to bear these prismatic colors in mind as standards.</p>
+
+<p>2. Color is an internal sensation originating in the excitation of the
+optic nerve by a wave action which we call light.</p>
+
+<p><a name="para3" id="para3"></a></p>
+<p>3. The theory of light, the wave theory, is based upon the assumption
+that throughout all space there is an infinitely thin medium called
+ether. Scientists differ as to what this may be, but its movements
+constitute light, a reflection from a luminous body.</p>
+
+<p>4. Everything which we see is visible because it either emits light,
+like a flame, or reflects light.</p>
+
+<p><a name="para5" id="para5"></a></p>
+<p>5. A piece of black cloth upon a white plate reflects but a small
+proportion of the light. The plate reflects a large proportion. A piece
+of black velvet reflects less light than black cloth and gives the
+effect of absolute blackness, or an empty and dark space.</p>
+
+<p><a name="para6" id="para6"></a></p>
+<p>6. In practical demonstrations the study of color will be confusing
+unless it is understood at the outstart that pure prismatic colors can
+seldom be found in manufactured pigments, hence any demonstration of the
+theory of color composition is usually unsatisfactory.</p>
+
+<p><a name="para7" id="para7"></a></p>
+<p>7. The theory which brings out of a ray of sunshine the disunited
+prismatic colors carries with it the
+<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+deduction that before separation
+these colors constitute white light; but it must be manifest to even the
+superficial reader that such colors are mere spectrum colors&mdash;vision
+colors&mdash;and any amalgamation of material or pigment colors, so far from
+producing white, produces almost black.</p>
+
+<p><a name="para8" id="para8"></a></p>
+<p>8. The theory that red and yellow make orange, and that a red and blue
+make violet, is correct; but if one attempts to demonstrate the theory
+with pigments, one is confronted not only by the lack of standard
+manufactured colors but by impurities, adulterations and chemical
+reaction in the pigments. The adulteration may not be perceptible in one
+primary color, but it is manifest when that color is brought into action
+with another primary, for it is seldom that a pure secondary results.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/img5.png" width="500" height="190" alt="page decoration" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+<p class="center"><strong>COLOR NOMENCLATURE&mdash;HARMONIES</strong></p>
+
+<p><a name="para9" id="para9"></a></p>
+<p>9. Color nomenclature includes primary, secondary and tertiary colors,
+and innumerable hues, shades and tints. All these colors bear relations
+to one another, either relations of analogy, or relations of contrast.
+(See <a href="#para18">&para; 18 and &para; 19</a>.)</p>
+
+<p>The <a href="#img6">Circle Diagram I</a> shows the manner in which the various colors are
+formed. (See also <a href="#img9">Diagram III</a>.)</p>
+
+<p>&nbsp;</p>
+
+<p><a name="img6" id="img6"></a></p>
+<div class="figcenter" style="width: 397px;">
+<img src="images/img6.png" width="397" height="400" alt="image" title="" />
+<span class="caption">DIAGRAM I</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p>The third circle shows how slate, citrine and
+<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+russet are made. For
+instance, slate is one part of violet and one part of green. Hence, a
+tertiary color is made of equal parts of two secondaries.</p>
+
+<p>The outer circle, buff, sage and plum, can be analyzed in the same way.</p>
+
+<p>This <a href="#img6">Diagram I</a> is arranged to show not only component parts of a color,
+but the parts that properly harmonize.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>CONTRASTS</strong></p>
+
+<p><a name="para10" id="para10"></a></p>
+<p>10. In music it is an established fact that certain notes used in
+pleasing combination produce sounds we call harmonies. The moment that
+more than one note is struck, there is danger of discord, and when ten
+notes resound to the touch of the player, they must be the right notes,
+or they jar upon the sensibilities. In the use of color the same
+immutable law applies.</p>
+
+<p>11. In Circle <a href="#img8">Diagram II</a> the letters RV mean reddish violet, being a
+violet having more red than blue in its composition. BV means bluish
+violet, being a violet having more blue than red in its composition. BG
+means bluish green, being a green having more blue than yellow in its
+composition. YG means yellow green, being a green having more yellow
+than blue in its composition. YO means yellowish orange, being an orange
+having more yellow than red in its composition. RO means reddish orange,
+being an orange having more red than yellow in its composition. Thus we
+may advance from red to yellow by graduations almost imperceptible, by
+<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+the addition of yellow, to a reddish orange, and so on gradually to
+orange, continuing on to yellowish orange, finally revealing pure
+yellow.</p>
+
+<p>&nbsp;</p>
+
+<p><a name="img8" id="img8"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/img8.png" width="450" height="405" alt="image" title="" />
+<span class="caption">DIAGRAM II</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+<p><a name="img9" id="img9"></a></p>
+<div class="figcenter" style="width: 650px;">
+<img src="images/img9.png" width="650" height="489" alt="image" title="" />
+<span class="caption">DIAGRAM III</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><a name="para12" id="para12"></a></p>
+<p>12. The contrasting color at any stage may be determined by proceeding
+in a direct line across the circle: Red has for its contrasting color
+green; hence, reddish orange would have for its contrasting color a
+bluish green, for the simple reason that if
+<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+red contrasts with green
+and orange contrasts with blue, the color between the red and the orange
+would contrast with the color between the green and the blue. Let us
+determine the contrasting color for crimson. Crimson is simply a red
+slightly tinged with blue. If red contrasts with green, a shade a little
+to the left of red slightly tinged with blue would contrast with a shade
+a little to the right of green slightly tinged with yellow. In other
+words, crimson, RV, would contrast with yellowish green, YG. Determine
+at what point of the circle any color that you have in mind will come,
+and the contrasting color would be immediately opposite.</p>
+
+<p><a name="para13" id="para13"></a></p>
+<p>13. The harmony of analogy consists of the harmony of related colors or
+tones of one color. (See <a href="#para17">&para; 17</a>.)</p>
+
+<p><a name="para14" id="para14"></a></p>
+<p>14. The harmony of contrast consists of colors in no way related. As an
+example of the harmony of analogy, we would mention red and orange,
+because both of these colors have ingredients in common, red being one
+of the two component parts of orange. As an example of the harmony of
+contrast, we suggest red and green, because there is nothing in common
+between the two, red being a primary color, and green a secondary,
+composed of the other two primaries, yellow and blue. (See <a href="#para17">&para; 17</a>.)</p>
+
+<p>15. Green is called the complement of red. The complement of blue would
+be orange, because
+<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+orange is formed by combining the remaining
+primaries, red and yellow; and the complement of yellow would be violet,
+because violet is composed of blue and red, the other primaries.</p>
+
+<p>16. In <a href="#img8">Diagram II</a> we have arranged at opposite points the primaries 1,
+the secondaries 2, the tertiaries 3, the quaternaries 4.</p>
+
+<p>But <a href="#img9">Diagram III</a> goes further into the subject.</p>
+
+<p>It is easy to understand the composition of secondaries, but it is not
+so easy to know the tertiaries and quaternaries. (See also <a href="#img6">Diagram I</a>.)</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>CONTRAST ANALOGIES</strong></p>
+
+<p><a name="para17" id="para17"></a></p>
+<p>17. <a href="#img9">Diagram III</a> is of the utmost value to the colorist, illustrating not
+only the composition of color, but showing the origin of each secondary
+from the two primaries, the origin of each tertiary from two
+secondaries, and of each quaternary from two tertiaries. It shows by
+groupings the harmonies of analogy or related colors; also the harmonies
+of contrast: By moving on the board one color on one line to another
+color upon another line, like the moving of a knight in a game of chess,
+and confining the moves always to adjoining lines, like yellow to
+violet, violet to citrine, citrine to plum, plum to brown. Yellow and
+violet are true contrasts, the one color having nothing in common with
+the other. The citrine and the plum, however, are approximate contrasts.
+For greater convenience, we have numbered the contrasting colors A&#8217;s and
+B&#8217;s. Absolute contrast is
+<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+where the two colors have nothing in common.
+For composition purposes, however, citrine and violet may be considered
+contrasts, or correctly speaking, contrast analogies. (See <a href="#para19">&para; 19</a>.)</p>
+
+<p><a name="para18" id="para18"></a></p>
+<p>18. A harmony of contrast means the utilization of a primary color with
+its complementary, or a color in conjunction with another color in no
+degree related: a primary with a secondary. But when we soften these
+contrasting colors by the addition of white we have in the lighter tints
+a scale of chroma that is a form of analogy.</p>
+
+<p><a name="para19" id="para19"></a></p>
+<p>19. All combinations of secondary and tertiary colors, while apparently
+harmonies of contrast (the tertiary being made by the composition of two
+secondaries), constitute, in fact, contrast analogies, because by
+analysis we find that all tertiaries possess color components occurring
+in the apparently contrasting secondaries. (See <a href="#img9">Diagram III</a>.)</p>
+
+<p>20. The harmony of contrast, literally, can only occur in the pure
+primary colors juxtaposed to the pure secondary colors, for in no case
+does the color formed by the combination of the two primaries have
+anything in common with the third primary; while a tertiary composed of
+two secondaries invariably has qualities possessed by the third
+secondary.</p>
+
+<p><a name="para21" id="para21"></a></p>
+<p>21. In a room which is small or dark, the light tints in harmonies of
+analogy are advisable.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+<p class="center"><strong>PROPORTIONS</strong></p>
+
+<p><a name="para22" id="para22"></a></p>
+<p>22. In the use of one color with another of contrasting character the
+question frequently arises, what proportion of each should be used to
+obtain the best effect? Illustrative color books show usually samples of
+color of the same size, leading one unconsciously to the error that
+contrasting colors should occupy the same surface dimensions.</p>
+
+<p>23. In every room there must be a prevailing or dominant color, and the
+use of a contrasting color must be limited to proportions which give
+simply a pleasing emphasis. Let us assume that a room has a deep frieze
+pronouncedly green. To treat the rest of the wall in red of a direct
+contrast would be ineffective.</p>
+
+<p>24. If a rule can be applied we would say that no strong normal color
+should be used in large surfaces. If we were dealing with pigments we
+would say that if one-sixth of a side-wall is devoted to a frieze in
+green, the balance of the wall space should be treated with the same
+amount of red, mixed with the same amount of gray.</p>
+
+<p><a name="para25" id="para25"></a></p>
+<p>25. For a room that is small and well lighted the fresh tints are not as
+desirable as the gray shades or tertiaries in conjunction with
+secondaries.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>COLOR IN LARGE OR SMALL ROOMS</strong></p>
+
+<p><a name="para26" id="para26"></a></p>
+<p>26. For a large room well lighted, yellow, red and orange in delicate
+shades are not as desirable as orange, violet and russet in light
+shades. This rule,
+<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+however, may be reversed for a large room that is
+dimly lighted.</p>
+
+<p>A superabundance of light gives an uncomfortable glare.</p>
+
+<p><a name="para27" id="para27"></a></p>
+<p>27. One may mechanically obtain harmony of analogy in proper proportions
+for the treatment of a room or a design by following the guidance of
+<a href="#img6">Diagram I</a>. It will be noted in this diagram that the inner circle is
+blue, red and yellow, the primary colors.</p>
+
+<p>The second circle is composed of the secondaries; the third circle, the
+tertiaries, and the outer circle, the quaternaries.</p>
+
+<p>There is a nice distinction in the combination of primaries for the
+formation of secondaries, and exact proportions are quite necessary.</p>
+
+<p>An orange, for instance, would be off shade if it did not consist of
+half red and half yellow, but in the making of the quaternaries, which
+are, at best, gray shades, exact proportions are not necessary.</p>
+
+<p>Nevertheless, in <a href="#img6">Diagram I</a> we have observed exact proportions in order
+to make our demonstration clear.</p>
+
+<p>The harmony of analogy is the combination of colors related, but the
+relationship must be displayed in proportions consistent with the origin
+of each and every color used.</p>
+
+<p>Let us assume that the prevailing note in a room, in either the
+side-wall or floor, is sage.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img15.png" width="600" height="345" alt="image" title="" />
+<span class="caption">DIAGRAM IA</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+We can tell by drawing lines from the center of <a href="#img6">Diagram I</a> to the
+extremities of the space marked sage that there is a little blue and a
+little yellow, some green and slate and citrine used in the composition
+of sage, and hence the use of these colors constitutes the harmony of
+relationship or analogy.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>COLOR PROPORTIONS</strong></p>
+
+<p><a name="para28" id="para28"></a></p>
+<p>28. But to arrive at proportions we must reduce the circular table to a
+geometrical table. We must straighten out the lines so that the exact
+proportions are apparent. We need not confuse the reader by mathematics,
+but to establish our theory we produce the <a href="#Page_15">Diagram IA</a>, and it will be
+here seen that the relative proportions existing in the segments of the
+circles have been observed in the triangles.</p>
+
+<p>Thus we have thirty-two right-angled triangles.</p>
+
+<p>Sage occupies fourteen-thirty-seconds of the entire composition; slate
+occupies five-thirty-seconds; citrine, five-thirty-seconds; green,
+six-thirty-seconds; blue, one-thirty-second; yellow, one-thirty-second;
+and these colors, to observe the proper harmony of analogy in a room,
+should be used in the proportions above indicated.</p>
+
+<p>Sage should be in the preponderance; citrine and slate should occupy
+nearly one-sixth of the entire composition, green about one-fifth, and
+the whole should be picked out with touches of sharp blue and sharp
+yellow, representing each one-thirty-second.</p>
+
+<p>Let us take, for instance, a room that is in white woodwork, and apply
+the sage to the walls and the slate to the floor, and lighten the sage
+with citrine
+<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+and lighten the slate with violet, and intersperse orange
+and green in a way permitted by the proportions at our command. When the
+work is completed we find a harmony of analogy which can be then
+relieved by touches of the primitive colors, blue and yellow, in the
+proportions shown.</p>
+
+<p><a name="para29" id="para29"></a></p>
+<p>29. Good examples of contrast color effects may be found in the
+following series of combinations:</p>
+
+<p>&nbsp;</p>
+
+<p class="center">PROPORTIONS OF COLOR ANALYSIS FROM<br />
+ASSYRIAN TILES.</p>
+
+<p>&nbsp;</p>
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+
+<tr>  <th colspan="3">Example No. 1.</th>  </tr>
+<tr>  <td align='left'>Blue-Green</td>  <td class="tdp"></td>  <td align='right'>60</td>  </tr>
+<tr>  <td align='left'>Greenish-Yellow</td>  <td class="tdp"></td>  <td align='right'>8</td>  </tr>
+<tr>  <td align='left'>Orange</td>  <td class="tdp"></td>  <td align='right'>6</td>  </tr>
+<tr>  <td align='left'>Purple-Brown</td>  <td class="tdp"></td>  <td align='right'>6</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>20</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+
+<tr>  <th colspan="3">No. 2.</th>  </tr>
+<tr>  <td align='left'>Blue</td>  <td class="tdp"></td>  <td align='right'>35</td>  </tr>
+<tr>  <td align='left'>Yellow</td>  <td class="tdp"></td>  <td align='right'>30</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>15</td>  </tr>
+<tr>  <td align='left'>Dull Red</td>  <td class="tdp"></td>  <td align='right'>10</td>  </tr>
+<tr>  <td align='left'>Black</td>  <td class="tdp"></td>  <td align='right'>10</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+
+<tr>  <th colspan="3">No. 3.</th>  </tr>
+<tr>  <td align='left'>Blue</td>  <td class="tdp"></td>  <td align='right'>60</td>  </tr>
+<tr>  <td align='left'>Deep Yellow</td>  <td class="tdp"></td>  <td align='right'>20</td>  </tr>
+<tr>  <td align='left'>Light Yellow</td>  <td class="tdp"></td>  <td align='right'>10</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>10</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+
+<tr>  <th colspan="3">No. 4.</th>  </tr>
+<tr>  <td align='left'>Pale Yellow</td>  <td class="tdp"></td>  <td align='right'>34</td>  </tr>
+<tr>  <td align='left'>Green</td>  <td class="tdp"></td>  <td align='right'>27</td>  </tr>
+<tr>  <td align='left'>Blue</td>  <td class="tdp"></td>  <td align='right'>25</td>  </tr>
+<tr>  <td align='left'>Red</td>  <td class="tdp"></td>  <td align='right'>6</td>  </tr>
+<tr>  <td align='left'>Gold</td>  <td class="tdp"></td>  <td align='right'>4</td>  </tr>
+<tr>  <td align='left'>Black</td>  <td class="tdp"></td>  <td align='right'>2</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>2</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+
+<tr>  <th colspan="3">No. 5.</th>  </tr>
+<tr>  <td align='left'>Black</td>  <td class="tdp"></td>  <td align='right'>63</td>  </tr>
+<tr>  <td align='left'>Yellow</td>  <td class="tdp"></td>  <td align='right'>17</td>  </tr>
+<tr>  <td align='left'>Green</td>  <td class="tdp"></td>  <td align='right'>9</td>  </tr>
+<tr>  <td align='left'>Red</td>  <td class="tdp"></td>  <td align='right'>4</td>  </tr>
+<tr>  <td align='left'>Light Red</td>  <td class="tdp"></td>  <td align='right'>3</td>  </tr>
+<tr>  <td align='left'>Blue</td>  <td class="tdp"></td>  <td align='right'>3</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>1</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+
+<tr>  <th colspan="3">No. 6.</th>  </tr>
+<tr>  <td align='left'>Green</td>  <td class="tdp"></td>  <td align='right'>36</td>  </tr>
+<tr>  <td align='left'>Blue-Green</td>  <td class="tdp"></td>  <td align='right'>24</td>  </tr>
+<tr>  <td align='left'>Yellow</td>  <td class="tdp"></td>  <td align='right'>14</td>  </tr>
+<tr>  <td align='left'>Red</td>  <td class="tdp"></td>  <td align='right'>11</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>10</td>  </tr>
+<tr>  <td align='left'>Dull Red</td>  <td class="tdp"></td>  <td align='right'>3</td>  </tr>
+<tr>  <td align='left'>Black</td>  <td class="tdp"></td>  <td align='right'>2</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+
+<tr>  <th colspan="3">No. 7.</th>  </tr>
+<tr>  <td align='left'>Green</td>  <td class="tdp"></td>  <td align='right'>36</td>  </tr>
+<tr>  <td align='left'>Blue-Green</td>  <td class="tdp"></td>  <td align='right'>24</td>  </tr>
+<tr>  <td align='left'>Yellow</td>  <td class="tdp"></td>  <td align='right'>14</td>  </tr>
+<tr>  <td align='left'>Red</td>  <td class="tdp"></td>  <td align='right'>11</td>  </tr>
+<tr>  <td align='left'>White</td>  <td class="tdp"></td>  <td align='right'>10</td>  </tr>
+<tr>  <td align='left'>Dull Red</td>  <td class="tdp"></td>  <td align='right'>3</td>  </tr>
+<tr>  <td align='left'>Black</td>  <td class="tdp"></td>  <td align='right'>2</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>&mdash;&mdash;</td>  </tr>
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='right'>100</td>  </tr>
+
+<tr>  <td align='right'>&nbsp;</td>  <td class="tdp"></td>  <td align='right'></td>  </tr>
+</table></div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+<p class="center"><strong>BLACK&mdash;WHITE&mdash;GRAY</strong></p>
+
+<p><a name="para30" id="para30"></a></p>
+<p>30. We do not wish to be understood as stating that the work of the
+colorist is solely mechanical; but we would emphasize that the
+influences of color are very largely the result of studied proportions.
+The basis upon which one operates must be soundly constructed upon the
+theory of scale, and scale is mechanically determined. If red is
+lightened by the addition of white, or darkened by the addition of
+black, it is removed to another scale, and can only harmonize by
+contrast with its complement by adding to green the same amount of white
+or black that has changed the character of the red, and this should be
+mathematically accurate.</p>
+
+<p><a name="para31" id="para31"></a></p>
+<p>31. To place white by the side of a color heightens or intensifies the
+tone of that color. To put black beside a color has the opposite effect.
+It weakens the color. Every woman looks better in white, hence white is
+the universal wedding gown, the universal party dress for children, and,
+wherever practical, the universal Summer dress for adults as well. White
+is worn universally by men and women next to the face, in collars or in
+neckwear, and the reason for it is that the contiguous white intensifies
+whatever color they may possess. Black, on the other hand, lessens the
+color or lowers its tone.</p>
+
+<p><a name="para32" id="para32"></a></p>
+<p>32. Gray is a medium between the two. While it renders an adjacent color
+less brilliant, it takes to itself at the same time a tint that is a
+complement of that adjacent color. In other words, gray by the side of
+green appears faintly pinkish.</p>
+
+<p><a name="para33" id="para33"></a></p>
+<p><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+33. Black is always desirable as an associate with luminous colors.
+Black does not associate as well with two colors, one of which is
+luminous and the other sombre, as when associated with two luminous
+colors.</p>
+
+<p>&nbsp;</p>
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+
+<tr>  <td align='left'>ORANGE</td>  <td class="tdp"></td>
+          <td align='left'>YELLOW</td>  <td class="tdp"></td>
+          <td align='left'>YELLOW</td>  </tr>
+
+<tr>  <td align='left'>BLACK</td>  <td class="tdp"></td>
+          <td align='left'>BLACK</td>  <td class="tdp"></td>
+          <td align='left'>BLACK</td>  </tr>
+
+<tr>  <td align='left'>RED</td>  <td class="tdp"></td>
+          <td align='left'>ORANGE</td>  <td class="tdp"></td>
+          <td align='left'>RED</td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='left'></td>  <td class="tdp"></td>
+          <td align='left'></td>  </tr>
+
+<tr>  <td align='left'>YELLOW</td>  <td class="tdp"></td>
+          <td align='left'>GREEN</td>  <td class="tdp"></td>
+          <td align='left'>ORANGE</td>  </tr>
+
+<tr>  <td align='left'>BLACK</td>  <td class="tdp"></td>
+          <td align='left'>BLACK</td>  <td class="tdp"></td>
+          <td align='left'>BLACK</td>  </tr>
+
+<tr>  <td align='left'>VIOLET</td>  <td class="tdp"></td>
+          <td align='left'>YELLOW</td>  <td class="tdp"></td>
+          <td align='left'>GREEN</td>  </tr>
+
+</table></div>
+
+<p class="center"><em>The green being yellowish and the violet reddish.</em></p>
+
+<p>&nbsp;</p>
+
+<p>White is preferable when associated with a luminous and a sombre color.
+Thus,</p>
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+
+<tr>  <td align='left'>RED</td>  <td class="tdp"></td>
+          <td align='left'>ORANGE</td>  <td class="tdp"></td>
+          <td align='left'>RED</td>  <td class="tdp"></td>
+          <td align='left'>YELLOW</td>  </tr>
+
+<tr>  <td align='left'>WHITE</td>  <td class="tdp"></td>
+          <td align='left'>WHITE</td>  <td class="tdp"></td>
+          <td align='left'>WHITE</td>  <td class="tdp"></td>
+          <td align='left'>WHITE</td>  </tr>
+
+<tr>  <td align='left'>BLUE</td>  <td class="tdp"></td>
+          <td align='left'>BLUE</td>  <td class="tdp"></td>
+          <td align='left'>VIOLET</td>  <td class="tdp"></td>
+          <td align='left'>BLUE</td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='left'></td>  <td class="tdp"></td>
+          <td align='left'></td>  <td class="tdp"></td>
+          <td align='left'></td>  </tr>
+
+<tr>  <td align='left'>ORANGE</td>  <td class="tdp"></td>
+          <td align='left'>GREEN</td>  <td class="tdp"></td>
+          <td align='left'>GREEN</td>  <td class="tdp"></td>
+          <td align='left'>YELLOW</td>  </tr>
+
+<tr>  <td align='left'>WHITE</td>  <td class="tdp"></td>
+          <td align='left'>WHITE</td>  <td class="tdp"></td>
+          <td align='left'>WHITE</td>  <td class="tdp"></td>
+          <td align='left'>WHITE</td>  </tr>
+
+<tr>  <td align='left'>VIOLET</td>  <td class="tdp"></td>
+          <td align='left'>BLUE</td>  <td class="tdp"></td>
+          <td align='left'>VIOLET</td>  <td class="tdp"></td>
+          <td align='left'>VIOLET</td>  </tr>
+
+</table></div>
+
+<p class="center"><em>The violet being bluish, the green yellowish.</em></p>
+
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+<p class="center"><strong>ROOM COMBINATIONS</strong></p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/img21.png" width="650" height="429" alt="image" title="" />
+<span class="caption">Showing Four-Color Combinations.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+<p class="center"><strong>SEQUENCE OF HARMONIES</strong></p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/img22.png" width="650" height="220" alt="image" title="" />
+<span class="caption">DIAGRAM VI</span>
+</div>
+
+<p style="margin-left: 20%; margin-right: 20%;">As these twenty-one sections are arranged, one has the layout for a suite of seven
+rooms; following the top line across in a light scale, the harmony is complete; following
+the center line across in a normal, the harmony is complete; so also with the bottom
+line in a lower scale. Follow the colors diagonally and you find they are repeats, or very
+close to repeats&mdash;red, russet, red, for instance; violet, violet, violet; blue, slate, blue;
+green, green, green; yellow, citrine, yellow; orange, orange, orange. To the colorist the
+combinations here suggested are full of inspiration.</p>
+
+<p>&nbsp;</p>
+
+<p><a name="para34" id="para34"></a></p>
+<p>34. The harmony of analogy is a subject that is little understood. It
+may be color sequence, progression, development or succession.</p>
+
+<p>Thus we may combine red, green and blue by starting with crimson and
+maintaining the following
+<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+sequence: Crimson, red, scarlet, orange,
+yellow, greenish yellow, green, bluish green, blue, violet, and with
+added red get back to crimson.</p>
+
+<p>A room or a series of rooms may run to all colors and be still a harmony
+of analogy if the sequence or succession is gradual.</p>
+
+<p><a name="para35" id="para35"></a></p>
+<p>35. No more delightful harmonies can be imagined than those provided by
+nature. One may start with the brown of the earth and run into several
+shades of green, and from that touch upon yellow, and from yellow to
+orange, and from orange to red, and red to violet, and violet to the
+blue of the sky. Or one may follow the colorings and the proportion of
+colorings in flora and never go astray. (See <a href="#para22">&para; 22.</a>)</p>
+
+<p><a name="para36" id="para36"></a></p>
+<p>36. In the application of color to the home nothing is more pleasing
+than the harmony of sequence; the coloring of all rooms must be in
+sympathy with contiguous rooms. (<a href="#Page_26">Diagram VII</a>.)
+(See <a href="#para34">&para; 34</a>.)</p>
+
+<p><a name="para37" id="para37"></a></p>
+<p>37. All rooms are subject to the influence of a north or a south light,
+or much or little light, and the colorings must be considered
+accordingly. The ceiling and the upper parts of a wall require more pale
+colors where more light is needed. On the floor, however, where the
+greatest light falls, a little black may be added to soften the tone.</p>
+
+<p><a name="para38" id="para38"></a></p>
+<p>38. Red and green are sharply contrasting colors; violet and yellow and
+blue and orange sharply contrast, and while their combinations may be
+used in adjoining
+<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+rooms, it will be seen that in <a href="#Page_21">Diagram IV</a> these
+contrasting tones are not in contact, but by their arrangement form
+analogies of contrast combinations.</p>
+
+<p><a name="para39" id="para39"></a></p>
+<p>39. Yellow, orange, red, violet, blue and green are related; orange,
+russet, violet, slate, green and citrine are related; red, violet, blue,
+green, yellow and orange are related. Viewing the ceilings, the
+side-walls or the floor, there is the harmony of progression that we
+observe in the tinting of a flower. Viewed collectively the harmony is
+the same.</p>
+
+<p><a name="para40" id="para40"></a></p>
+<p>40. To illustrate further our point we would take the ceiling line. We
+start with yellow, a primary color; orange possesses yellow; orange
+likewise possesses red, the adjoining color; violet possesses red, and
+it likewise possesses blue. On the side-wall, russet possesses orange,
+and it also possesses violet; it is the tertiary color made of these two
+secondaries. Slate is made of green and violet, and is thus also related
+to citrine.</p>
+
+<p>We do not wish it understood that these colors are to be applied flat,
+but simply in the predominating expression. (See <a href="#para27">&para; 27</a>.)</p>
+
+<p><a name="para41" id="para41"></a></p>
+<p>41. The value of the diagram is obvious when one considers that in no
+particular is there a break in the sequence; but if we wish a harmony of
+analogy in a room, or a harmony of related parts, and wish the adjoining
+room to be in absolute contrast, we simply adopt the red, violet and
+blue for one room, and the green, citrine and orange for another; or the orange,
+<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+russet and violet for one room, and the blue, green and yellow
+for the other. If, however, the sequence of color is desirable where we
+move from one apartment to another, and the eye is pleased by a gradual
+changing color, we can adopt any of these combinations in the order as
+presented.</p>
+
+<p><a name="para42" id="para42"></a></p>
+<p>42. A vital point in the use of color, regarded usually with
+indifference or totally misunderstood, is the Unity of Composition to be
+preserved in the treatment of a series of <em>floors</em> in a house; for on
+each floor of a house the conditions of light vary. As we ascend the
+stairs we find each floor requires an altered treatment, because of the
+added light given from the skylight. (See <a href="#para37">&para; 37</a>.) Moreover, in the
+arrangement of a floor the relation of one room to another is frequently
+so influential that no one room should be treated without due
+consideration to the adjacent apartment. (See <a href="#Page_26">Diagram VIII</a>.)</p>
+
+<p>Too frequently the whole question of color is dismissed when the matter
+of north or south exposure is discovered, but the north room on the
+lower floor of a house is by no means so well lighted as the north room
+of the fourth or fifth floor, and the scale of color which would lend
+warmth to such a room would be weak in a more exposed apartment.
+(See <a href="#para30">&para; 30</a>.)</p>
+
+<p><a name="para43" id="para43"></a></p>
+<p>43. Where the artist has but one room to consider there is little scope
+for his application of color knowledge. He must frequently compromise to
+meet the conditions. But presuming that he must treat a floor
+through, he should adopt a Unity which will apply harmoniously to all
+the rooms and hallways.</p>
+
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 650px;">
+<span class="caption">DIAGRAM VII</span>
+<img src="images/img26.png" width="650" height="455" alt="image" title="" />
+<span class="caption">DIAGRAM VIII</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img27.png" width="600" height="470" alt="image" title="" />
+<span class="caption">DIAGRAM IX<br />
+For Key to Numbers see <a href="#Page_26">Diagram VII</a>.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<p class="center"><strong>CONTIGUOUS HARMONIES</strong></p>
+
+<p>44. For the lower floor he must arrange his colors so that while they
+moderate the direct glare of a sunny exposure or brighten the
+cheerlessness of a north light, they will also form a composition that
+pleases when seen from a point of common observation.</p>
+
+<p>45. On the upper floors the scale of color should be gradually softened,
+for the yellow or ivory tints that are pleasing on the first floor would
+be harsh and glaring where there is greater light. Exterior conditions
+must be borne always in mind.</p>
+
+<p>46. Recalling that the primary colors are yellow, red and blue, and that
+the secondary colors are orange, violet and green, and that the tertiary
+colors are russet, slate and citrine, all with many tints and shades,
+let us arrange a series of five rooms seriatim, so treating ceiling,
+side-wall and floor (See <a href="#Page_27">Diagram IX</a>) that in passing from one room to
+another they will be in sequence of color harmony&mdash;each complete from
+floor to ceiling and all in harmony along the ceiling lines, the wall
+lines and the floor lines.</p>
+
+<p>Let us take the suite of rooms suggested in <a href="#Page_27">Diagram IX</a>. We must consider
+desirable colorings in all of the rooms to be treated, and so far as
+possible adjust the sequence of treatments, as shown in <a href="#Page_26">Diagram VIII</a>, so
+that the approach to each room will be in harmonious order as viewed
+from any room. We have five rooms to treat. The library happens to be
+<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span>
+on the north side, hence we wish to treat it in colorings that supply
+the deficiency of sunshine. The hallway is rather dark. The living-room
+has only one window, and requires more warmth of color than the
+billiard-room and dining-room, which being sunshiny can be treated in
+more sombre tones. Therefore we select combination 6 for the hallway.
+The one room on the right we treat in No. 1. The rooms on the left we
+treat in Nos. 5, 4 and 3. We have, therefore, as we stand in room No. 6,
+treated in green, citrine and orange, a view to the right of yellow,
+orange and red, which is in harmonious juxtaposition. To the left we
+have a glimpse of rooms, the floors of which adjoining the orange floor
+of the entrance hall, are yellow, green and blue. The wall spaces
+adjoining the citrine wall space of the hall treatment are green, slate
+and violet. The frieze lines adjoining the green of the hall treatment
+are blue, violet and red&mdash;all juxtaposed harmonies. The floors of all
+rooms are of one deep scale; the walls lighter scale; the friezes and
+ceiling still lighter. If viewed from room 4 the harmonies are equally
+effective.</p>
+
+<p>47. <a href="#Page_26">Diagram VII</a> is useful for many reasons. In its present shape it
+shows the harmonies of analogy or related parts. To arrange harmonies of
+contrast, combine the colors of the first room with the fourth room, the
+colors of the second room with the fifth room, the colors of the third
+room with the sixth room. (See <a href="#para37">&para; 37</a>.)</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>HARMONIES FOR THE ROOM</strong></p>
+
+<p><a name="para48" id="para48"></a></p>
+<p>48. The floor should usually enter into the color
+<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+scheme as the low
+note in the scale. It is the background for the furniture, and should be
+deeper than the dado or wainscoting. The wood trims&mdash;baseboard, doors,
+plate-rails, and everything of that character, except the picture
+molding&mdash;should be like the woodwork of the furniture. This brings the
+woodwork into contrast with the wainscoting (unless the wainscoting be
+wood) and into harmony with the side-walls, although the degree of
+harmony is far removed. Thus, if the woodwork of the furniture is
+mahogany, the wainscoting green, the side-walls pink and gray, we would
+find the window trims of mahogany, or imitation mahogany, in harmony
+with the side-walls. (See <a href="#para51">&para; 51 and &para; 52</a>.)</p>
+
+<p><a name="para49" id="para49"></a></p>
+<p>49. I would lay down the rule that the wood trims of a room should
+harmonize by analogy with the side-walls where such walls are provided
+with a contrasting wainscoting; but if there is no wainscoting, or the
+wainscoting be also of wood, then the wood trims and furniture contrast
+with the side-wall.</p>
+
+<p>Substitute green side-wall for the pink, <a href="#para48">&para; 48</a>.</p>
+
+<p>White woodwork is always permissible. Study <a href="#Page_22">Diagram VI</a> on page 22.</p>
+
+<p><a name="para50" id="para50"></a></p>
+<p>50. The picture molding may harmonize with the ceiling. Indeed, a white
+picture molding frequently is better than one matching the general
+woodwork (See <a href="#para37">&para; 37</a>); a dark upper molding, moreover, reduces the
+apparent size of a room.</p>
+
+<p><a name="para51" id="para51"></a></p>
+<p>51. Where black furniture is used, or gold
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+furniture, it will of course
+be understood that the wood trims shall not be black or gold; but so
+long as they are in harmony, that will be sufficient. White wood trims
+are nearly always permissible as a substitute for colored wood.</p>
+
+<p>52. Tones of gray with soft colorings (See <a href="#para32">&para; 32</a>), are always safe.</p>
+
+<p>To summarize (Note <a href="#para37">&para; 37</a>):</p>
+
+<p><a name="para53" id="para53"></a></p>
+<p>53. In harmonies of contrast the side-walls, the furniture woodwork,
+wood trimming, cove, ceiling and the curtains should be related.</p>
+
+<p>54. The rugs, frieze, wainscoting or dado, furniture upholsterings and
+the curtain borders should be related. (See <a href="#para49">&para; 49</a>.)</p>
+
+<p>55. If the curtains have no borders, then the curtains contrast with the
+wood trims.</p>
+
+<p><a name="para56" id="para56"></a></p>
+<p>56. Remember always cove and ceiling should be the palest tint of the
+side-wall color, and the rug should be of the deepest contrast to the
+side-wall, in harmony with the wainscoting, if there is a wainscoting.
+Remember, also, that the colors here prescribed are never to be of the
+same scale. The rug or carpet is of the deepest, and the ceiling of the
+palest. While certain colors are to contrast, they are not to contrast
+in the same scale. (See <a href="#para37">&para; 37</a> and <a href="#para40">&para; 40</a>.)</p>
+
+<p>57. If we find that the tone of color of the wainscoting, for instance,
+is a bluish green, the side-wall should be of a reddish orange; for the
+reason that if green contrasts with red, and if blue contrasts with
+<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+orange, a bluish green would contrast with a reddish orange.</p>
+
+<p><a name="para58" id="para58"></a></p>
+<p>58. Exception to <a href="#para56">&para; 56</a>. Only large or well-proportioned rooms can stand
+the diminishing or reduction effects of contrast. In low ceiling rooms,
+leave out the contrasting frieze, and let border, cornice and ceiling be
+in receding colors. (See <a href="#para89">&para; 89</a>.)</p>
+
+<p><a name="para59" id="para59"></a></p>
+<p>59. We all know that a northern exposure gives a room a deficiency of
+sunlight, and the wall treatment should supply this. A southern room, on
+the other hand, gives so much sunlight that counteracting wall
+treatments in cold color are permissible.</p>
+
+<p>60. In the color treatment of a room one has either to adopt a harmony
+of analogy or a harmony of contrast, and this is a matter which depends
+upon so many conditions that it should be carefully considered.
+(See <a href="#para88">&para; 88</a> and <a href="#para89">&para; 89</a>.) Where a plate-rail is used one must remember that a great
+deal of color may be furnished by the bric-&agrave;-brac, and that the wall
+behind this plate-rail should be of a color in contrast to the contents
+of the plate-rail.</p>
+
+<p><a name="para61" id="para61"></a></p>
+<p>61. When we follow a scheme of <em>contrast</em> the borders should be usually
+complements, and if the reader has studied our diagram he will very
+readily understand how to determine the exact complementary color.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>WALL PROPORTIONS</strong></p>
+
+<p><a name="para62" id="para62"></a></p>
+<p>62. The wainscoting or dado should be the same as the top border or
+frieze, but of a darker tone. The intermixture of white or black is
+always permissible;
+<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+thus a paper as a side-wall might have as its
+frieze the complementary coloring with more white, while the wainscoting
+or dado should be the complementary with black added.</p>
+
+<p><a name="para63" id="para63"></a></p>
+<p>63. The cornice should be lighter than the border, and its members may
+show several tints, with the ceiling lighter still. (See <a href="#para92">&para; 92</a>.)</p>
+
+<p><a name="para64" id="para64"></a></p>
+<p>64. As a rule the color of the chair coverings should be the
+complementary of the side-walls, and the color of the furniture frames
+should be complementary to the wainscoting; so by following this rule we
+find that the wainscoting serves as a contrasting background to the
+chair frame.</p>
+
+<p>65. Let us imagine a room wherein the side-walls are of a reddish tint;
+the wainscoting, being a complementary color, is of a greenish cast. The
+furniture is of mahogany, and in contrast to the wainscoting, while the
+chair covering, being greenish in contrast to the chair frame, is also
+in contrast to the side-wall. Here we have, then, the color relations of
+side-wall, wainscoting, furniture-frames and covering; but it is
+undesirable that these tones should be in the same scale. (See <a href="#para62">&para; 62</a> and
+<a href="#para92">&para; 92</a>, also tables pages <a href="#Page_42">42 and 43.</a>)</p>
+
+<p><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span></p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/img34.png" width="700" height="389" alt="large room proportions" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/img35.png" width="700" height="387" alt="small room proportions" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+<p class="center"><strong>ROOM PROPORTIONS</strong></p>
+
+<p><a name="para66" id="para66"></a></p>
+<p>66. In small rooms harmonies of contrast are unsafe, because contrasts
+must involve advancing colors, which make a room look smaller. (See <a href="#para86">&para; 86</a>
+and <a href="#para90">&para; 90</a>.) Harmonies of analogy are far better; and as frieze,
+wainscoting and dado are not recommended in the small room, we suggest
+that the furniture woodwork and the wood trims should be of one color
+note, unless it is desired that the wood trims should be white; and that
+the side-walls, curtains and chair upholsterings should be of a note in
+some degree related and of receding color, picked out with just a touch
+of contrasting color. (See <a href="#para90">&para; 90 and &para; 91</a>.)</p>
+
+<p>This contrasting color may be introduced in the accessories, the
+pictures, bric-&agrave;-brac, flowers (natural or artificial) or books.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 323px;">
+<img src="images/img36.png" width="323" height="450" alt="image" title="" />
+<span class="caption">&ldquo;... pronounced patterns must balance,&rdquo; etc.<br />
+(See page <a href="#Page_38">38</a>.)</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img37.png" width="600" height="118" alt="image" title="" />
+<span class="caption">Broken heights. (See <a href="#para75">&para; 75</a>.)</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>DECORATIVE PROPORTIONS</strong></p>
+
+<p class="center">(SEE CHART)</p>
+
+<p>On the preceding pages we present a quick-reference chart of rules that
+should be followed in furnishing rooms under various conditions of Light
+and Proportion.</p>
+
+<p style="margin-left: 10em;">
+67. A large room with high ceiling and well lighted.<br />
+68. A large room with low ceiling and well lighted.<br />
+69. A large room with high ceiling and poorly lighted.<br />
+70. A large room with low ceiling and poorly lighted.<br />
+71. A small room with high ceiling and well lighted.<br />
+72. A small room with low ceiling and well lighted.<br />
+73. A small room with high ceiling and poorly lighted.<br />
+74. A small room with low ceiling and poorly lighted.</p>
+
+<p>There are two considerations to bear uppermost in mind: Proportions
+affected by Color and Proportions affected by Design.</p>
+
+<p><a name="para75" id="para75"></a></p>
+<p>75. It is easily understood that a large room may be safely furnished
+with large pieces of furniture, but where there is a wide expanse of
+floor space care must be exercised to secure broken heights: In a
+high-ceilinged room the furniture must not be all high; in a
+low-ceilinged room the furniture must not be all low.</p>
+
+<p><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+Avoid straight line effects in the furniture heights and in the
+wall-paper, which, if in pronounced patterns, must balance in
+conspicuous wall members and show the broken junctures or bad matchings
+in inconspicuous or obscure corners.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>COLORS THAT GIVE SIZE TO A ROOM</strong></p>
+
+<p><a name="para76" id="para76"></a></p>
+<p>76. The wall and fabric designs must be of a size proportionate to the
+size of the room. The color treatment of a well-lighted room must be
+subdued to offset the glare of the natural illumination, and the natural
+illumination be subdued to soften the color treatment; glare must be
+avoided.</p>
+
+<p><a name="para77" id="para77"></a></p>
+<p>77. Advancing colors are colors which contain red or yellow in the
+ascendancy; <em>receding</em> colors are those which contain blue in the
+ascendancy. Green in its purity, being half yellow and half blue, is
+almost neutral. In the same way violet, being made up of half red and
+half blue, is theoretically neutral, although the blue tone is usually
+more assertive than the red and makes the color recede. Any color or hue
+possesses advancing or receding qualities according to the ascendancy of
+red, blue or yellow in its composition.</p>
+
+<p><a name="para78" id="para78"></a></p>
+<p>78. Orange is an advancing color; so also is violet in the shades
+approaching red; green in the shades approaching yellow.</p>
+
+<p><a name="para79" id="para79"></a></p>
+<p>79. Of the tertiary colors russet is an advancing color, because while
+it contains some blue in the violet of its composition, it contains a
+preponderance of red and orange.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<p class="center"><strong>ADVANCING AND RECEDING COLORS</strong></p>
+
+<p><a name="para80" id="para80"></a></p>
+<p>80. Citrine is an advancing color, because while it contains some blue
+in the green of its composition, it contains a preponderance of yellow
+and orange; slate is a receding color, because while it contains some
+yellow in the green of its composition, it contains a preponderance of
+blue; in the same way plum may be regarded as an advancing color,
+because of its preponderance of red; buff is an advancing color, because
+of its preponderance of yellow; sage is a receding color, because of its
+preponderance of blue.</p>
+
+<p><a name="para81" id="para81"></a></p>
+<p>81. The carpet should always be in the low tone, and in a small room a
+bordered carpet should be always tabooed. So also should one avoid the
+use of one rug so placed that a border of woodwork shows around it,
+because this gives the border effect and makes a small floor space look
+still smaller. Better use small rugs. The use of a lot of narrow rugs
+lengthwise along a narrow room will make the room look all the narrower,
+but the same rugs placed crosswise would make a room look wider.</p>
+
+<p>The diagrams which we have prepared will give even the man who
+understands it all a quicker grasp of the points involved.</p>
+
+<p><a name="para82" id="para82"></a></p>
+<p>82. Width effect and distance effect are obtained best by arranging the
+smaller pieces at the farthest points.</p>
+
+<p>83. It is the same with pictures. While a room should be balanced, and
+the pictures placed in a manner to give this result, it is best, where
+possible, to
+<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+keep the larger pictures, larger effects, always near the
+eye. The crowding of large pieces at the farthest point diminishes the
+apparent size of the room.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>FLOOR TREATMENTS</strong></p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/img40.png" width="500" height="297" alt="floor rug" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><a name="para84" id="para84"></a></p>
+<p>84. Continuous design in ceiling or carpet weakens the size effect;
+hence rugs which break the continuity by being laid across the room
+instead of lengthwise are preferable. (See Diagrams and <a href="#para81">&para; 81</a>.)</p>
+
+<p><a name="para85" id="para85"></a></p>
+<p>85. It is a safe rule to do a small or narrow room in harmonies of
+analogy or related colors, colors of a light tone and of receding
+character. Apart from any effect which color may possess decoratively or
+pictorially, its value cannot be overestimated in its application to the
+laws of proportion.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/img41.png" width="650" height="385" alt="floor rugs" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><a name="para86" id="para86"></a></p>
+<p>86. Borders may be safely used on the wall or on the carpet of any large
+room with high ceiling, but wall friezes should be avoided where the
+ceilings are low, for they foreshorten the height effect.</p>
+
+<p><a name="para87" id="para87"></a></p>
+<p>87. We would avoid borders on the floor of a small room to make it look
+larger, and we would use wide borders in a large room with a low ceiling
+so that the floor may be foreshortened.</p>
+
+<p><a name="para88" id="para88"></a></p>
+<p>88. One may utilize in a large, poorly lighted room masses of luminous
+colors to give artificial sunlight to the room deficient therein, but in
+the small, poorly lighted room this treatment should be avoided.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+<p class="center"><strong>COLOR SCHEMES FOR ROOMS UNDER NORMAL CONDITIONS</strong></p>
+
+
+<p>(TN: left page of two page table)</p>
+
+<div class='center'>
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr>  <td align='right'></td>  <td class="tdp"></td>
+        <td align='left'></td>  <td class="tdp"></td>
+        <td align='left'></td>  <td class="tdp"></td>
+        <td align='left'></td>  <td class="tdp"></td>
+        <td align='center'>KEYNOTE<br />COLORS</td>  <td class="tdp"></td>
+        <td align='left'></td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='center'><strong>A</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>B</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>A</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>B</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>A</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>B</strong></td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='center'><strong><em>Floor</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Drapery</em></strong><br /><strong><em>Border</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Wood Trim</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Wainscoting</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Side-Wall</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Furniture</em></strong><br /><strong><em>Coverings</em></strong></td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='center'>(<em>Brown and<br />gray tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Full tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Wood tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Deep tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Soft tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Soft tones</em>)</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Brown</td>  <td class="tdp"></td>
+        <td align='left'>Yellow</td>  <td class="tdp"></td>
+        <td align='left'>Mission</td>  <td class="tdp"></td>
+        <td align='left'>Green</td>  <td class="tdp"></td>
+        <td align='left'>Red</td>  <td class="tdp"></td>
+        <td align='left'>Green</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Deep oak<br />&nbsp;&nbsp;brown</td>  <td class="tdp"></td>
+        <td align='left'>Orange</td>  <td class="tdp"></td>
+        <td align='left'>Mission</td>  <td class="tdp"></td>
+        <td align='left'>Blue</td>  <td class="tdp"></td>
+        <td align='left'>Orange</td>  <td class="tdp"></td>
+        <td align='left'>Blue</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Light oak</td>  <td class="tdp"></td>
+        <td align='left'>Green</td>  <td class="tdp"></td>
+        <td align='left'>Light oak</td>  <td class="tdp"></td>
+        <td align='left'>Violet</td>  <td class="tdp"></td>
+        <td align='left'>Yellow</td>  <td class="tdp"></td>
+        <td align='left'>Violet</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Deep olive</td>  <td class="tdp"></td>
+        <td align='left'>Blue</td>  <td class="tdp"></td>
+        <td align='left'>Oak</td>  <td class="tdp"></td>
+        <td align='left'>Red</td>  <td class="tdp"></td>
+        <td align='left'>Green</td>  <td class="tdp"></td>
+        <td align='left'>Red</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Mission tones<br />&nbsp;&nbsp;of slate</td>  <td class="tdp"></td>
+        <td align='left'>Violet</td>  <td class="tdp"></td>
+        <td align='left'>Mahogany</td>  <td class="tdp"></td>
+        <td align='left'>Orange</td>  <td class="tdp"></td>
+        <td align='left'>Blue</td>  <td class="tdp"></td>
+        <td align='left'>Orange</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Deep plum</td>  <td class="tdp"></td>
+        <td align='left'>Red</td>  <td class="tdp"></td>
+        <td align='left'>Violet toned<br />&nbsp;&nbsp;or tulip</td>  <td class="tdp"></td>
+        <td align='left'>Yellow</td>  <td class="tdp"></td>
+        <td align='left'>Violet</td>  <td class="tdp"></td>
+        <td align='left'>Yellow</td>  <td class="tdp"></td>
+      </tr>
+
+</table></div>
+
+<p>&nbsp;</p>
+<p>(TN: right page of two page table)</p>
+
+<div class='center'>
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr>  <td align='center'><strong>A</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>B</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>A</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>B</strong></td>  <td class="tdp"></td>
+        <td align='center'><strong>A</strong></td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='center'><strong><em>Furniture</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Frieze</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Draperies</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Ceiling</em></strong></td>  <td class="tdp"></td>
+        <td align='center'><strong><em>Cornice</em></strong></td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='center'>(<em>Wood tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Soft tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Full tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Pale wash tones</em>)</td>  <td class="tdp"></td>
+        <td align='center'>(<em>Pale wash tones</em>)</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Mahogany</td>  <td class="tdp"></td>
+        <td align='left'>Pale green</td>  <td class="tdp"></td>
+        <td align='left'>Red</td>  <td class="tdp"></td>
+        <td align='left'>Palest green</td>  <td class="tdp"></td>
+        <td align='left'>Pale yellow</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Deep oak</td>  <td class="tdp"></td>
+        <td align='left'>Blue</td>  <td class="tdp"></td>
+        <td align='left'>Orange</td>  <td class="tdp"></td>
+        <td align='left'>Palest blue</td>  <td class="tdp"></td>
+        <td align='left'>Pale green</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Gold, gray or<br />&nbsp;&nbsp;yellow</td>  <td class="tdp"></td>
+        <td align='left'>Violet</td>  <td class="tdp"></td>
+        <td align='left'>Yellow</td>  <td class="tdp"></td>
+        <td align='left'>Palest violet</td>  <td class="tdp"></td>
+        <td align='left'>Pale blue</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Walnut gray</td>  <td class="tdp"></td>
+        <td align='left'>Grayish red</td>  <td class="tdp"></td>
+        <td align='left'>Green</td>  <td class="tdp"></td>
+        <td align='left'>Palest red</td>  <td class="tdp"></td>
+        <td align='left'>Pale violet</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Mission brown</td>  <td class="tdp"></td>
+        <td align='left'>Gray orange</td>  <td class="tdp"></td>
+        <td align='left'>Blue</td>  <td class="tdp"></td>
+        <td align='left'>Palest orange</td>  <td class="tdp"></td>
+        <td align='left'>Pale orange</td>  <td class="tdp"></td>
+      </tr>
+
+<tr>  <td align='left'>Gold or violet<br />&nbsp;&nbsp;tone</td>  <td class="tdp"></td>
+        <td align='left'>Yellow</td>  <td class="tdp"></td>
+        <td align='left'>Violet</td>  <td class="tdp"></td>
+        <td align='left'>Palest yellow</td>  <td class="tdp"></td>
+        <td align='left'>Pale pink</td>  <td class="tdp"></td>
+      </tr>
+
+</table></div>
+
+<p>Exception 1. The ceiling, where there is no pronounced cornice or cove,
+should follow the wall tint.</p>
+
+<p>Exception 2. Independent of rule, a low ceiling should be in receding
+color.</p>
+
+<hr style='width: 45%;' />
+
+<p>It is impossible to tabulate directions for using color without an
+understanding of the conditions, the size, light and height of a room.
+(See pages <a href="#Page_34">34 and 35</a>.) The above tables relate only to normal
+conditions.</p>
+
+<p>White woodwork can be used effectively in the trims of a room and give
+greater light and size. The darker the wood trims the smaller the room
+appears. We have left out of consideration the window treatments which,
+as a rule, should be of white lace, perhaps overdraped in colored
+stuffs. If the room is poorly lighted, it is obviously undesirable to
+cut off any light from the window by even laces; the curtains,
+therefore, in a poorly lighted room should be draped back. Colored
+laces, grenadines or madras stuffs are frequently used to give period
+style or color tone, and
+<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+wherever they are used, such curtains should
+harmonize with the wall. So also with the overdraperies to the lace
+curtains.</p>
+
+<p><a name="para89" id="para89"></a></p>
+<p>89. Luminous or advancing colors make a small room look all the smaller;
+therefore in small rooms we suggest the use of white woodwork, and in
+the color treatment we would avoid contrasts, but would suggest
+harmonies of analogy in receding colors, soft grays, greens and blues.
+These are not luminous colors and will make a small room look the
+larger, while the white will give light effects, and if the room appears
+a trifle somber it can be easily relieved by
+<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+the bright colors of the
+bric-&agrave;-brac and by a touch of gold here and there on the wall.
+(See <a href="#para66">&para; 66</a> and <a href="#para85">&para; 85</a>.)</p>
+
+<p><a name="para90" id="para90"></a></p>
+<p>90. There are cases where a small room has a northern exposure, and
+while apparently expedient to treat such a room in warm colors to supply
+the deficiency of sunlight, such a course would make a room look
+smaller.</p>
+
+<p><a name="para91" id="para91"></a></p>
+<p>91. Under the circumstances treat the room in light hues, gray
+preferred, and get the deficiency of sunlight through some warm isolated
+details and in the lace curtains.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>THE WALL THE KEYNOTE COLOR</strong></p>
+
+<p><a name="para92" id="para92"></a></p>
+<p>92. Our theory of color as applied to room furnishings provides always
+that the side-wall is the keynote and this keynote is usually fixed for
+practical reasons in sympathy with the furniture; above to the ceiling&#8217;s
+center the note ascends and below to the floor center it descends; it
+goes into tints as it ascends and into deeper shades of gray and brown
+as it descends.</p>
+
+<p>If, for instance, blue is the keynote, by adding black you have drabs,
+slates or grays for the floor, while if the keynote be red you have
+&eacute;crus and browns for the floor light or gray, according to the color
+scale of the keynote.</p>
+
+<p><a name="para93" id="para93"></a></p>
+<p>93. It must be understood that in designating a color we do not mean
+that it shall be solid or pure, but merely that it prevails. (See <a href="#para29">&para; 29</a>.)</p>
+
+<p>A side-wall may be treated in several colors, but as long as orange
+prevails, it follows the conditions of
+<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+the combination, pages <a href="#Page_42">42 and 43</a>. The factors included in the line
+designated A are all of one color
+family. The factors indicated by B are also family colors. It will be
+seen that the A or B colors taken by themselves form <span class="smcap">harmonies of
+analogy</span>; it is only by combining the A&#8217;s with the B&#8217;s that we have
+<span class="smcap">harmonies of contrast</span>.</p>
+
+<p>If a room is to be done in harmonies of analogy, use the A colors alone
+or the B colors alone, but never A and B together.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>THE PSYCHOLOGY OF COLOR</strong></p>
+
+<p><a name="para94" id="para94"></a></p>
+<p>94. Whatever may be the charm conveyed by design there is a reason for
+it. We can analyze it.</p>
+
+<p>It has an inherent quality of beauty or historic interest, and there is
+a definite and distinct reason for our liking it.</p>
+
+<p>But the effect of color is exciting or disturbing, tranquilizing or
+pleasing, inexplicable and inexpressible, affecting the senses like an
+appeal to the passions or the appetite. One might as well explain the
+love of sport, literature, art or vice. The sense of color is a nerve
+sense, and this sense varies in the individual. We know that colors
+which are strongest in direct sun rays, like red and orange, arouse the
+normal senses, while the blues and violets quiet.</p>
+
+<p>Nature provides vast fields of green because favorable in its effects
+upon humanity. Experiments prove that men of extreme sensibility exposed
+to the influences of red light finally show excitement which gives
+muscular development fifty per cent. in excess of the power possessed by
+the same subject when
+<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+exposed for the same period under the influences
+of blue light.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>TO DETERMINE THE COLOR SENSE</strong></p>
+
+<p>Color, like music, while subjected to positive rules of harmony, appeals
+to natures according to the responsiveness of their nerve sense, and the
+practical decorator in dealing with a customer should discover at the
+outstart the character of that nerve sense. Some natures respond to the
+normal colors, barbaric colors. Some respond to the softer tints and are
+disturbed by the sharper tones. A dulled sense requires sharp contrasts;
+a quickened sense is satisfied with the soft gray tones. Apart from any
+question of propriety or environment the individual taste for color must
+be determined before the individual taste can be pleased.</p>
+
+<p>A demonstration of four examples in color may serve the purpose of
+determining one&#8217;s color sense.</p>
+
+<p>First. Combinations of normal primary and secondary colors, (<em>a</em>)
+arranged in contrasts, (<em>b</em>) in analogies.</p>
+
+<p>Second. Combinations of tones of the above colors, (<em>a</em>) arranged in
+contrasts, (<em>b</em>) in analogies.</p>
+
+<p>Third. Combinations of tints of the above colors, (<em>a</em>) arranged in
+contrasts, (<em>b</em>) in analogies.</p>
+
+<p>Fourth. Combinations of the gray (tertiary) tones of the above colors,
+(<em>a</em>) arranged in contrasts, (<em>b</em>) in analogies.</p>
+
+<p><a name="para95" id="para95"></a></p>
+<p>95. Do not allow your personal color-sympathies to dominate your work.
+All colors have their usefulness, for there are occasions when it is
+proper they
+<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+should be used, apart from any question of harmony; one
+must consider always the uses of colors, the lights, and the purpose of
+the room under treatment.</p>
+
+<p><a name="para96" id="para96"></a></p>
+<p>96. Nature gives to the dark forest depths great brilliancy of
+floriculture, and dark-skinned people indulge unconsciously the same
+bright scale of color. But as we come out of the forest and advance in
+civilization we use barbaric colorings more discriminately.</p>
+
+<p>97. We employ gold, orange or yellow for the north room not for inherent
+beauty, but for the sense of warmth which they convey to an atmosphere
+chilled by the absence of sunlight. We employ receding colors in a small
+room that the room may look larger. We employ cold colors in a sunny
+room, especially in the summer home, for reasons psychological rather
+than &aelig;sthetic.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>PERIOD USES OF COLOR</strong></p>
+
+<p><a name="para98" id="para98"></a></p>
+<p>98. If our furniture is white and gold, it is clearly evident that the
+colorings of a room should be soft and harmonious. If we adopt the dark
+teakwood of India or the deep brown of Flanders, our color scheme again
+changes. The preponderance of white in Colonial rooms was due to
+architectural conditions. White illuminates; and in the days when our
+ceilings were no higher than seven and a half feet, and our windows were
+small, the room needed an artificial light, and white supplied this.</p>
+
+<p>99. In furnishing an Empire room, the decorators have, little by little,
+led themselves to believe that
+<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+what is known as Empire green is a
+distinct shade of green. On the contrary, green was used in the period
+of the Empire simply because it was in pleasing contrast with the
+mahogany and brass so much used. If the mahogany is dark, a dark green
+is desirable; if light, a light green.</p>
+
+<p>100. Egyptian decoration was full of gold and brilliant coloring, and a
+popular form of combination was the triad form:</p>
+
+<p style="margin-left: 15em;">
+Black, yellow and red.<br />
+Red, blue and white.<br />
+Dark blue, light blue and white.<br />
+Cream color, blue and black.<br />
+Dark red, medium yellow and blue.</p>
+
+<p>101. The Greek decorators, who painted in fresco, used white, red, blue,
+yellow and black. Natural marbles were much used in green and red and
+alabaster, and bronze, gold and silver.</p>
+
+<p>We see the flat colors of the Greek, Etruscan and Pompeiian age and we
+imagine they are typical of the period, but we must consider that the
+examples of that period which we now possess are faded and emasculated,
+and that the more authentic the example, the more aged it is, and hence
+the more weakened in color character.</p>
+
+<p>The Greeks loved color, and their embroideries were in gold and blue and
+Tyrian purple.</p>
+
+<p>Roman coloring was but a continuance of the Greek, characterized by dark
+and rich backgrounds, which were frequently black, red or deep yellow and
+<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+dark blue, on which figures and landscapes, or animals, or groups
+from still life, were executed in bright colorings of powerful
+contrasts. Black and white were used, and later, when the Byzantine
+artists and craftsmen found their way to Western Italy, they spread this
+love of bold coloring, so that at the dawn of the Renaissance we find a
+return to the Greek and Roman coloring, which, however, was modified in
+England, Germany and Flanders, according to temperamental conditions.</p>
+
+<p>102. We find, for instance, some forms of Florentine decoration, full of
+yellow, red-yellow, blue-greens and light slate blues. Botticelli used
+whites, creams, reds and citrine, with umber tones heightened by gold,
+and if we examine carefully the Sixteenth and Seventeenth Century
+Italian brocades which are preserved in the museums, we discover a great
+preponderance of yellow-green as an ornament on dark violet, or light
+olive green on dark blue, or dull orange on crimson brown.</p>
+
+<p>In some of the richest early Italian fabrics we find:</p>
+
+<div class="blockquot">
+<p>Purple and sage-green ornaments on indigo ground; outlines in gold.</p>
+
+<p>Dull crimson, pale blue and chrome yellow ornaments on dark gray
+ground.</p>
+
+<p>Pale yellow-green ornaments on deep amber ground.</p>
+
+<p>Dark blue-green and light greenish-yellow ornaments on deep crimson
+ground.</p>
+
+<p>Pale greenish-blue ornaments on dark gray-blue ground, with white
+and gold picked out in small quantities.</p>
+
+<p>Emerald green and dull orange ornaments on dark gray-green ground
+outlined in gold.</p></div>
+
+<p><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+<p>103. The French Renaissance takes inspiration from the Roman and Greek.</p>
+
+<p>The Louis XIV is a development of the Renaissance, with a conspicuous
+use of gold.</p>
+
+<p>The Louis XV is an elaboration along the same lines.</p>
+
+<p>The Louis XVI is a simplification and a return to the classic.</p>
+
+<p>The Georgian is largely Roman and Pompeiian.</p>
+
+<p>104. The Adam style was taken directly from the Pompeiian, but in most
+cases, instead of having the Pompeiian solid color background with
+design lightly executed, the background is in the light color, and the
+design dark. To follow strictly the Pompeiian palace style would be too
+garish in our modern circumscribed environment.</p>
+
+<p>105. It is a nice psychological problem to decorate the house in a way
+to give true balance to the &aelig;sthetic sense. No matter how great one&#8217;s
+admiration for a thing, there is always a final point of satiety at
+which the desire needs rest or balance. A woman may love flowers, for
+example, but in the season of flowers, when all nature supplies an
+over-abundance, the visual sense becomes satiated, and the house
+interior that is furnished in cool tints and two-tones gives positive
+relief.</p>
+
+<p>106. On the other hand, floral decorations in the home are the balance
+needed to the mind that craves them during the Winter period when there
+is a lack of color without.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/img51.png" width="550" height="339" alt="image" title="" />
+<span class="caption">Compare perpendicular and horizontal lines: The angles<br />
+and curves which enclose them change their relative equality.</span>
+</div>
+
+<hr style="width: 45%;" />
+
+<p class="center"><strong>ILLUSION EFFECT AND EXPRESSION IN THE USE OF LINES</strong></p>
+
+<p><a name="para107" id="para107"></a></p>
+<p>107. We very often notice a room which has been carefully carried out
+but is utterly lacking in charm. The color seems right, and, considered
+in detail, the furniture and the furnishings are appropriate, but the
+room lacks effectiveness.</p>
+
+<p>It is uninteresting.</p>
+
+<p>It is like a doll face that is, perhaps, perfect in detail, but utterly
+devoid of <span class="smcap">expression</span>.</p>
+
+<p>The artist who paints a portrait is a failure without the ability to
+give expression: hence in
+<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+architecture the acute-angled spires or
+arched roofs have the same expression that the &ldquo;long face&rdquo; carries.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/img52.png" width="550" height="390" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p>If we smile, the mouth curves upward; if we grieve, the lines turn
+downward.</p>
+
+<p><a name="para108" id="para108"></a></p>
+<p>108. In festival decorations, joy is expressed by loops, curves and
+festoons.</p>
+
+<p><a name="para109" id="para109"></a></p>
+<p>109. In serious decorations (libraries, studies, church or office work)
+straight lines are used; curtains are gathered in plaits so that the
+sags and drapes are all out of them; they are drawn. It is the same when
+we say of a person: &ldquo;He looks serious, his face is drawn; it is full of
+lines.&rdquo;</p>
+
+<p>110. The observation, &ldquo;a broad smile on his face,&rdquo;
+<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+means literally just
+that; the lines extend outward and upward, giving an expression of
+breadth and joy to the countenance.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>ILLUSION</strong></p>
+
+<p><a name="para111" id="para111"></a></p>
+<p>111. A doorway looks wider that has at the top a drapery which crosses
+in one complete curved sweep. A side-wall is larger apparently if along
+the frieze line long, wide loops or festoons are arranged. The same wall
+is more contracted and higher if treated in arrow-point forms of design.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/img53.png" width="550" height="426" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p>The decorator should study these matters of
+<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+illusion, for they are
+vital to the success of his labor. (See <a href="#para116">&para; 116</a>.)</p>
+
+<p><a name="para112" id="para112"></a></p>
+<p>112. Perpendicular lines contract the wall space and extend the apparent
+height of a room; horizontal lines shorten the apparent height of the
+ceiling and lengthen the width of the room. (See exceptions, <a href="#para119">&para; 119</a>.)</p>
+
+<p>These straight lines may be used where extremes are needed. (See pages
+<a href="#Page_61">61</a> and <a href="#Page_63">63</a>.)</p>
+
+<p>A short doorway, for instance, looks higher where the porti&egrave;re is hung
+in straight folds; so also with a cottage window.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/img54.png" width="450" height="234" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><a name="para113" id="para113"></a></p>
+<p>113. Every decorator who handles fabrics, every cabinetmaker who lays
+out the woodwork of a room, every stained glass window maker, should
+appreciate one fact: A line which is finished at the top or
+<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>bottom, or
+both, with acute angles appears longer than the line that is finished
+top and bottom with an obtuse or right angle. It is the same with the
+finish of a wall frieze.</p>
+
+<p>If the wall frieze ends abruptly (<a href="#Page_57">Illustration A</a> on page 57), it is
+foreshortened; if it is finished by angles (<a href="#Page_57">Illustration B</a>), the height
+of the room is apparently greater. (See the illustration on page <a href="#Page_51">51</a>.)</p>
+
+<p><a name="para114" id="para114"></a></p>
+<p>114. It is the same way with curves; given two lines of equal length and
+enclose one with convex and the other with concave curves, and the line
+enclosed convex will appear longer.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/img55.png" width="450" height="237" alt="image" title="" />
+<span class="caption">Treated for Broken Heights.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span></p>
+<div class="figright" style="width: 278px;">
+<img src="images/img56a.png" width="278" height="300" alt="image" title="" />
+</div>
+
+<p><a name="para115" id="para115"></a></p>
+<p>115. In dress a collar brought down to an acute angle in the front of
+the waist gives height effect, whereas a perfectly straight collar
+around the neck reduces the apparent height and gives width effect.</p>
+
+<div class="figleft" style="width: 295px;">
+<img src="images/img56b.png" width="295" height="300" alt="image" title="" />
+</div>
+
+<p><a name="para116" id="para116"></a></p>
+<p>116. The use of arches should be studied. A space that is arched looks
+wider than it actually is, for the eye unconsciously follows the lines
+of the arch, and a distance or width effect is the result. The same
+space treated with a straight line is quickly bridged. The same space
+treated with lines that come to an angle looks narrower, for the reason
+that the eye becomes focused by the apex of the angle, and a height
+effect, not a breadth effect, is the result. (See page <a href="#Page_57">57</a>.)</p>
+
+<p><a name="para117" id="para117"></a></p>
+<p>117. This illusion is best shown in the illustrations of the parallel
+lines that are crossed diagonally, with the result that the lines no
+longer look parallel because of the angles. Nevertheless, they are
+parallel, and the lines running diagonally at the bottom of this page
+are also parallel.</p>
+
+<p>We present two practical illustrations of illusion in the use of lines.
+(See <a href="#para112">&para; 112</a>.) They represent the side-walls of two rooms of the same
+dimensions, but showing apparently different proportions, the
+perpendicular lines making the side-wall look higher and the horizontal
+lines making the side-wall look lower. (See page <a href="#Page_59">59</a>.)</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/img57a.png" width="550" height="378" alt="image" title="" />
+<span class="caption">Illustration A.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/img57b.png" width="550" height="398" alt="image" title="" />
+<span class="caption">Illustration B. (See <a href="#para113">&para; 113</a>.)</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img59a.png" width="600" height="307" alt="image" title="" />
+</div>
+
+
+<p>The length of the wall space is shortened, moreover, by the
+perpendicular lines and lengthened by the horizontal lines.</p>
+
+<p><a name="para118" id="para118"></a></p>
+<p>118. No period expresses more clearly the joy of curves as opposed to
+the severity of straight lines than that voluptuous period of Louis XV
+known as Rococo. It was a profligate era, an era of pleasure, and the
+appended illustration of part of a frieze is in no way exaggerated, but
+a true example of a common expression. (See page <a href="#Page_60">60</a>.)</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img59b.png" width="600" height="261" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/img60a.png" width="650" height="347" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><a name="para119" id="para119"></a></p>
+<p>119. Distinct perpendicular lines give height effect, but they also
+narrow the apparent width of a wall space. It is best to have such line
+effects indistinct unless they appear as in the illustration on page <a href="#Page_63">63</a>,
+where they are intended to reduce the breadth effect of the pattern and
+neutralize a squat tendency.</p>
+
+<p>Indistinct perpendiculars give height effect, and do not reduce the wall
+width.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/img60b.png" width="650" height="171" alt="image" title="" />
+<span class="caption">(See <a href="#para111">&para; 111</a>.)</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/img61.jpg" width="600" height="483" alt="image" title="" />
+<span class="caption">Perpendicular lines, giving height effect.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+<div class="figcenter" style="width: 402px;">
+<img src="images/img63.jpg" width="402" height="600" alt="image" title="" />
+<span class="caption">Perpendicular lines, giving height effect.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+<p class="center"><strong>COLOR TERMS</strong></p>
+
+<p><a name="para120" id="para120"></a></p>
+<p>120. In the study of color and its application authorities differ so
+materially that it is not only impossible to reconcile their theories,
+but the different terms used to express color thought create
+inextricable confusion.</p>
+
+<p><a name="para121" id="para121"></a></p>
+<p>121. One authority fixes the neutrals as being black, gray and white;
+another regards them as those hues or tones which lack definite color,
+like quaternaries. Authorities differ, moreover, upon even the
+fundamental principles. Chevreuil selects red, yellow and blue as the
+primaries; Dr. Thomas Young selects red, green and violet. Helmholtz
+selects carmine, pale green and blue-violet; Maxwell scarlet red,
+emerald green and blue-violet; Professor Rood agrees with Maxwell;
+Professor Church, of the Royal Academy of Arts, London, regards the
+primaries as red, green and blue; George Hurst, the English authority,
+fixes upon red, yellow and blue, the Brewsterian theory.</p>
+
+<p><a name="para122" id="para122"></a></p>
+<p>122. One must remember always in studying color that we are treating
+with the material, not with the illusion. We are dealing with pigments,
+not with prismatic phenomena, and it must be obvious that the only three
+primary colors that can be used in a way to produce all other colors are
+red, yellow and blue.</p>
+
+<p>123. Whatever may be the spectrum theories of Sir Isaac Newton, Young or
+Helmholtz, for practical reasons we prefer to follow an authority as
+eminent as Chevreuil, for years the head of the National Gobelin Works
+of France, and a man experienced in the
+<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+practice as well as the theory
+of color. Any effort to fix the character of color and describe it by
+periods and epochs will always prove unsatisfactory, for the reason that
+terms and expressions have changed with every period since the Egyptian,
+4000 B.C.</p>
+
+<p><a name="para124" id="para124"></a></p>
+<p>124. We think we know purple until we discover that the purple of
+royalty, the ermine and purple, the purple of the cardinals&#8217; robes,
+frequently approximated what we now call carmine. Royal purple and
+Venetian blue are mere trade terms. Practical men in the purchase of
+things decorative soon discover that color terms convey only individual
+impressions and no distinctive qualities that may be relied upon; so
+that any effort to fix the color value by periods would be futile. We
+may assume that in the age of oak, mahogany, white and gold or walnut
+furniture, the fabric and wall colors harmonized with the wood colors,
+and to that degree we may fix the period character of color. The moment
+that the tone of the woodwork or the light conditions varied, color
+character varied also.</p>
+
+<p><a name="para125" id="para125"></a></p>
+<p>125. We must also bear well in mind that colors which have come down to
+us as examples of ancient times have been subjected to the changing
+influences of centuries, and have faded and altered. The colors on the
+walls of the historic rooms of European palaces have greatly altered.
+The flat reds and the deadish blues of the Pompeiian frescoes have been
+altered by chemical action during the 1,850 years&#8217; burial under the lava
+of Vesuvius. We are not justified in judging
+<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+of the colors of A.D. 79
+by the restoration-examples in 1900. Hence the mere expressions
+Pompeiian red, Pompeiian blue, can convey no definite, positive meaning.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 700px;">
+<img src="images/img67.png" width="700" height="76" alt="image" title="" />
+<span class="caption">Fig. 1.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>COLOR VOCABULARY</strong></p>
+
+<p>126. In music, a tone which is formed by a certain number of vibrations
+per second is the same the world over, and each and every tone has a
+name; but in color no such standards exist. People have attempted to
+formulate a system by denominating the primary colors, red, yellow and
+blue, respectively as R, Y and B, and the combinations of these colors
+as combinations of letters. For example, red, with varying degrees of
+yellow added, is denominated by the letters R R O, or R O R, or O O R.
+This system tends to confusion, and is inadequate to express tints and
+shades. Various other systems have been devised. Color charts have been
+made, and in each system arbitrary names have been assigned, so that
+each color may be known by one of several names. The difficulty of
+insuring accuracy under these circumstances becomes very evident.</p>
+
+<p><a name="para127" id="para127"></a></p>
+<p>127. In discussing color combinations, one is usually confused because
+the subject is not a tangible expression that can be grasped like the
+sound of a note
+<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+in music. With color charts, every maker has a standard
+of his own and the term &ldquo;red&rdquo; may mean anything within a wide range; a
+yellow-red or a blue-red, the yellow-red perhaps being cherry, the
+blue-red perhaps being carmine. An appreciation of the Harmonies of
+Contrast or Harmonies of Analogy or Relationship is accompanied by great
+confusion because of this lack of standardization.</p>
+
+<p>128. There is only one true standard of color, and that is the standard
+as shown in the prism, and expressed by the spectrum. It is within the
+province of any man to determine the proper relationship of color if he
+starts with the chart we here present. We fix definitely the three
+primary and the three secondary colors, the primaries, red, yellow and
+blue, being those indicated by the heavy black lines; the secondaries,
+orange, green and violet, being indicated by the broad stipple lines.</p>
+
+<p>All other lines are the tertiary or quaternary colors.</p>
+
+<p>If we have clearly in our minds the appearance of the normal red and
+yellow, and clearly in our minds the orange that is made up by combining
+the two, we ought to be able to fix in our imagination the colors that
+come midway between the red and the orange, or the colors that come
+nearer the red or nearer the orange. Let us assume we are to select
+colors in the harmony of <em>contrast</em>. Take a ruler and lay across the
+chart and the contrasting colors are always opposite; the direct
+contrast of red is green because green is
+<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+composed of the other two
+primary colors, yellow and blue; the contrast of blue is orange because
+orange is a combination of the other two primaries, yellow and red; the
+contrast of yellow is violet, a combination of blue and red.</p>
+
+<p>Now, to determine the niceties of distinction, let us take a red that is
+a little off shade, a little yellowish; one must determine in the mind&#8217;s
+eye about how much yellow there is in it and, to determine the true
+contrast, carry your line across from the point which you think is
+represented by the yellowish and you find that it is green with a little
+blue added, or bluish-green.</p>
+
+<p>129. One must also determine the scale of color. The parallel circular
+lines on the chart designate four scales, or four grades, of each color,
+growing lighter by adding white, to the center; as you add more and more
+white the tint becomes more and more light. In determining contrast, be
+careful to stick to your scale. Contrasts, to be in harmony, must be
+colors of the same scale.</p>
+
+<p>130. Harmony of analogy or relationship is clearly expressed in the
+chart. The family relations of red are the things which go with red. We
+may have a harmony of analogy in violet which includes the relations of
+red and blue. We must not attempt to carry the family relationship too
+far. There is a wide range of variety in these combinations of analogy
+because they may include not only all scales of each color from the
+darkest tones to the lightest tints but they include tertiaries and
+quaternaries.</p>
+
+<p><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span>
+Each man must establish his own standard, and by establishing it he
+forms unconsciously a very comprehensive understanding of color. It has
+never been possible to print a true colored chart because no two copies
+of the sheet off the press would be alike. A little more ink or a little
+less ink, or a little lighter or a little heavier impression, changes
+the values.</p>
+
+<p>The chart illustrates contrasts of all of the primaries and secondary
+colors and the broken colors or hues. In the same way the tertiary or
+quaternary colors may be arranged, but for convenience we show the
+contrasts as follows:</p>
+
+<p style="margin-left: 5em;">
+<span style="margin-left: -5em;" class="smcap">Russet</span>:<br />
+<span style="margin-left: -2em;">Tertiary,</span><br />
+    32 parts Red, 16 parts Yellow, 16 parts Blue<br />
+    31 parts Red, 16 parts Yellow, 17 parts Blue<br />
+    30 parts Red, 16 parts Yellow, 18 parts Blue<br />
+    29 parts Red, 16 parts Yellow, 19 parts Blue<br />
+    28 parts Red, 16 parts Yellow, 20 parts Blue<br />
+    27 parts Red, 16 parts Yellow, 21 parts Blue<br />
+    26 parts Red, 16 parts Yellow, 22 parts Blue<br />
+    25 parts Red, 16 parts Yellow, 23 parts Blue</p>
+
+<p style="margin-left: 5em;">
+<span style="margin-left: -5em;" class="smcap">Slate</span>:<br />
+<span style="margin-left: -2em;">Tertiary,</span><br />
+   32 parts Blue, 16 parts Red, 16 parts Yellow<br />
+   31 parts Blue, 16 parts Red, 17 parts Yellow<br />
+   30 parts Blue, 16 parts Red, 18 parts Yellow<br />
+   29 parts Blue, 16 parts Red, 19 parts Yellow<br />
+   28 parts Blue, 16 parts Red, 20 parts Yellow<br />
+   27 parts Blue, 16 parts Red, 21 parts Yellow<br />
+   26 parts Blue, 16 parts Red, 22 parts Yellow<br />
+   25 parts Blue, 16 parts Red, 23 parts Yellow</p>
+
+<p style="margin-left: 5em;">
+<span style="margin-left: -5em;" class="smcap">Citrine</span>:<br />
+<span style="margin-left: -2em;">Tertiary,</span><br />
+    32 parts Yellow, 16 parts Blue, 16 parts Red<br />
+    31 parts Yellow, 16 parts Blue, 17 parts Red<br />
+    30 parts Yellow, 16 parts Blue, 18 parts Red<br />
+    29 parts Yellow, 16 parts Blue, 19 parts Red<br />
+    28 parts Yellow, 16 parts Blue, 20 parts Red<br />
+    27 parts Yellow, 16 parts Blue, 21 parts Red<br />
+    26 parts Yellow, 16 parts Blue, 22 parts Red<br />
+    25 parts Yellow, 16 parts Blue, 23 parts Red</p>
+
+<p style="margin-left: 5em;">
+<span style="margin-left: -5em;" class="smcap">Sage</span>:<br />
+<span style="margin-left: -2em;">Quaternary,</span><br />
+    24 parts Blue, 16 parts Red, 24 parts Yellow<br />
+    25 parts Yellow, 23 parts Blue, 16 parts Red<br />
+    26 parts Yellow, 22 parts Blue, 16 parts Red<br />
+    27 parts Yellow, 21 parts Blue, 16 parts Red<br />
+    28 parts Yellow, 20 parts Blue, 16 parts Red<br />
+    29 parts Yellow, 19 parts Blue, 16 parts Red<br />
+    30 parts Yellow, 18 parts Blue, 16 parts Red<br />
+    31 parts Yellow, 17 parts Blue, 16 parts Red</p>
+
+<p style="margin-left: 5em;">
+<span style="margin-left: -5em;" class="smcap">Buff</span>:<br />
+<span style="margin-left: -2em;">Quaternary,</span><br />
+    24 parts Yellow, 16 parts Blue, 24 parts Red<br />
+    25 parts Red, 23 parts Yellow, 16 parts Blue<br />
+    26 parts Red, 22 parts Yellow, 16 parts Blue<br />
+    27 parts Red, 21 parts Yellow, 16 parts Blue<br />
+    28 parts Red, 20 parts Yellow, 16 parts Blue<br />
+    29 parts Red, 19 parts Yellow, 16 parts Blue<br />
+    30 parts Red, 18 parts Yellow, 16 parts Blue<br />
+    31 parts Red, 17 parts Yellow, 16 parts Blue</p>
+
+<p style="margin-left: 5em;">
+<span style="margin-left: -5em;" class="smcap">Plum</span>:<br />
+<span style="margin-left: -2em;">Quaternary,</span><br />
+    24 parts Red, 16 parts Yellow, 24 parts Blue<br />
+    25 parts Blue, 23 parts Red, 16 parts Yellow<br />
+    26 parts Blue, 22 parts Red, 16 parts Yellow<br />
+    27 parts Blue, 21 parts Red, 16 parts Yellow<br />
+    28 parts Blue, 20 parts Red, 16 parts Yellow<br />
+    29 parts Blue, 19 parts Red, 16 parts Yellow<br />
+    30 parts Blue, 18 parts Red, 16 parts Yellow<br />
+    31 parts Blue, 17 parts Red, 16 parts Yellow</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+
+<div class="figcenter" style="width: 642px;">
+<img src="images/img73.png" width="642" height="700" alt="image" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+131. One who attempts to make color compositions with no more reliable
+guide than taste can expect to accomplish no more than he who in music
+possesses a good ear but no musical training.</p>
+
+<p><a name="para132" id="para132"></a></p>
+<p>132. The note of discord in color is best avoided by an infallible
+guide, as the discord in music is best avoided by thorough training in
+the law of harmony. The color chart on page <a href="#Page_73">73</a> has been so arranged that
+each of the shades is in exact harmony with the shade directly opposite.</p>
+
+<p>133. For example, to ascertain the color that is in harmony with the
+shade denominated Red-Orange, it is necessary simply to lay a ruler
+across the diagram to find the corresponding harmony, which is
+Blue-Green.</p>
+
+<p>134. We know that the primary colors are red, yellow and blue, and that
+the combination of any two of these gives a secondary color. The
+secondary color is the complement of the remaining third color; thus
+yellow and blue form green, and green is the complement or contrasting
+harmony of red. Red and yellow form orange, and orange is the complement
+of blue. Blue and red form violet, and violet is the complement of
+yellow. These are facts we all know. Now, if red is the complement or
+contrasting harmony of green, and yellow contrasts with violet, then red
+with one, two or three degrees of yellow added will contrast with green
+with one, two or three degrees of blue added.</p>
+
+<p>Assume, for example, that a decorator dealing with a red side-wall
+wishes upholsterings in the correct
+<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+shade of green. He knows he has a
+red wall, he knows also that he wishes to use some shade of green, but
+without some fixed standard it is impossible for him to do more than
+approximate the correct shade of green to use. If, however, he could
+compare the red of his wall with his color chart and determine exactly
+which of the many shades of red, or which of the many yellow reds, or
+blue reds, the wall is toned in, it is a simple process to ascertain the
+exact green harmonizing with this red.</p>
+
+<p>The second great use of the color chart is then an infallible guide to
+color harmony, whether analagous or contrasting.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+<div class="figcenter" style="width: 700px;">
+<a href="images/img76_lg.png">
+<img src="images/img76.png" width="700" height="366" alt="image" title="" /></a>
+<span class="caption">(TN: Click on image for large scale version.)</span>
+</div>
+
+<p>&nbsp;</p>
+
+
+<p><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+<p class="center"><strong>ARTIFICIAL LIGHTING</strong></p>
+
+<p><a name="para135" id="para135"></a></p>
+<p>135. In considering artificial light, we will avoid all efforts to
+analyze the different forms of energy, magnetic energy, electric energy,
+heat energy, mechanical momentum, radiating energy, and deal with result
+rather than with cause and effect. It will be sufficient to state as the
+deduction of the scientist that certain waves or vibrations which affect
+the fibers of the optic nerve are transmitted by the brain into color.
+(<a href="#para3">&para; 3</a>.) Self-luminous bodies are bodies which produce light. Illuminated
+bodies shine by borrowed light, and are distinguished by the different
+amounts and quantities of light which they reflect. A dense cloud which
+appears nearly black when between the observer&#8217;s eye and the sun, owing
+to the degree of density with which it intercepts the light, may become
+brilliantly white when the sun&#8217;s rays fall upon its constituent
+particles, for the light which cannot penetrate the cloud is continually
+reflected to and from the surface of its minute parts. Thus it happens
+that the lower part of a cloud seen against a background of dark
+mountain may appear white, while the upper part may appear dull gray. In
+the alteration of reflection we
+<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+have an alteration of color. A stick of
+sealing wax will show in some positions white reflected light, while in
+other positions we see only the red. A polished plane furnishes one kind
+of reflection, a piece of chalk another.</p>
+
+<p>136. The decorator has for years past been disposed to defer to the
+illuminating engineer in the artificial lighting of a home. But while
+the technical man or engineer may have a knowledge of power and energy,
+he has not studied the decorative value of lighting. His problem has
+been economic rather than psychologic. The illuminating engineer cannot
+be expected to appreciate fully the harmonies of color in decoration.</p>
+
+<p>137. It is the decorator&#8217;s province to consider not only the power of
+light in the furnishing of a house, but the character of the light&mdash;not
+only its color influence, but the structural character of its
+introduction, as affecting these furnishings. It is beyond his province
+to determine whether carbon should be replaced by tantalum, osmium or
+tungsten to get higher efficiency, but he must understand the effects of
+these lights and prescribe accordingly.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>ABSORPTION AND REFLECTION</strong></p>
+
+<p>138. The architect who designates the number and location of outlets for
+the lighting sources, and specifies the candle-power of the lamps, knows
+nothing of the ultimate decoration of the house. Very often the
+specifications are finished before the color scheme has been decided
+upon, and as a result the degree of
+<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+illumination either falls short of
+what is needed in case of dark-colored interiors, or proves excessive
+with light-tinted rooms. The architect works from one point, economy,
+the decorator from another, &aelig;sthetic; while the householder, the
+consumer who pays the illuminating bills, cannot comprehend why his
+lighting bills increase as his taste for luminous or dark-colored
+furnishings is gratified. Many houses are left in the white plaster for
+a year or more until the plaster settles. In this condition a small unit
+of light is sufficient, but when the decorator completes his work,
+adding fabrics and wall-papers which absorb and diminish the light, the
+householder, unaware of the cause, notices a material increase in his
+bills for illumination. These facts must be understood to be remedied,
+and it remains for the illuminating engineer to determine by direct
+experiment the value of any light as it affects and influences color, as
+well as the value of color as it affects light. It may be assumed
+without danger that the softest light is that of the candle, but we are
+not living in the candle age, and have to deal with either gas or
+electricity as the main illuminating agents.</p>
+
+<p>139. We have to consider the mercury arc light, the yellow flame carbon,
+the white magnetite and titanium arc&mdash;all of high efficiency, giving
+orange yellow in the flame-carbon to yellow and yellow white in the
+acetyline of the tungsten filaments. Then we have the greenish yellow of
+the Welsbach mantle, the bluish green of the mercury arc, the yellowish white
+<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>
+of the carbon arc, as well as the clear white of the titanium arc.</p>
+
+<p>140. The subject may be divided into three heads: Quality, or
+approximation to natural light. Quantity, as demanded by reflection or
+absorption. Installation, diffusion or mechanical distribution.</p>
+
+<p><a name="para141" id="para141"></a></p>
+<p>141. Normal light is the light of general diffusion in daylight, and
+when we can find an artificial light that has the character of natural
+light we will have what is obviously the best illuminant for the home.
+Bear in mind that natural light as it appears out of doors is materially
+altered when indoors by the presence of different planes and angles,
+which cast and receive various depths of shadow; the quality required is
+that which will provide illumination without glare. The sun&#8217;s rays are
+softened and mellowed by the depth of air through which they pass, and
+it is this mellowness that is the chief requisite in illumination.</p>
+
+<p>Good decorative illumination does not mean illumination that reveals
+every hidden corner of a room. We need shadows to betray form, relieve
+monotony and give depth to the <em>ensemble</em>. If in an illuminated area
+light is of a uniform intensity, we have a bad effect. The variation of
+tone in a fabric is due to the light reaching it from a given point.
+Differences in intensity make shadows and tones.</p>
+
+<p>142. The illuminating engineer treats the home as he treats a public
+hall. He ignores the individuality of the room; the ball-room and the
+sickroom are lighted
+<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+alike. He does not always consider the diminished
+force of light as it passes through a refracting surface, for it must be
+borne in mind that any method of indirect lighting by refraction is apt
+to cause a loss of volume. The use of various kinds of globes or lamp
+shades must all be considered. A light-colored wall reflects
+illumination, a dark-colored wall absorbs it; hence the amount of
+illumination is increased or diminished by the color of the walls.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>LIGHT EFFECT ON COLOR</strong></p>
+
+<p>143. To illuminate a city, with the dull grim environment of streets and
+houses, a soft yellow glow will give warmth and tone; the greenish
+yellow of the Welsbach or the blue green of the mercury arc may even be
+desirable, but the same green or violet rays are ghastly in a house, and
+should never be permitted.</p>
+
+<p>144. The warm glow of the yellow light, while pleasing to the
+complexion, is, however, objectionable as disturbing the color
+composition of dress or furnishings. A gaslight sends a yellow glow over
+all that it reaches, and has the same effect as the introduction of
+yellow into every color tint in the room. The walls that are red take on
+a scarlet hue; the scarlet ones are yellowed to orange; the blues become
+greenish.</p>
+
+<p>145. In order that the decorator may more readily grasp the subject, we
+have arranged a table showing the color changes effected by rays of
+yellow, blue, green and violet:</p>
+
+<p><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+
+
+<p style="margin-left: 5em;">Orange rays falling on white make it appear orange.<br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">red it appears reddish-orange.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">orange it appears deeper orange.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">yellow it appears orange-yellow.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">green it appears dark yellow-green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">blue it appears dark reddish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">violet it appears dark purplish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">black it appears brownish-black.</span></p>
+
+<p style="margin-left: 5em;">Yellow rays falling on white make it appear yellow.<br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">red make it appear orange-brown.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">orange make it appear orange-yellow.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">yellow make it appear deeper yellow.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">green make it appear yellowish-green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">blue make it appear slaty-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">violet make it appear purplish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">black make it appear olive-black.</span></p>
+
+<p style="margin-left: 5em;">Green rays falling on white make it appear green.<br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">red make it appear yellowish-brown.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">orange make it appear grayish-leaf-green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">yellow make it appear yellowish-green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">green make it appear deeper green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">blue make it appear bluish-green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">violet make it appear bluish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">black make it appear dark greenish-gray.</span></p>
+
+<p style="margin-left: 5em;">Blue rays falling on white make it appear blue.<br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">red make it appear purple.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">orange make it appear plum-brown.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">yellow make it appear yellowish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">green make it appear bluish-green.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">blue make it appear deeper blue.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">violet make it appear bluer.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">black make it appear bluish-black.</span></p>
+
+<p style="margin-left: 5em;">Violet rays falling on white make it appear violet.<br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">red make it appear purple.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">orange make it appear reddish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">yellow make it appear purplish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">green make it appear bluish-gray.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">blue make it appear bluish-violet.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">violet make it appear deeper violet.</span><br />
+  <span style="margin-left: 2em;">&ldquo;</span>            <span style="margin-left: 3em;">&ldquo;</span>     <span style="margin-left: 2em;">black make it appear violet-black.</span></p>
+
+<p><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+146. The pale tints of electric lights, which make every face in a room
+look ghastly, will affect quite as disastrously every soft color in the
+furnishings. In ordinary gaslight a pair of white gloves looks yellow,
+and we have seen Welsbach lamps which threw out a violet-blue
+illumination, depressing in the extreme. Under a yellow glow, blues,
+greens, violets and purples are greatly changed. Under a violet glow,
+yellows and greens are ruined. To see all colors in about the same value
+that they possess by daylight one must have a light in which no color
+tone is apparent.</p>
+
+<p>The question as to the disposition and intensity of the lights is of
+vital importance, and must be considered with the requirements of each
+particular room in mind.</p>
+
+<p>147. For the drawing-room and reception-room it is desirable that all
+parts of the room be evenly lighted, without a pronounced glare in any
+particular part of the room. One of the most effective ways of
+accomplishing this is by distributing the lights around the room, either
+on the ceiling, in the cove or above a wide molding, so that the ceiling
+acts as a reflecting agent, and distributes an even tone of light to all
+parts.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>ILLUMINATION</strong></p>
+
+<p>148. For the dining-room and living-room a different plan must be used,
+because of the different requirements. The table is usually in such
+rooms the chief feature of the furnishings, and it is customary to focus
+upon it the main body of light. While this is
+<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>
+obviously necessary, the
+surroundings must not be ignored; neither is it possible to raise the
+center light to such a height that its radiation may reach all parts of
+the room, because in so doing the light reaches the eye at an extremely
+unpleasant angle. The drop fixture should be low enough to effectively
+light all parts of the table, while at the same time its shade should
+screen the light from the eyes of the room&#8217;s occupants. To illuminate
+the surrounding parts of the room other lights should be distributed
+where they will most effectively supply what further illumination is
+required.</p>
+
+<p>149. For the bedroom or boudoir the location of the lights should also
+be subordinated to the purposes of the room, and in addition to
+providing sufficient illumination to the entire area, special
+illumination should be provided for the mirrors and the dressing-table.
+The lights for the mirrors should be planned to illuminate the person
+and not the image.</p>
+
+<p>150. For large reception-rooms in hotels and public institutions the
+plan is frequently adopted of having all light provided by small table
+lamps with opalescent shades. These provide a medium glow throughout the
+entire room that is pleasing, and avoid entirely the garishness usually
+associated with such rooms. One of the mistakes of the day is the use of
+high-power lights, which are so intense that they require to be screened
+or shaded, involving waste of light and concentrating an unnecessary
+amount of illumination upon a narrow sphere.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p>
+<p class="center"><strong>REFLECTIVE POWER OF COLOR</strong></p>
+
+<p>The following table will give an idea of the percentage of light
+reflected from ordinary wall-hangings and papers:</p>
+
+<div class='center'>
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr>  <td align='left'></td>  <td class="tdp"></td>  <td align='center'>Per Cent.<br />Reflection</td>  </tr>
+<tr>  <td align='left'>White blotting-paper</td>  <td class="tdp"></td>  <td align='right'>.82</td>  </tr>
+<tr>  <td align='left'>White cartridge-paper</td>  <td class="tdp"></td>  <td align='right'>.80</td>  </tr>
+<tr>  <td align='left'>Ordinary foolscap</td>  <td class="tdp"></td>  <td align='right'>.70</td>  </tr>
+<tr>  <td align='left'>Ordinary newspaper</td>  <td class="tdp"></td>  <td align='right'>.50 to .70</td>  </tr>
+<tr>  <td align='left'>Chrome yellow paper</td>  <td class="tdp"></td>  <td align='right'>.62</td>  </tr>
+<tr>  <td align='left'>Orange paper</td>  <td class="tdp"></td>  <td align='right'>.50</td>  </tr>
+<tr>  <td align='left'>Yellow wall-paper</td>  <td class="tdp"></td>  <td align='right'>.40</td>  </tr>
+<tr>  <td align='left'>Yellow painted wall (clean)</td>  <td class="tdp"></td>  <td align='right'>.40</td>  </tr>
+<tr>  <td align='left'>Tracing cloth, pale blue</td>  <td class="tdp"></td>  <td align='right'>.35</td>  </tr>
+<tr>  <td align='left'>Light pink paper</td>  <td class="tdp"></td>  <td align='right'>.36</td>  </tr>
+<tr>  <td align='left'>Blue paper</td>  <td class="tdp"></td>  <td align='right'>.25</td>  </tr>
+<tr>  <td align='left'>Emerald green</td>  <td class="tdp"></td>  <td align='right'>.18</td>  </tr>
+<tr>  <td align='left'>Dark brown paper</td>  <td class="tdp"></td>  <td align='right'>.13</td>  </tr>
+<tr>  <td align='left'>Vermilion paper</td>  <td class="tdp"></td>  <td align='right'>.12</td>  </tr>
+<tr>  <td align='left'>Blue green paper</td>  <td class="tdp"></td>  <td align='right'>.12</td>  </tr>
+<tr>  <td align='left'>Cobalt blue paper</td>  <td class="tdp"></td>  <td align='right'>.12</td>  </tr>
+<tr>  <td align='left'>Black paper</td>  <td class="tdp"></td>  <td align='right'>0.5</td>  </tr>
+<tr>  <td align='left'>Deep chocolate paper</td>  <td class="tdp"></td>  <td align='right'>0.4</td>  </tr>
+<tr>  <td align='left'>French ultramarine blue paper</td>  <td class="tdp"></td>  <td align='right'>3.5</td>  </tr>
+<tr>  <td align='left'>Black cloth</td>  <td class="tdp"></td>  <td align='right'>1.2</td>  </tr>
+<tr>  <td align='left'>Black velvet</td>  <td class="tdp"></td>  <td align='right'>0.4</td>  </tr>
+
+</table></div>
+
+<p>&nbsp;</p>
+
+<p>151. It is very difficult to select practical artificial illuminants,
+because of the various color properties possessed by each. A Welsbach
+mantle, which gives a greenish tint, is pretty sure to alter the
+character of any color other than green. Incandescent electric light, as
+well as ordinary gaslight, contains a yellow tint.</p>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
+<p class="center"><strong>THE COLOR OF ARTIFICIAL LIGHTS</strong></p>
+
+<p>152. In planning or matching colors for a room, it is best to consider
+the purpose for which the room is to be used, and match the colors under
+the same light conditions that will prevail in the finished room.</p>
+
+<p>Deep, full colors are less affected by the shadings in artificial
+illuminants than lighter tones of the same color.</p>
+
+<div class='center'>
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr>  <td align='center'><span class="smcap">Illuminant</span>.</td>  <td class="tdp"></td>  <td align='center'><span class="smcap">Color</span>.</td>  </tr>
+<tr>  <td align='left'>Sun (high in sky)</td>  <td class="tdp"></td>  <td align='left'>White.</td>  </tr>
+<tr>  <td align='left'>Sun (near horizon)</td>  <td class="tdp"></td>  <td align='left'>Orange red.</td>  </tr>
+<tr>  <td align='left'>Sky light</td>  <td class="tdp"></td>  <td align='left'>Bluish white.</td>  </tr>
+<tr>  <td align='left'>Electric arc (short)</td>  <td class="tdp"></td>  <td align='left'>White.</td>  </tr>
+<tr>  <td align='left'>Electric arc (long)</td>  <td class="tdp"></td>  <td align='left'>Bluish white to violet.</td>  </tr>
+<tr>  <td align='left'>Nernst lamp</td>  <td class="tdp"></td>  <td align='left'>White.</td>  </tr>
+<tr>  <td align='left'>Incandescent (normal)</td>  <td class="tdp"></td>  <td align='left'>Yellow-white.</td>  </tr>
+<tr>  <td align='left'>Incandescent (below voltage)</td>  <td class="tdp"></td>  <td align='left'>Orange to orange-red.</td>  </tr>
+<tr>  <td align='left'>Acetyline flame</td>  <td class="tdp"></td>  <td align='left'>Nearly white.</td>  </tr>
+<tr>  <td align='left'>Welsbach light</td>  <td class="tdp"></td>  <td align='left'>Greenish white.</td>  </tr>
+<tr>  <td align='left'>Gaslight (Siemens burner)</td>  <td class="tdp"></td>  <td align='left'>Nearly white, faint yellow tinge.</td>  </tr>
+<tr>  <td align='left'>Gaslight (ordinary)</td>  <td class="tdp"></td>  <td align='left'>Yellowish white to pale orange.</td>  </tr>
+<tr>  <td align='left'>Kerosene lamp</td>  <td class="tdp"></td>  <td align='left'>Yellowish white to pale orange.</td>  </tr>
+<tr>  <td align='left'>Candle</td>  <td class="tdp"></td>  <td align='left'>Orange yellow.</td>  </tr>
+
+</table></div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>ARTIFICIAL LIGHT APPLICATION</strong></p>
+
+<p><a name="para153" id="para153"></a></p>
+<p>153. The introduction of light by the medium of a wire, which may be
+carried to any point in a room, encourages so many possibilities for
+comfort and effect that it behooves us to forget traditional customs
+which were established during the gaslight period. The introduction of
+gaslight through tubes was a rather complex problem, and the carrying of
+the pipes into the room through a main chandelier was the most
+<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+advisable constructive form. But we have no need for such cumbersome
+fixtures in this day of wiring.</p>
+
+<p>A mere cord takes the place of an inch pipe. Modern German and Austrian
+lighting fixtures frequently are mere pendants, with the cord frankly in
+evidence. In this way the lights may be placed wherever needed&mdash;at the
+head of the lounge, so one may read more clearly by it; close by the
+piano; over the tea-table. In fact, supplementary lights to the general
+illumination are a convenience that the decorator should consider.</p>
+
+<p>154. The lighting of a house is a matter so dependent upon &aelig;sthetic
+conditions that it is never within the scope of the electrician. It is a
+problem for a decorator alone to solve. Intense and glaring lights of
+unusual power must be avoided. Luminants of low intrinsic brilliancy are
+preferable.</p>
+
+<p><a name="para155" id="para155"></a></p>
+<p>155. The floor is the least important surface for illumination, and has
+no reflecting power of value. The walls vary in value according to their
+color and surface. With lights radiating upward, however, the ceiling
+possesses definite power, and should be considered.</p>
+
+<p><a name="para156" id="para156"></a></p>
+<p>156. Dark colors absorb light, while white and light colors reflect, and
+this must always be remembered; for upon the character of the
+decorations and furnishings of various rooms the quantity as well as the
+quality of light has serious influence.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>POWER NECESSARY</strong></p>
+
+<p><a name="para157" id="para157"></a></p>
+<p>157. While the list which we give herewith is
+<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>
+based largely upon area,
+it may be taken as a basis of calculation for lighting equipment.</p>
+
+<p>It is estimated that 300 square feet of a hallway requires four
+sixteen-candlepower, or eight eight-candlepower units.</p>
+
+<p>In a room 20 x 20 feet, with furnishings of mahogany and green, broken
+up by bookcases and other furniture producing heavy shadows, it is
+estimated that twelve eight-candlepower lights are sufficient if worked
+into the frieze, and that a reading lamp of not less than
+thirty-two-candlepower be used as a drop light.</p>
+
+<p>Assuming a room is 15 x 15 feet, and furnished in light tones, four
+eight-candlepower lamps are ample.</p>
+
+<p>A living-room 20 x 25 feet, in light tones of color, requires two
+thirty-two-candlepower lights, centrally located, and about twelve
+eight-candlepower lights. This should provide brilliant illumination.</p>
+
+<p>A room 15 x 20 feet, in dark wood and hangings, needs eight
+eight-candlepower reflector lamps, backed up by six more
+eight-candlepower lamps.</p>
+
+<p>Bedrooms 15 x 15 feet in size, where they are not furnished in deep
+colors, should be equipped with two sixteen-candlepower lights.</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>COLOR CONTROL</strong></p>
+
+<p><a name="para158" id="para158"></a></p>
+<p>158. Mechanical lighting is so easily undertaken that it predisposes one
+to extravagance. Properly applied, artificial light adds materially to
+the charm of a room, but with illumination secured by the mere twist of
+the wrist one is prone to ignore the value of shadows and kill the
+beauty of light and shade by throwing
+<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span>
+illumination into the remotest
+corners. The danger to good decoration is not only in overlighting, but
+in overdecorating, and commercialism naturally encourages this tendency.
+The floor is frequently best treated if not entirely covered with a
+one-pattern treatment; the walls are frequently most pleasing if done in
+several papers instead of one. The most effective room is the one
+lighted in various degrees of strength, and while the decorator
+unconsciously follows this idea and avoids superabundance of pattern by
+using panels, friezes and wainscotings, we believe that each and every
+section or part of a room should be treated separately, observing, of
+course, a consistent spirit of design, preserving the period style and
+the general color effect; we would vary the actual shade of coloring and
+the size of pattern according to the dimensions of the wall space it
+occupies. The large patterns and the strong colorings which may be
+appropriate to an exposed wall are all out of proportion in narrow or
+darkened confines. Dark and deep recesses should obviously be treated
+differently to advanced or conspicuous spaces.</p>
+
+<p><a name="para159" id="para159"></a></p>
+<p>159. At a recent meeting of the Illuminating Engineering Society, D.
+McFarlan Moore made the following observations: &ldquo;A few years ago there
+was practically no way of changing the colors of the various forms of
+lamps, that is, the candle had its color perforce; such a thing as
+modifying it was not dreamed of. The oil lamp had its color; the open
+burner gas flame its color, the incandescent lamp its color, and the
+<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>
+arc lamp its color. At the present time there are only two ways widely
+in use of varying the color; that is, if a person wishes to have a light
+of a different color, there are two main ways of getting it. One way is
+to get another light source, and the other way is to use a diffusion
+globe of some kind, which in any instance is extremely unscientific and
+inefficient. Some of the most recent advances in this line are connected
+with the flaming arc lamp. There we have an instance where the first
+step, at least, was taken toward scientifically controlling the color
+value. I refer to placing different chemicals in the carbon and thereby
+obtaining a color which can, to a very great extent, be determined
+previously. But still it by no means can be said that by means of the
+flaming arc lamp the color factor is under perfect control. However, it
+is possible now to have the color value under perfect control, and this
+is obtained by utilizing a vacuum tube, and by changing the various
+gases used in the tube to change the color. This has many advantages,
+and from a scientific standpoint it cannot be criticised, as can the
+other methods which have been used. For example, if you use a properly
+regulated vacuum tube and feed it with air only, a pink light results;
+if you feed it with nitrogen a yellow light results, and such a light
+can be used for a great many purposes; in fact its range of usefulness
+so far as the color is concerned, is about the same as that of the
+ordinary incandescent lamp, and therefore can be used by florists or by
+clothing merchants, and the distortion is not any worse than
+<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> that of
+the ordinary incandescent lamp. However, it is not by any means claimed
+that when a tube is fed nitrogen, that the color is at all near
+daylight; it is simply a color which appears about the same as that
+produced by the ordinary incandescent lamp. Due to the enormous
+radiating surfaces of the tube, the color in day time looks considerably
+redder than that of the incandescent lamp because the lamp is extremely
+small as compared with the tube. When such a tube is fed with carbon
+dioxide at a definite pressure, and at a definite intensity, a light is
+obtained that undoubtedly is closer to average daylight color values
+than any light which has ever been produced before, and we can almost
+say that it is entirely satisfactory. For instance, experts in matching
+colors in the largest dye works of this country, men who have tried all
+other forms of light, and found them not at all suitable for their uses,
+have matched their colors under a vacuum tube supplied with carbon
+dioxide and have found after months of practical use that they could not
+detect any difference between most delicate lavender shades, when they
+are matched at night time under the tube and in day time by daylight,
+not direct sunlight.&rdquo;</p>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>DRESS AND COMPLEXION</strong></p>
+
+<p><a name="para160" id="para160"></a></p>
+<p>160. The nerves of the eye, exhilarated by any pronounced color,
+unconsciously observe the complement of that color when turned from it.
+The eye accustomed to the red of a woman&#8217;s dress, unconsciously sees a
+greenish cast in the face that is naturally pale, and in the same way
+the pallor of a woman&#8217;s face takes on a tint of red as the complement
+<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+or contrast of a green dress. As one&#8217;s appetite for the thing that is
+sweet becomes exhausted by a superabundance of sweets, so the eye
+resting upon a mass of red in the dress of a woman fails to appreciate
+the red tint in the face, and the face thus juxtaposed becomes pallid. A
+red-faced woman often wears brighter red in dress, so that her face may
+appear less red. The blue dress gives yellow to the face; the yellow
+dress gives blue; these results are altered materially by the
+intervention of white between the face and the dress. White intensifies
+color. If there is a tinge of pink in the face white brings it out. If
+there is sallowness in the face white accentuates it. It is for this
+reason that many women wear yellow instead of white at the neck, so that
+the yellow of the face becomes less conspicuous by contrast. (See <a href="#para31">&para; 31</a>.)</p>
+
+<p><a name="para161" id="para161"></a></p>
+<p>161. It is dangerous, however, in matters of dress to strictly apply
+this rule, because color has a temperamental influence apart from the
+purely visual. Some women are positively depressed by certain colors;
+such colors are to be avoided, no matter what the deductions of theory.
+(See <a href="#para94">&para; 94</a>.)</p>
+
+<p>162. The black dress will make a woman look pale, for the reason that
+the black absorbs whatever color there may be in her face. A dark color
+has also absorbent characteristics. The lighter the color, the less
+absorbent. Hence light greens are preferable to bring out the color in
+the face than dark greens, assuming that we are to consider only this point,
+<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+which is all that is necessary to consider in house decoration.
+Therefore light greens as a background to theater boxes or as a wall
+background are always desirable.</p>
+
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/img93.png" width="450" height="451" alt="image" title="" />
+<span class="caption">Lighting by wires. See <a href="#para153">&para; 153</a>.</span>
+</div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+<p class="center"><strong>COLOR TERMS</strong></p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;">
+<span class="smcap">Broken Color</span>. Color changed by the addition of black,
+    white or gray.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Chroma</span>. Color.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Cold Colors</span> are colors containing very little, if any, red or
+    yellow.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Contrast Analogies</span>. Apparent contrasts of secondary and
+    tertiary colors which have constituent parts that are
+    related. Thus compositions of citrine and plum are apparent
+    contrasts, citrine being one of the three tertiary
+    colors, russet, slate and citrine, and plum being composed
+    of russet and slate, but in both citrine and plum
+    there is red, yellow and blue; hence related. There can
+    be no true contrasts excepting between primaries and
+    secondaries.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Gray</span>. Normal gray is black and white mixed, but quaternary
+    colors are also called grays, or colors of the dull or
+    neutral scale.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Harmony of Analogy</span> is produced by using related colors.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Harmony of Contrast</span>. The juxtaposition of a primary
+    color, for example, with a secondary made of the other
+    two primaries. Thus of the primaries red, yellow and
+    blue, the contrasts would be red and green. Of the two
+    colors thus forming contrast the one is said to be the
+    <span class="smcap">Complementary</span> of the other.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Hue</span>. Applied to the predominating color in a composition.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Intense or Saturated Colors</span>. Colors that are pure, having
+    no tint or shade.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Neutral Colors</span>. Applied to black, gray and quaternary
+    colors.</p>
+
+<p><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span></p>
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Normal</span>. Intense colors of the prism. Colors of the natural
+    scale.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Prismatic Colors</span> are the colors viewed through a prism.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Quaternary Colors</span>. Made by combining two tertiary colors.
+    Quaternary colors are plum, sage and buff.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Scale</span>. Relates to colors of the same degree of tone.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Secondary Colors</span>. Orange, green and violet, each a combination
+    of two primaries.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Shade</span>. Produced by the addition of black to a normal color.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Sombre Colors</span>. Blue, violet and the subdued tones of luminous
+    colors.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Spectrum</span>. The illusion of color produced by means of the
+    prism.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Tertiary Colors</span>. Made by combining two secondary colors;
+    tertiary colors are slate, russet and citrine.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Tint</span>. Produced by the addition of white to a normal color.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Tones</span> are the gradations of color by adding either black or
+    white.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Warm Colors</span> or luminous colors are those having normal
+    yellow or red in the preponderance.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Advancing Colors</span>. Reds and bright yellow arouse the nerve
+    sense more quickly than blue or tones of color predominating
+    in blue. Hence they are called advancing colors.</p>
+
+<p style="margin-left: 20%; text-indent: -2em; margin-right: 20%;"><span class="smcap">Receding Colors</span>. Blue colors or colors in which blue predominate
+    or the exciting influences of yellow or red are
+    subjugated, are cold or receding colors.</p>
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+<h2>TABLE OF CONTENTS</h2>
+
+<div class='center'>
+<table border="0" cellpadding="5" cellspacing="0" summary="">
+
+<tr>  <td align='left'></td>  <td class="tdp"></td>
+          <td align='right'>Paragraph.</td>  <td class="tdp"></td>
+          <td align='right'>Page.</td>  </tr>
+
+<tr>  <td align='left'>Adjoining Rooms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para38">38 to 47</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'><p><a name="paraadv" id="paraadv"></a></p>Advancing Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para77">77</a>, <a href="#para78">78</a>, <a href="#para79">79</a>, <a href="#para80">80</a>, <a href="#para89">89</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Angles, Illusion of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para113">113</a>, <a href="#para114">114</a>, <a href="#para115">115</a>, <a href="#para117">117</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Artificial Light, Colors of</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_86">86</a></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Balance of Pattern</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para75">75</a>, <a href="#para76">76</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Borders</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para61">61</a>, <a href="#para62">62</a>, <a href="#para81">81</a>, <a href="#para86">86</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Bric-&agrave;-brac</td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_60">60</a>, <a href="#Page_89">89</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Black, The Use of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para33">33</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Color Nomenclature</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para9">9</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Complexion</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para160">160</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Contrasting Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para12">12</a>, <a href="#para14">14 to 24</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Contrast Analogies</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para17">17 to 20</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Ceiling</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para37">37</a>, <a href="#para42">42</a>, <a href="#para43">43</a>, <a href="#para93">93</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Curtains</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para53">53 to 56</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Cove and Ceiling</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para56">56</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Cornice</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para63">63</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Chair Coverings</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para64">64</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Colors that Give Size to a Room</td>  <td class="tdp"></td>
+          <td align='right'>(See <a href="#pararc">Receding Colors</a>)</td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Carpet</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para81">81</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Color Sympathies</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para95">95</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'><p><a name="paracv" id="paracv"></a></p>Curves, The Use of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para107">107</a>, <a href="#para108">108</a>, <a href="#para111">111</a>, <a href="#para114">114</a>, <a href="#para116">116</a>, <a href="#para118">118</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Color Terms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para120">120 to 134</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Chart</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para127">127</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Dress, Depressing Influences</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para161">161</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Dress, Woman&#8217;s</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para160">160</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Decorative Illumination</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para141">141</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Definitions</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_89">89</a></td>  </tr>
+
+<tr>  <td align='left'>Draperies</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_42">42</a>, <a href="#Page_43">43</a></td>  </tr>
+
+<tr>  <td align='left'><p><a name="paradp" id="paradp"></a></p>Decorative Proportions</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_37">37</a></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Exciting Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para94">94</a>, <a href="#para160">160</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Frieze, The Use of</td>  <td class="tdp"></td>
+          <td align='right'>(See <a href="#parawp">Wall Proportions</a>,<br />also <a href="#pararmc">Room Combinations</a>)</td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Floors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para42">42</a>, <a href="#para81">81</a>, <a href="#para84">84</a>, <a href="#para86">86</a>, <a href="#para87">87</a></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_42">42</a>, <a href="#Page_43">43</a></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Gray, The Use of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para32">32</a>, <a href="#para91">91</a>, <a href="#para92">92</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Guide to Color Harmony</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para127">127</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Harmonies Mechanically Determined</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para132">132</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Height Effects</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para75">75</a>, <a href="#para76">76</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Harmony of Analogy</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para13">13</a>, <a href="#para17">17</a>, <a href="#para27">27</a>, <a href="#para93">93</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Harmonies</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para10">10</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Illusion in the Use of Lines</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para107">107 to 119</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Intensification of Color</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para31">31</a>, <a href="#para33">33</a>, <a href="#para159">159</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Joy in Lines</td>  <td class="tdp"></td>
+          <td align='right'>(See <a href="#paracv">Curves</a>)</td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Lights and Shadows</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para158">158</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Lighting a Room, Candle-power Needed</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para157">157</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Light Installation</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_84">84</a></td>  </tr>
+
+<tr>  <td align='left'>Light, Effect on Color</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_82">82</a></td>  </tr>
+
+<tr>  <td align='left'>Luminous Colors</td>  <td class="tdp"></td>
+          <td align='right'>(See <a href="#paraadv">Advancing Colors</a>)</td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Large Room, Dark</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_34">34</a></td>  </tr>
+
+<tr>  <td align='left'>Low-Ceiling Rooms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para58">58</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Large Rooms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para58">58</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Large, Well-Lighted Rooms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para26">26</a></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_34">34</a></td>  </tr>
+
+<tr>  <td align='left'>Light</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para1">1</a>, <a href="#para8">8</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Mixing Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para8">8</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Neutrals</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para121">121</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>National Types of Color</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_47">47</a>, <a href="#Page_48">48</a></td>  </tr>
+
+<tr>  <td align='left'>Nature Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para35">35</a>, <a href="#para96">96</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>North Light</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para37">37</a>, <a href="#para59">59</a>, <a href="#para90">90</a>, <a href="#para91">91</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Proportions in Color Contrast</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para22">22 to 24</a>, <a href="#para28">28 to 30</a>, <a href="#para35">35</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Pigments, The Use of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para22">22</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Proportions Effected by Design</td>  <td class="tdp"></td>
+          <td align='right'>(See <a href="#paradp">Decorative Proportions</a>)</td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Proportions Effected by Color</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para77">77</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Period Uses of Color</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_47">47</a>, <a href="#Page_48">48</a></td>  </tr>
+
+<tr>  <td align='left'>Psychology of Color</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para94">94</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Picture Moldings</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para50">50</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Plate-Rails</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para48">48 to 59</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Progression of Color</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para34">34</a>, <a href="#para39">39</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Prismatic Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para6">6</a>, <a href="#para7">7</a>, <a href="#para8">8</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'><p><a name="pararmc" id="pararmc"></a></p>Room Combinations</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_23">23 to 28</a></td>  </tr>
+
+<tr>  <td align='left'>Rugs</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para81">81</a>, <a href="#para84">84</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Rooms Under Normal Conditions</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_42">42</a>, <a href="#Page_43">43</a></td>  </tr>
+
+<tr>  <td align='left'><p><a name="pararc" id="pararc"></a></p>Receding Colors</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para77">77</a>, <a href="#para80">80</a>, <a href="#para89">89</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Reflection</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para5">5</a>, <a href="#para135">135</a>, <a href="#para155">155</a>, <a href="#para156">156</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Spectrum</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para1">1</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Small Dark Rooms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para21">21</a></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_35">35</a></td>  </tr>
+
+<tr>  <td align='left'>Small Well-Lighted Rooms</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para25">25</a></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_35">35</a></td>  </tr>
+
+<tr>  <td align='left'>Sequence of Color</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para34">34</a>, <a href="#para35">35</a>, <a href="#para36">36</a>, <a href="#para41">41</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>South Light</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para37">37</a>, <a href="#para59">59</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Side-wall</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para48">48 to 57</a>, <a href="#para92">92</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Small Room, High Ceiling</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_35">35</a></td>  </tr>
+
+<tr>  <td align='left'>Small Room, Low Ceiling</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_35">35</a></td>  </tr>
+
+<tr>  <td align='left'>Side-wall as Keynote</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para92">92</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'><p><a name="parasl" id="parasl"></a></p>Straight Lines, Effect of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para107">107</a>, <a href="#para109">109</a>, <a href="#para111">111-113</a>, <a href="#para115">115-117</a>, <a href="#para119">119</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Seriousness in Lines</td>  <td class="tdp"></td>
+          <td align='right'>(See <a href="#parasl">Straight Lines</a>)</td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Spectrum Theories</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para121">121</a>, <a href="#para122">122</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Trade Terms Meaningless</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para124">124</a>, <a href="#para125">125</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Taste in Color, to Determine</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para94">94</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>&nbsp;</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>White, The Use of</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para31">31</a>, <a href="#para33">33</a>, <a href="#para88">88</a>, <a href="#para89">89</a>, <a href="#para98">98</a>, <a href="#para159">159</a>, <a href="#para160">160</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Wood Trims</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para48">48 to 59</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'>Wainscoting</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para48">48 to 57</a>, <a href="#para62">62</a>, <a href="#para93">93</a></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_42">42</a>, <a href="#Page_43">43</a></td>  </tr>
+
+<tr>  <td align='left'>Width Effects</td>  <td class="tdp"></td>
+          <td align='right'><a href="#para82">82 to 85</a>, <a href="#para87">87</a></td>  <td class="tdp"></td>
+          <td align='right'></td>  </tr>
+
+<tr>  <td align='left'><p><a name="parawp" id="parawp"></a></p>Wall Proportions</td>  <td class="tdp"></td>
+          <td align='right'></td>  <td class="tdp"></td>
+          <td align='right'><a href="#Page_33">33 to 34</a></td>  </tr>
+
+</table></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Color Value, by C. R. Clifford
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+</body>
+</html>
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+The Project Gutenberg EBook of Color Value, by C. R. Clifford
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Color Value
+
+Author: C. R. Clifford
+
+Release Date: April 11, 2008 [EBook #25042]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COLOR VALUE ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Anne Storer and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+Transcriber's Note: (TN: --) in text = comments added by Transcriber.
+
+
+       *       *       *       *       *
+
+
+
+
+               Color Value
+
+           _By_ C. R. CLIFFORD
+
+    _Published by_ CLIFFORD & LAWTON
+       373 Fourth Avenue, New York
+
+
+
+
+           Copyrighted, 1907
+         By Clifford & Lawton
+
+            Fourth Edition
+
+   GROLIER CRAFT PRESS, INC., N. Y.
+
+
+
+
+FUNDAMENTAL CONDITIONS
+
+LIGHT, COLOR, FORM, PROPORTION
+AND DIMENSIONS
+
+
+Whatever is good in interior decoration is the result of consistent
+relationship between Light, Color, Form, Proportion and Dimensions. The
+choice of Color should be guided by the conditions of Light. The beauty
+of Form and the symmetry of Proportion can exist only by a balance with
+Dimensions.
+
+Therefore, apart from any knowledge of historic or period decoration,
+effective or successful work must observe the technical laws governing
+conditions.
+
+
+#LIGHT#
+
+1. The white light of the sun is compounded of an almost innumerable
+number of color elements, as shown by the phenomena of the rainbow or by
+experimenting with the prism. (See ¶ 7.) When a ray of sunshine passes
+through a glass prism it is decomposed or separated, and if the
+prismatic colors are received upon a white screen you will find on the
+spectrum among the colors generated a pure blue, a pure red and a pure
+yellow. These are the primary colors, and it is necessary when thinking
+color to bear these prismatic colors in mind as standards.
+
+2. Color is an internal sensation originating in the excitation of the
+optic nerve by a wave action which we call light.
+
+3. The theory of light, the wave theory, is based upon the assumption
+that throughout all space there is an infinitely thin medium called
+ether. Scientists differ as to what this may be, but its movements
+constitute light, a reflection from a luminous body.
+
+4. Everything which we see is visible because it either emits light,
+like a flame, or reflects light.
+
+5. A piece of black cloth upon a white plate reflects but a small
+proportion of the light. The plate reflects a large proportion. A piece
+of black velvet reflects less light than black cloth and gives the
+effect of absolute blackness, or an empty and dark space.
+
+6. In practical demonstrations the study of color will be confusing
+unless it is understood at the outstart that pure prismatic colors can
+seldom be found in manufactured pigments, hence any demonstration of the
+theory of color composition is usually unsatisfactory.
+
+7. The theory which brings out of a ray of sunshine the disunited
+prismatic colors carries with it the deduction that before separation
+these colors constitute white light; but it must be manifest to even the
+superficial reader that such colors are mere spectrum colors--vision
+colors--and any amalgamation of material or pigment colors, so far from
+producing white, produces almost black.
+
+8. The theory that red and yellow make orange, and that a red and blue
+make violet, is correct; but if one attempts to demonstrate the theory
+with pigments, one is confronted not only by the lack of standard
+manufactured colors but by impurities, adulterations and chemical
+reaction in the pigments. The adulteration may not be perceptible in one
+primary color, but it is manifest when that color is brought into action
+with another primary, for it is seldom that a pure secondary results.
+
+
+#COLOR NOMENCLATURE--HARMONIES#
+
+9. Color nomenclature includes primary, secondary and tertiary colors,
+and innumerable hues, shades and tints. All these colors bear relations
+to one another, either relations of analogy, or relations of contrast.
+(See ¶ 18 and ¶ 19.)
+
+The Circle Diagram I shows the manner in which the various colors are
+formed. (See also Diagram III.)
+
+ [Illustration: DIAGRAM I]
+
+The third circle shows how slate, citrine and russet are made. For
+instance, slate is one part of violet and one part of green. Hence, a
+tertiary color is made of equal parts of two secondaries.
+
+The outer circle, buff, sage and plum, can be analyzed in the same way.
+
+This Diagram I is arranged to show not only component parts of a color,
+but the parts that properly harmonize.
+
+
+#CONTRASTS#
+
+10. In music it is an established fact that certain notes used in
+pleasing combination produce sounds we call harmonies. The moment that
+more than one note is struck, there is danger of discord, and when ten
+notes resound to the touch of the player, they must be the right notes,
+or they jar upon the sensibilities. In the use of color the same
+immutable law applies.
+
+11. In Circle Diagram II the letters RV mean reddish violet, being a
+violet having more red than blue in its composition. BV means bluish
+violet, being a violet having more blue than red in its composition. BG
+means bluish green, being a green having more blue than yellow in its
+composition. YG means yellow green, being a green having more yellow
+than blue in its composition. YO means yellowish orange, being an orange
+having more yellow than red in its composition. RO means reddish orange,
+being an orange having more red than yellow in its composition. Thus we
+may advance from red to yellow by graduations almost imperceptible, by
+the addition of yellow, to a reddish orange, and so on gradually to
+orange, continuing on to yellowish orange, finally revealing pure
+yellow.
+
+ [Illustration: DIAGRAM II]
+
+12. The contrasting color at any stage may be determined by proceeding
+in a direct line across the circle: Red has for its contrasting color
+green; hence, reddish orange would have for its contrasting color a
+bluish green, for the simple reason that if red contrasts with green
+and orange contrasts with blue, the color between the red and the orange
+would contrast with the color between the green and the blue. Let us
+determine the contrasting color for crimson. Crimson is simply a red
+slightly tinged with blue. If red contrasts with green, a shade a little
+to the left of red slightly tinged with blue would contrast with a shade
+a little to the right of green slightly tinged with yellow. In other
+words, crimson, RV, would contrast with yellowish green, YG. Determine
+at what point of the circle any color that you have in mind will come,
+and the contrasting color would be immediately opposite.
+
+ [Illustration: DIAGRAM III]
+
+13. The harmony of analogy consists of the harmony of related colors or
+tones of one color. (See ¶ 17.)
+
+14. The harmony of contrast consists of colors in no way related. As an
+example of the harmony of analogy, we would mention red and orange,
+because both of these colors have ingredients in common, red being one
+of the two component parts of orange. As an example of the harmony of
+contrast, we suggest red and green, because there is nothing in common
+between the two, red being a primary color, and green a secondary,
+composed of the other two primaries, yellow and blue. (See ¶ 17.)
+
+15. Green is called the complement of red. The complement of blue
+would be orange, because orange is formed by combining the remaining
+primaries, red and yellow; and the complement of yellow would be violet,
+because violet is composed of blue and red, the other primaries.
+
+16. In Diagram II we have arranged at opposite points the primaries 1,
+the secondaries 2, the tertiaries 3, the quaternaries 4.
+
+But Diagram III goes further into the subject.
+
+It is easy to understand the composition of secondaries, but it is not
+so easy to know the tertiaries and quaternaries. (See also Diagram I.)
+
+
+#CONTRAST ANALOGIES#
+
+17. Diagram III is of the utmost value to the colorist, illustrating not
+only the composition of color, but showing the origin of each secondary
+from the two primaries, the origin of each tertiary from two
+secondaries, and of each quaternary from two tertiaries. It shows by
+groupings the harmonies of analogy or related colors; also the harmonies
+of contrast: By moving on the board one color on one line to another
+color upon another line, like the moving of a knight in a game of chess,
+and confining the moves always to adjoining lines, like yellow to
+violet, violet to citrine, citrine to plum, plum to brown. Yellow and
+violet are true contrasts, the one color having nothing in common with
+the other. The citrine and the plum, however, are approximate contrasts.
+For greater convenience, we have numbered the contrasting colors A's and
+B's. Absolute contrast is where the two colors have nothing in common.
+For composition purposes, however, citrine and violet may be considered
+contrasts, or correctly speaking, contrast analogies. (See ¶ 19.)
+
+18. A harmony of contrast means the utilization of a primary color with
+its complementary, or a color in conjunction with another color in no
+degree related: a primary with a secondary. But when we soften these
+contrasting colors by the addition of white we have in the lighter tints
+a scale of chroma that is a form of analogy.
+
+19. All combinations of secondary and tertiary colors, while apparently
+harmonies of contrast (the tertiary being made by the composition of two
+secondaries), constitute, in fact, contrast analogies, because by
+analysis we find that all tertiaries possess color components occurring
+in the apparently contrasting secondaries. (See Diagram III.)
+
+20. The harmony of contrast, literally, can only occur in the pure
+primary colors juxtaposed to the pure secondary colors, for in no case
+does the color formed by the combination of the two primaries have
+anything in common with the third primary; while a tertiary composed of
+two secondaries invariably has qualities possessed by the third
+secondary.
+
+21. In a room which is small or dark, the light tints in harmonies of
+analogy are advisable.
+
+
+#PROPORTIONS#
+
+22. In the use of one color with another of contrasting character the
+question frequently arises, what proportion of each should be used to
+obtain the best effect? Illustrative color books show usually samples of
+color of the same size, leading one unconsciously to the error that
+contrasting colors should occupy the same surface dimensions.
+
+23. In every room there must be a prevailing or dominant color, and the
+use of a contrasting color must be limited to proportions which give
+simply a pleasing emphasis. Let us assume that a room has a deep frieze
+pronouncedly green. To treat the rest of the wall in red of a direct
+contrast would be ineffective.
+
+24. If a rule can be applied we would say that no strong normal color
+should be used in large surfaces. If we were dealing with pigments we
+would say that if one-sixth of a side-wall is devoted to a frieze in
+green, the balance of the wall space should be treated with the same
+amount of red, mixed with the same amount of gray.
+
+25. For a room that is small and well lighted the fresh tints are not
+as desirable as the gray shades or tertiaries in conjunction with
+secondaries.
+
+
+#COLOR IN LARGE OR SMALL ROOMS#
+
+26. For a large room well lighted, yellow, red and orange in delicate
+shades are not as desirable as orange, violet and russet in light
+shades. This rule, however, may be reversed for a large room that is
+dimly lighted.
+
+A superabundance of light gives an uncomfortable glare.
+
+27. One may mechanically obtain harmony of analogy in proper proportions
+for the treatment of a room or a design by following the guidance of
+Diagram I. It will be noted in this diagram that the inner circle is
+blue, red and yellow, the primary colors.
+
+The second circle is composed of the secondaries; the third circle, the
+tertiaries, and the outer circle, the quaternaries.
+
+There is a nice distinction in the combination of primaries for the
+formation of secondaries, and exact proportions are quite necessary.
+
+An orange, for instance, would be off shade if it did not consist of
+half red and half yellow, but in the making of the quaternaries, which
+are, at best, gray shades, exact proportions are not necessary.
+
+Nevertheless, in Diagram I we have observed exact proportions in order
+to make our demonstration clear.
+
+The harmony of analogy is the combination of colors related, but the
+relationship must be displayed in proportions consistent with the origin
+of each and every color used.
+
+Let us assume that the prevailing note in a room, in either the
+side-wall or floor, is sage.
+
+ [Illustration: DIAGRAM IA]
+
+We can tell by drawing lines from the center of Diagram I to the
+extremities of the space marked sage that there is a little blue and a
+little yellow, some green and slate and citrine used in the composition
+of sage, and hence the use of these colors constitutes the harmony of
+relationship or analogy.
+
+
+#COLOR PROPORTIONS#
+
+28. But to arrive at proportions we must reduce the circular table to a
+geometrical table. We must straighten out the lines so that the exact
+proportions are apparent. We need not confuse the reader by mathematics,
+but to establish our theory we produce the Diagram IA, and it will be
+here seen that the relative proportions existing in the segments of the
+circles have been observed in the triangles.
+
+Thus we have thirty-two right-angled triangles.
+
+Sage occupies fourteen-thirty-seconds of the entire composition; slate
+occupies five-thirty-seconds; citrine, five-thirty-seconds; green,
+six-thirty-seconds; blue, one-thirty-second; yellow, one-thirty-second;
+and these colors, to observe the proper harmony of analogy in a room,
+should be used in the proportions above indicated.
+
+Sage should be in the preponderance; citrine and slate should occupy
+nearly one-sixth of the entire composition, green about one-fifth, and
+the whole should be picked out with touches of sharp blue and sharp
+yellow, representing each one-thirty-second.
+
+Let us take, for instance, a room that is in white woodwork, and apply
+the sage to the walls and the slate to the floor, and lighten the sage
+with citrine and lighten the slate with violet, and intersperse orange
+and green in a way permitted by the proportions at our command. When the
+work is completed we find a harmony of analogy which can be then
+relieved by touches of the primitive colors, blue and yellow, in the
+proportions shown.
+
+29. Good examples of contrast color effects may be found in the
+following series of combinations:
+
+PROPORTIONS OF COLOR ANALYSIS FROM
+ASSYRIAN TILES.
+
+           Example No. 1.
+
+ Blue-Green               60
+ Greenish-Yellow           8
+ Orange                    6
+ Purple-Brown              6
+ White                    20
+                         ---
+                         100
+
+               No. 2.
+
+ Blue                     35
+ Yellow                   30
+ White                    15
+ Dull Red                 10
+ Black                    10
+                         ---
+                         100
+
+               No. 3.
+
+ Blue                     60
+ Deep Yellow              20
+ Light Yellow             10
+ White                    10
+                         ---
+                         100
+
+               No. 4.
+
+ Pale Yellow              34
+ Green                    27
+ Blue                     25
+ Red                       6
+ Gold                      4
+ Black                     2
+ White                     2
+                         ---
+                         100
+
+               No. 5.
+
+ Black                    63
+ Yellow                   17
+ Green                     9
+ Red                       4
+ Light Red                 3
+ Blue                      3
+ White                     1
+                         ---
+                         100
+
+               No. 6.
+
+ Green                    36
+ Blue-Green               24
+ Yellow                   14
+ Red                      11
+ White                    10
+ Dull Red                  3
+ Black                     2
+                         ---
+                         100
+
+               No. 7.
+
+ Green                    36
+ Blue-Green               24
+ Yellow                   14
+ Red                      11
+ White                    10
+ Dull Red                  3
+ Black                     2
+                         ---
+                         100
+
+
+#BLACK--WHITE--GRAY#
+
+30. We do not wish to be understood as stating that the work of the
+colorist is solely mechanical; but we would emphasize that the
+influences of color are very largely the result of studied proportions.
+The basis upon which one operates must be soundly constructed upon the
+theory of scale, and scale is mechanically determined. If red is
+lightened by the addition of white, or darkened by the addition of
+black, it is removed to another scale, and can only harmonize by
+contrast with its complement by adding to green the same amount of white
+or black that has changed the character of the red, and this should be
+mathematically accurate.
+
+31. To place white by the side of a color heightens or intensifies the
+tone of that color. To put black beside a color has the opposite effect.
+It weakens the color. Every woman looks better in white, hence white is
+the universal wedding gown, the universal party dress for children, and,
+wherever practical, the universal Summer dress for adults as well. White
+is worn universally by men and women next to the face, in collars or in
+neckwear, and the reason for it is that the contiguous white intensifies
+whatever color they may possess. Black, on the other hand, lessens the
+color or lowers its tone.
+
+32. Gray is a medium between the two. While it renders an adjacent color
+less brilliant, it takes to itself at the same time a tint that is a
+complement of that adjacent color. In other words, gray by the side of
+green appears faintly pinkish.
+
+33. Black is always desirable as an associate with luminous colors.
+Black does not associate as well with two colors, one of which is
+luminous and the other sombre, as when associated with two luminous
+colors.
+
+    ORANGE     YELLOW     YELLOW
+    BLACK      BLACK      BLACK
+    RED        ORANGE     RED
+
+    YELLOW     GREEN      ORANGE
+    BLACK      BLACK      BLACK
+    VIOLET     YELLOW     GREEN
+
+    _The green being yellowish and the violet reddish._
+
+White is preferable when associated with a luminous and a sombre color.
+Thus,
+
+    RED          ORANGE       RED       YELLOW
+    WHITE        WHITE        WHITE     WHITE
+    BLUE         BLUE         VIOLET    BLUE
+
+    ORANGE       GREEN        GREEN     YELLOW
+    WHITE        WHITE        WHITE     WHITE
+    VIOLET       BLUE         VIOLET    VIOLET
+
+    _The violet being bluish, the green yellowish._
+
+
+#ROOM COMBINATIONS#
+
+34. The harmony of analogy is a subject that is little understood. It
+may be color sequence, progression, development or succession.
+
+ [Illustration: Showing Four-Color Combinations.
+ DIAGRAM IV and DIAGRAM V]
+
+ [Illustration: #SEQUENCE OF HARMONIES#
+ DIAGRAM VI
+ As these twenty-one sections are arranged, one has the layout for a
+ suite of seven rooms; following the top line across in a light scale,
+ the harmony is complete; following the center line across in a normal,
+ the harmony is complete; so also with the bottom line in a lower scale.
+ Follow the colors diagonally and you find they are repeats, or very
+ close to repeats--red, russet, red, for instance; violet, violet,
+ violet; blue, slate, blue; green, green, green; yellow, citrine, yellow;
+ orange, orange, orange. To the colorist the combinations here suggested
+ are full of inspiration.]
+
+Thus we may combine red, green and blue by starting with crimson and
+maintaining the following sequence: Crimson, red, scarlet, orange,
+yellow, greenish yellow, green, bluish green, blue, violet, and with
+added red get back to crimson.
+
+A room or a series of rooms may run to all colors and be still a harmony
+of analogy if the sequence or succession is gradual.
+
+35. No more delightful harmonies can be imagined than those provided by
+nature. One may start with the brown of the earth and run into several
+shades of green, and from that touch upon yellow, and from yellow to
+orange, and from orange to red, and red to violet, and violet to the
+blue of the sky. Or one may follow the colorings and the proportion of
+colorings in flora and never go astray. (See ¶ 22.)
+
+36. In the application of color to the home nothing is more pleasing
+than the harmony of sequence; the coloring of all rooms must be in
+sympathy with contiguous rooms. (Diagram VII.) (See ¶ 34.)
+
+37. All rooms are subject to the influence of a north or a south light,
+or much or little light, and the colorings must be considered
+accordingly. The ceiling and the upper parts of a wall require more pale
+colors where more light is needed. On the floor, however, where the
+greatest light falls, a little black may be added to soften the tone.
+
+38. Red and green are sharply contrasting colors; violet and yellow and
+blue and orange sharply contrast, and while their combinations may be
+used in adjoining rooms, it will be seen that in Diagram IV these
+contrasting tones are not in contact, but by their arrangement form
+analogies of contrast combinations.
+
+39. Yellow, orange, red, violet, blue and green are related; orange,
+russet, violet, slate, green and citrine are related; red, violet, blue,
+green, yellow and orange are related. Viewing the ceilings, the
+side-walls or the floor, there is the harmony of progression that we
+observe in the tinting of a flower. Viewed collectively the harmony is
+the same.
+
+40. To illustrate further our point we would take the ceiling line. We
+start with yellow, a primary color; orange possesses yellow; orange
+likewise possesses red, the adjoining color; violet possesses red, and
+it likewise possesses blue. On the side-wall, russet possesses orange,
+and it also possesses violet; it is the tertiary color made of these two
+secondaries. Slate is made of green and violet, and is thus also related
+to citrine.
+
+We do not wish it understood that these colors are to be applied flat,
+but simply in the predominating expression. (See ¶ 27.)
+
+41. The value of the diagram is obvious when one considers that in no
+particular is there a break in the sequence; but if we wish a harmony of
+analogy in a room, or a harmony of related parts, and wish the adjoining
+room to be in absolute contrast, we simply adopt the red, violet and
+blue for one room, and the green, citrine and orange for another; or the
+orange, russet and violet for one room, and the blue, green and yellow
+for the other. If, however, the sequence of color is desirable where we
+move from one apartment to another, and the eye is pleased by a gradual
+changing color, we can adopt any of these combinations in the order as
+presented.
+
+42. A vital point in the use of color, regarded usually with
+indifference or totally misunderstood, is the Unity of Composition to be
+preserved in the treatment of a series of _floors_ in a house; for on
+each floor of a house the conditions of light vary. As we ascend the
+stairs we find each floor requires an altered treatment, because of the
+added light given from the skylight. (See ¶ 37.) Moreover, in the
+arrangement of a floor the relation of one room to another is frequently
+so influential that no one room should be treated without due
+consideration to the adjacent apartment. (See Diagram VIII.)
+
+Too frequently the whole question of color is dismissed when the matter
+of north or south exposure is discovered, but the north room on the
+lower floor of a house is by no means so well lighted as the north room
+of the fourth or fifth floor, and the scale of color which would lend
+warmth to such a room would be weak in a more exposed apartment.
+(See ¶ 30.)
+
+43. Where the artist has but one room to consider there is little scope
+for his application of color knowledge. He must frequently compromise to
+meet the conditions. But presuming that he must treat a floor
+through, he should adopt a Unity which will apply harmoniously to all
+the rooms and hallways.
+
+ [Illustration: DIAGRAM VII]
+
+ [Illustration: DIAGRAM VIII]
+
+ [Illustration: DIAGRAM IX For Key to Numbers see Diagram VII.]
+
+
+#CONTIGUOUS HARMONIES#
+
+44. For the lower floor he must arrange his colors so that while they
+moderate the direct glare of a sunny exposure or brighten the
+cheerlessness of a north light, they will also form a composition that
+pleases when seen from a point of common observation.
+
+45. On the upper floors the scale of color should be gradually softened,
+for the yellow or ivory tints that are pleasing on the first floor would
+be harsh and glaring where there is greater light. Exterior conditions
+must be borne always in mind.
+
+46. Recalling that the primary colors are yellow, red and blue, and that
+the secondary colors are orange, violet and green, and that the tertiary
+colors are russet, slate and citrine, all with many tints and shades,
+let us arrange a series of five rooms seriatim, so treating ceiling,
+side-wall and floor (See Diagram IX) that in passing from one room to
+another they will be in sequence of color harmony--each complete from
+floor to ceiling and all in harmony along the ceiling lines, the wall
+lines and the floor lines.
+
+Let us take the suite of rooms suggested in Diagram IX. We must consider
+desirable colorings in all of the rooms to be treated, and so far as
+possible adjust the sequence of treatments, as shown in Diagram VIII, so
+that the approach to each room will be in harmonious order as viewed
+from any room. We have five rooms to treat. The library happens to be
+on the north side, hence we wish to treat it in colorings that supply
+the deficiency of sunshine. The hallway is rather dark. The living-room
+has only one window, and requires more warmth of color than the
+billiard-room and dining-room, which being sunshiny can be treated in
+more sombre tones. Therefore we select combination 6 for the hallway.
+The one room on the right we treat in No. 1. The rooms on the left we
+treat in Nos. 5, 4 and 3. We have, therefore, as we stand in room No. 6,
+treated in green, citrine and orange, a view to the right of yellow,
+orange and red, which is in harmonious juxtaposition. To the left we
+have a glimpse of rooms, the floors of which adjoining the orange floor
+of the entrance hall, are yellow, green and blue. The wall spaces
+adjoining the citrine wall space of the hall treatment are green, slate
+and violet. The frieze lines adjoining the green of the hall treatment
+are blue, violet and red--all juxtaposed harmonies. The floors of all
+rooms are of one deep scale; the walls lighter scale; the friezes and
+ceiling still lighter. If viewed from room 4 the harmonies are equally
+effective.
+
+47. Diagram VII is useful for many reasons. In its present shape it
+shows the harmonies of analogy or related parts. To arrange harmonies of
+contrast, combine the colors of the first room with the fourth room, the
+colors of the second room with the fifth room, the colors of the third
+room with the sixth room. (See ¶ 37.)
+
+
+#HARMONIES FOR THE ROOM#
+
+48. The floor should usually enter into the color scheme as the low
+note in the scale. It is the background for the furniture, and should be
+deeper than the dado or wainscoting. The wood trims--baseboard, doors,
+plate-rails, and everything of that character, except the picture
+molding--should be like the woodwork of the furniture. This brings the
+woodwork into contrast with the wainscoting (unless the wainscoting be
+wood) and into harmony with the side-walls, although the degree of
+harmony is far removed. Thus, if the woodwork of the furniture is
+mahogany, the wainscoting green, the side-walls pink and gray, we would
+find the window trims of mahogany, or imitation mahogany, in harmony
+with the side-walls. (See ¶ 51 and ¶ 52.)
+
+49. I would lay down the rule that the wood trims of a room should
+harmonize by analogy with the side-walls where such walls are provided
+with a contrasting wainscoting; but if there is no wainscoting, or the
+wainscoting be also of wood, then the wood trims and furniture contrast
+with the side-wall.
+
+Substitute green side-wall for the pink, ¶ 48.
+
+White woodwork is always permissible. Study Diagram VI on page 22.
+
+50. The picture molding may harmonize with the ceiling. Indeed, a white
+picture molding frequently is better than one matching the general
+woodwork (See ¶ 37); a dark upper molding, moreover, reduces the
+apparent size of a room.
+
+51. Where black furniture is used, or gold furniture, it will of course
+be understood that the wood trims shall not be black or gold; but so
+long as they are in harmony, that will be sufficient. White wood trims
+are nearly always permissible as a substitute for colored wood.
+
+52. Tones of gray with soft colorings (See ¶ 32), are always safe.
+
+To summarize (Note ¶ 37):
+
+53. In harmonies of contrast the side-walls, the furniture woodwork,
+wood trimming, cove, ceiling and the curtains should be related.
+
+54. The rugs, frieze, wainscoting or dado, furniture upholsterings and
+the curtain borders should be related. (See ¶ 49.)
+
+55. If the curtains have no borders, then the curtains contrast with the
+wood trims.
+
+56. Remember always cove and ceiling should be the palest tint of the
+side-wall color, and the rug should be of the deepest contrast to the
+side-wall, in harmony with the wainscoting, if there is a wainscoting.
+Remember, also, that the colors here prescribed are never to be of the
+same scale. The rug or carpet is of the deepest, and the ceiling of the
+palest. While certain colors are to contrast, they are not to contrast
+in the same scale. (See ¶ 37 and ¶ 40.)
+
+57. If we find that the tone of color of the wainscoting, for instance,
+is a bluish green, the side-wall should be of a reddish orange; for the
+reason that if green contrasts with red, and if blue contrasts with
+orange, a bluish green would contrast with a reddish orange.
+
+58. Exception to ¶ 56. Only large or well-proportioned rooms can stand
+the diminishing or reduction effects of contrast. In low ceiling rooms,
+leave out the contrasting frieze, and let border, cornice and ceiling be
+in receding colors. (See ¶ 89.)
+
+59. We all know that a northern exposure gives a room a deficiency of
+sunlight, and the wall treatment should supply this. A southern room, on
+the other hand, gives so much sunlight that counteracting wall
+treatments in cold color are permissible.
+
+60. In the color treatment of a room one has either to adopt a harmony
+of analogy or a harmony of contrast, and this is a matter which depends
+upon so many conditions that it should be carefully considered.
+(See ¶ 88 and ¶ 89.) Where a plate-rail is used one must remember that a
+great deal of color may be furnished by the bric-a-brac, and that the wall
+behind this plate-rail should be of a color in contrast to the contents
+of the plate-rail.
+
+61. When we follow a scheme of _contrast_ the borders should be usually
+complements, and if the reader has studied our diagram he will very
+readily understand how to determine the exact complementary color.
+
+
+#WALL PROPORTIONS#
+
+62. The wainscoting or dado should be the same as the top border or
+frieze, but of a darker tone. The intermixture of white or black is
+always permissible; thus a paper as a side-wall might have as its
+frieze the complementary coloring with more white, while the wainscoting
+or dado should be the complementary with black added.
+
+63. The cornice should be lighter than the border, and its members may
+show several tints, with the ceiling lighter still. (See ¶ 92.)
+
+64. As a rule the color of the chair coverings should be the
+complementary of the side-walls, and the color of the furniture frames
+should be complementary to the wainscoting; so by following this rule we
+find that the wainscoting serves as a contrasting background to the
+chair frame.
+
+65. Let us imagine a room wherein the side-walls are of a reddish tint;
+the wainscoting, being a complementary color, is of a greenish cast. The
+furniture is of mahogany, and in contrast to the wainscoting, while the
+chair covering, being greenish in contrast to the chair frame, is also
+in contrast to the side-wall. Here we have, then, the color relations of
+side-wall, wainscoting, furniture-frames and covering; but it is
+undesirable that these tones should be in the same scale. (See ¶ 62 and
+¶ 92, also tables pages 42 and 43.)
+
+      {         {         { _Furniture_: Large pieces, preserving broken
+      {         {         {   heights.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rules of proportion.
+      {         { HIGH    { _Color_: Subdued contrasts of somber tones
+      {         { CEILING {   picked out in contrasts of gold, red
+      {         {         {   and orange. Masses of luminous color are
+      {         {         {   permissible in well-lighted rooms. Borders,
+      {         {         {   friezes, dadoes and wainscotings may be
+      {         {         {   used, and a bordered carpet or large rug
+      { WELL    {         {   in the low tone of the color scheme.
+      { LIGHTED {
+      {         {         { _Furniture_: Avoid high pieces, excepting as
+      {         {         {   relief to the use of many low pieces.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rule of proportion,
+      {         { LOW     {   using perpendicular stripes to give height
+      {         { CEILING {   effect on wall; avoid friezes, wainscoting,
+      {         {         {   dadoes. Carpet borders may be safely used.
+      {         {         { _Color_: Subdued contrast of somber tones
+      {         {         {   picked out in bright effects; luminous
+      {         {         {   masses permissible.
+ LARGE{
+ ROOM {         {         { _Furniture_: Large pieces, preserving broken
+      {         {         {   heights.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rules of proportion.
+      {         { HIGH    { _Color_: Softly luminous, soft orange, yellow,
+      {         { CEILING {   green, sunshiny colors to give artificial
+      {         {         {   light, picked out  with contrasting color.
+      {         {         {   Border, frieze and wainscoting may be used,
+      {         {         {   also carpet or large rugs in the low tone
+      { POORLY  {         {   of the color scheme.
+      { LIGHTED {
+      {         {         { _Furniture_: Low pieces relieved by some high
+      {         {         {   pieces.
+      {         {         { _Designs_: On walls, draperies and furniture
+      {         {         {   coverings follow rule of proportion,
+      {         { LOW     {   using perpendicular stripes to give wall
+      {         { CEILING {   height; avoid friezes, wainscoting or
+      {         {         {   dado; carpet borders may be safely used
+      {         {         {   in the low tone of the color scheme.
+      {         {         { _Color_: Softly luminous, soft orange, yellow,
+      {         {         {   green, sunshiny colors to give artificial
+      {         {         {   light, picked out with contrasting color.
+
+      {         {         { _Furniture_: Small pieces, relieved by small
+      {         {         {   high pieces.
+      {         {         { _Designs_: Small, proportionate to the size
+      {         {         {   of the room.
+      {         { HIGH    { _Color_: Use harmonies of analogy or related
+      {         { CEILING {   parts and of a receding character, blue
+      {         {         {   or gray green, gray predominating; avoid
+      {         {         {   orange or red, excepting in the
+      { WELL    {         {   bric-a-brac. Small rugs. Horizontal
+      { LIGHTED {         {   effects on walls.
+      {         {         {
+      {         {         { _Furniture_: Low pieces relieved by small high
+      {         {         {   pieces.
+      {         {         { _Designs_: Small on draperies and furniture
+      {         { LOW     {   coverings; use perpendicular stripes to
+      {         { CEILING {   give height effect on wall; avoid deep
+      {         {         {   friezes, wainscoting, dado or borders.
+      {         {         { _Color_: Use harmonies of analogy or related
+      {         {         {   parts, of greens or blues, grays
+      {         {         {   predominating; avoid luminous colors--yellow,
+      {         {         {   orange or red, excepting in the
+      {         {         {   bric-a-brac. Small rugs.
+ SMALL{
+ ROOM {         {         { _Furniture_: Small pieces, relieved by small
+      {         {         {   high pieces.
+      {         {         { _Designs_: Small on wall and fabrics.
+      {         {         {   Horizontal effects.
+      {         { HIGH    { _Color_: White in the woodwork gives artificial
+      {         { CEILING {   light; use pale gray colors on wall,
+      {         {         {   slightly tinted green or yellow, faintly
+      {         {         {   relieved by red or orange--the stronger
+      {         {         {   colors only for the bric-a-brac. For the
+      {         {         {   floor avoid bordered carpets; use small
+      {         {         {   rugs.
+      { POORLY  {
+      { LIGHTED {         { _Furniture_: Low pieces.
+      {         {         { _Designs_: Follow the rule of proportions,
+      {         {         {   with perpendicular stripes on wall, to
+      {         {         {   give height effect. Avoid borders on
+      {         { LOW     {   wall; use small rugs on floor.
+      {         { CEILING { _Color_: A preponderance of white in woodwork
+      {         {         {   and fresh gray on wall with a touch of
+      {         {         {   yellow and green in soft tones.
+      {         {         {   Contrasting colors only in bric-a-brac
+      {         {         {   and small details.
+
+
+#ROOM PROPORTIONS#
+
+66. In small rooms harmonies of contrast are unsafe, because contrasts
+must involve advancing colors, which make a room look smaller. (See ¶ 86
+and ¶ 90.) Harmonies of analogy are far better; and as frieze,
+wainscoting and dado are not recommended in the small room, we suggest
+that the furniture woodwork and the wood trims should be of one color
+note, unless it is desired that the wood trims should be white; and that
+the side-walls, curtains and chair upholsterings should be of a note in
+some degree related and of receding color, picked out with just a touch
+of contrasting color. (See ¶ 90 and ¶ 91.)
+
+This contrasting color may be introduced in the accessories, the
+pictures, bric-a-brac, flowers (natural or artificial) or books.
+
+ [Illustration: "... pronounced patterns must balance," etc.
+ (See page 38.)]
+
+
+ [Illustration: Broken heights. (See ¶ 75.)]
+
+#DECORATIVE PROPORTIONS#
+
+(SEE CHART)
+
+On the preceding pages we present a quick-reference chart of rules that
+should be followed in furnishing rooms under various conditions of Light
+and Proportion.
+
+    67. A large room with high ceiling and well lighted.
+    68. A large room with low ceiling and well lighted.
+    69. A large room with high ceiling and poorly lighted.
+    70. A large room with low ceiling and poorly lighted.
+    71. A small room with high ceiling and well lighted.
+    72. A small room with low ceiling and well lighted.
+    73. A small room with high ceiling and poorly lighted.
+    74. A small room with low ceiling and poorly lighted.
+
+There are two considerations to bear uppermost in mind: Proportions
+affected by Color and Proportions affected by Design.
+
+75. It is easily understood that a large room may be safely furnished
+with large pieces of furniture, but where there is a wide expanse of
+floor space care must be exercised to secure broken heights: In a
+high-ceilinged room the furniture must not be all high; in a
+low-ceilinged room the furniture must not be all low.
+
+Avoid straight line effects in the furniture heights and in the
+wall-paper, which, if in pronounced patterns, must balance in
+conspicuous wall members and show the broken junctures or bad matchings
+in inconspicuous or obscure corners.
+
+
+#COLORS THAT GIVE SIZE TO A ROOM#
+
+76. The wall and fabric designs must be of a size proportionate to the
+size of the room. The color treatment of a well-lighted room must be
+subdued to offset the glare of the natural illumination, and the natural
+illumination be subdued to soften the color treatment; glare must be
+avoided.
+
+77. Advancing colors are colors which contain red or yellow in the
+ascendancy; _receding_ colors are those which contain blue in the
+ascendancy. Green in its purity, being half yellow and half blue, is
+almost neutral. In the same way violet, being made up of half red and
+half blue, is theoretically neutral, although the blue tone is usually
+more assertive than the red and makes the color recede. Any color or hue
+possesses advancing or receding qualities according to the ascendancy of
+red, blue or yellow in its composition.
+
+78. Orange is an advancing color; so also is violet in the shades
+approaching red; green in the shades approaching yellow.
+
+79. Of the tertiary colors russet is an advancing color, because while
+it contains some blue in the violet of its composition, it contains a
+preponderance of red and orange.
+
+
+#ADVANCING AND RECEDING COLORS#
+
+80. Citrine is an advancing color, because while it contains some blue
+in the green of its composition, it contains a preponderance of yellow
+and orange; slate is a receding color, because while it contains some
+yellow in the green of its composition, it contains a preponderance of
+blue; in the same way plum may be regarded as an advancing color,
+because of its preponderance of red; buff is an advancing color, because
+of its preponderance of yellow; sage is a receding color, because of its
+preponderance of blue.
+
+81. The carpet should always be in the low tone, and in a small room a
+bordered carpet should be always tabooed. So also should one avoid the
+use of one rug so placed that a border of woodwork shows around it,
+because this gives the border effect and makes a small floor space look
+still smaller. Better use small rugs. The use of a lot of narrow rugs
+lengthwise along a narrow room will make the room look all the narrower,
+but the same rugs placed crosswise would make a room look wider.
+
+The diagrams which we have prepared will give even the man who
+understands it all a quicker grasp of the points involved.
+
+82. Width effect and distance effect are obtained best by arranging the
+smaller pieces at the farthest points.
+
+83. It is the same with pictures. While a room should be balanced, and
+the pictures placed in a manner to give this result, it is best, where
+possible, to keep the larger pictures, larger effects, always near the
+eye. The crowding of large pieces at the farthest point diminishes the
+apparent size of the room.
+
+
+#FLOOR TREATMENTS#
+
+ [Illustration]
+
+84. Continuous design in ceiling or carpet weakens the size effect;
+hence rugs which break the continuity by being laid across the room
+instead of lengthwise are preferable. (See Diagrams and ¶ 81.)
+
+85. It is a safe rule to do a small or narrow room in harmonies of
+analogy or related colors, colors of a light tone and of receding
+character. Apart from any effect which color may possess decoratively or
+pictorially, its value cannot be overestimated in its application to the
+laws of proportion.
+
+ [Illustration]
+
+86. Borders may be safely used on the wall or on the carpet of any large
+room with high ceiling, but wall friezes should be avoided where the
+ceilings are low, for they foreshorten the height effect.
+
+87. We would avoid borders on the floor of a small room to make it look
+larger, and we would use wide borders in a large room with a low ceiling
+so that the floor may be foreshortened.
+
+88. One may utilize in a large, poorly lighted room masses of luminous
+colors to give artificial sunlight to the room deficient therein, but in
+the small, poorly lighted room this treatment should be avoided.
+
+
+#COLOR SCHEMES FOR ROOMS UNDER NORMAL CONDITIONS#
+
+ (TN: left page of two page table)
+                                                      KEYNOTE
+               #B#                        #B#         COLORS       #B#
+    #A#     #Drapery#       #A#                        #A#      #Furniture#
+  #Floor#   #Border#    #Wood Trim#  #Wainscoting# #Side-Wall#  #Coverings#
+
+ (Brown
+ and gray
+ tones)    (Full tones)(Wood tones)(Deep tones)(Soft tones)(Soft tones)
+
+ Brown        Yellow     Mission       Green       Red         Green
+ Deep oak
+   brown      Orange     Mission       Blue        Orange      Blue
+ Light oak    Green      Light oak     Violet      Yellow      Violet
+ Deep olive   Blue       Oak           Red         Green       Red
+ Mission
+   tones of   Violet     Mahogany      Orange      Blue        Orange
+   slate
+ Deep plum    Red        Violet toned  Yellow      Violet      Yellow
+                         or tulip
+
+ (TN: right page of two page table)
+
+      #A#         #B#         #A#          #B#             #A#
+  #Furniture#  #Frieze#   #Draperies#   #Ceiling#       #Cornice#
+
+ (Wood tones)(Soft tones)(Full tones)(Pale wash tones)(Pale wash tones)
+
+ Mahogany       Pale green    Red       Palest green     Pale yellow
+ Deep oak       Blue          Orange    Palest blue      Pale green
+ Gold, gray or  Violet        Yellow    Palest violet    Pale blue
+   yellow
+ Walnut gray    Grayish red   Green     Palest red       Pale violet
+ Mission brown  Gray orange   Blue      Palest orange    Pale orange
+ Gold or violet Yellow        Violet    Palest yellow    Pale pink
+   tone
+
+Exception 1. The ceiling, where there is no pronounced cornice or cove,
+should follow the wall tint.
+
+Exception 2. Independent of rule, a low ceiling should be in receding
+color.
+
+       *       *       *       *       *
+
+It is impossible to tabulate directions for using color without an
+understanding of the conditions, the size, light and height of a room.
+(See pages 34 and 35.) The above tables relate only to normal
+conditions.
+
+White woodwork can be used effectively in the trims of a room and give
+greater light and size. The darker the wood trims the smaller the room
+appears. We have left out of consideration the window treatments which,
+as a rule, should be of white lace, perhaps overdraped in colored
+stuffs. If the room is poorly lighted, it is obviously undesirable to
+cut off any light from the window by even laces; the curtains,
+therefore, in a poorly lighted room should be draped back. Colored
+laces, grenadines or madras stuffs are frequently used to give period
+style or color tone, and wherever they are used, such curtains should
+harmonize with the wall. So also with the overdraperies to the lace
+curtains.
+
+89. Luminous or advancing colors make a small room look all the smaller;
+therefore in small rooms we suggest the use of white woodwork, and in
+the color treatment we would avoid contrasts, but would suggest
+harmonies of analogy in receding colors, soft grays, greens and blues.
+These are not luminous colors and will make a small room look the
+larger, while the white will give light effects, and if the room appears
+a trifle somber it can be easily relieved by the bright colors of the
+bric-a-brac and by a touch of gold here and there on the wall. (See ¶ 66
+and ¶ 85.)
+
+90. There are cases where a small room has a northern exposure, and
+while apparently expedient to treat such a room in warm colors to supply
+the deficiency of sunlight, such a course would make a room look
+smaller.
+
+91. Under the circumstances treat the room in light hues, gray
+preferred, and get the deficiency of sunlight through some warm isolated
+details and in the lace curtains.
+
+
+#THE WALL THE KEYNOTE COLOR#
+
+92. Our theory of color as applied to room furnishings provides always
+that the side-wall is the keynote and this keynote is usually fixed for
+practical reasons in sympathy with the furniture; above to the ceiling's
+center the note ascends and below to the floor center it descends; it
+goes into tints as it ascends and into deeper shades of gray and brown
+as it descends.
+
+If, for instance, blue is the keynote, by adding black you have drabs,
+slates or grays for the floor, while if the keynote be red you have
+ecrus and browns for the floor light or gray, according to the color
+scale of the keynote.
+
+93. It must be understood that in designating a color we do not mean
+that it shall be solid or pure, but merely that it prevails. (See ¶ 29.)
+
+A side-wall may be treated in several colors, but as long as orange
+prevails, it follows the conditions of the combination, pages 42 and
+43. The factors included in the line designated A are all of one color
+family. The factors indicated by B are also family colors. It will be
+seen that the A or B colors taken by themselves form HARMONIES OF
+ANALOGY; it is only by combining the A's with the B's that we have
+HARMONIES OF CONTRAST.
+
+If a room is to be done in harmonies of analogy, use the A colors alone
+or the B colors alone, but never A and B together.
+
+
+#THE PSYCHOLOGY OF COLOR#
+
+94. Whatever may be the charm conveyed by design there is a reason for
+it. We can analyze it.
+
+It has an inherent quality of beauty or historic interest, and there is
+a definite and distinct reason for our liking it.
+
+But the effect of color is exciting or disturbing, tranquilizing or
+pleasing, inexplicable and inexpressible, affecting the senses like an
+appeal to the passions or the appetite. One might as well explain the
+love of sport, literature, art or vice. The sense of color is a nerve
+sense, and this sense varies in the individual. We know that colors
+which are strongest in direct sun rays, like red and orange, arouse the
+normal senses, while the blues and violets quiet.
+
+Nature provides vast fields of green because favorable in its effects
+upon humanity. Experiments prove that men of extreme sensibility exposed
+to the influences of red light finally show excitement which gives
+muscular development fifty per cent. in excess of the power possessed by
+the same subject when exposed for the same period under the influences
+of blue light.
+
+
+#TO DETERMINE THE COLOR SENSE#
+
+Color, like music, while subjected to positive rules of harmony, appeals
+to natures according to the responsiveness of their nerve sense, and the
+practical decorator in dealing with a customer should discover at the
+outstart the character of that nerve sense. Some natures respond to the
+normal colors, barbaric colors. Some respond to the softer tints and are
+disturbed by the sharper tones. A dulled sense requires sharp contrasts;
+a quickened sense is satisfied with the soft gray tones. Apart from any
+question of propriety or environment the individual taste for color must
+be determined before the individual taste can be pleased.
+
+A demonstration of four examples in color may serve the purpose of
+determining one's color sense.
+
+First. Combinations of normal primary and secondary colors, (_a_)
+arranged in contrasts, (_b_) in analogies.
+
+Second. Combinations of tones of the above colors, (_a_) arranged in
+contrasts, (_b_) in analogies.
+
+Third. Combinations of tints of the above colors, (_a_) arranged in
+contrasts, (_b_) in analogies.
+
+Fourth. Combinations of the gray (tertiary) tones of the above colors,
+(_a_) arranged in contrasts, (_b_) in analogies.
+
+95. Do not allow your personal color-sympathies to dominate your work.
+All colors have their usefulness, for there are occasions when it is
+proper they should be used, apart from any question of harmony; one
+must consider always the uses of colors, the lights, and the purpose of
+the room under treatment.
+
+96. Nature gives to the dark forest depths great brilliancy of
+floriculture, and dark-skinned people indulge unconsciously the same
+bright scale of color. But as we come out of the forest and advance in
+civilization we use barbaric colorings more discriminately.
+
+97. We employ gold, orange or yellow for the north room not for inherent
+beauty, but for the sense of warmth which they convey to an atmosphere
+chilled by the absence of sunlight. We employ receding colors in a small
+room that the room may look larger. We employ cold colors in a sunny
+room, especially in the summer home, for reasons psychological rather
+than aesthetic.
+
+
+#PERIOD USES OF COLOR#
+
+98. If our furniture is white and gold, it is clearly evident that the
+colorings of a room should be soft and harmonious. If we adopt the dark
+teakwood of India or the deep brown of Flanders, our color scheme again
+changes. The preponderance of white in Colonial rooms was due to
+architectural conditions. White illuminates; and in the days when our
+ceilings were no higher than seven and a half feet, and our windows were
+small, the room needed an artificial light, and white supplied this.
+
+99. In furnishing an Empire room, the decorators have, little by little,
+led themselves to believe that what is known as Empire green is a
+distinct shade of green. On the contrary, green was used in the period
+of the Empire simply because it was in pleasing contrast with the
+mahogany and brass so much used. If the mahogany is dark, a dark green
+is desirable; if light, a light green.
+
+100. Egyptian decoration was full of gold and brilliant coloring, and a
+popular form of combination was the triad form:
+
+    Black, yellow and red.
+    Red, blue and white.
+    Dark blue, light blue and white.
+    Cream color, blue and black.
+    Dark red, medium yellow and blue.
+
+101. The Greek decorators, who painted in fresco, used white, red, blue,
+yellow and black. Natural marbles were much used in green and red and
+alabaster, and bronze, gold and silver.
+
+We see the flat colors of the Greek, Etruscan and Pompeiian age and we
+imagine they are typical of the period, but we must consider that the
+examples of that period which we now possess are faded and emasculated,
+and that the more authentic the example, the more aged it is, and hence
+the more weakened in color character.
+
+The Greeks loved color, and their embroideries were in gold and blue and
+Tyrian purple.
+
+Roman coloring was but a continuance of the Greek, characterized by dark
+and rich backgrounds, which were frequently black, red or deep yellow
+and dark blue, on which figures and landscapes, or animals, or groups
+from still life, were executed in bright colorings of powerful
+contrasts. Black and white were used, and later, when the Byzantine
+artists and craftsmen found their way to Western Italy, they spread this
+love of bold coloring, so that at the dawn of the Renaissance we find a
+return to the Greek and Roman coloring, which, however, was modified in
+England, Germany and Flanders, according to temperamental conditions.
+
+102. We find, for instance, some forms of Florentine decoration, full of
+yellow, red-yellow, blue-greens and light slate blues. Botticelli used
+whites, creams, reds and citrine, with umber tones heightened by gold,
+and if we examine carefully the Sixteenth and Seventeenth Century
+Italian brocades which are preserved in the museums, we discover a great
+preponderance of yellow-green as an ornament on dark violet, or light
+olive green on dark blue, or dull orange on crimson brown.
+
+In some of the richest early Italian fabrics we find:
+
+     Purple and sage-green ornaments on indigo ground; outlines in gold.
+
+     Dull crimson, pale blue and chrome yellow ornaments on dark gray
+     ground.
+
+     Pale yellow-green ornaments on deep amber ground.
+
+     Dark blue-green and light greenish-yellow ornaments on deep crimson
+     ground.
+
+     Pale greenish-blue ornaments on dark gray-blue ground, with white
+     and gold picked out in small quantities.
+
+     Emerald green and dull orange ornaments on dark gray-green ground
+     outlined in gold.
+
+103. The French Renaissance takes inspiration from the Roman and Greek.
+
+The Louis XIV is a development of the Renaissance, with a conspicuous
+use of gold.
+
+The Louis XV is an elaboration along the same lines.
+
+The Louis XVI is a simplification and a return to the classic.
+
+The Georgian is largely Roman and Pompeiian.
+
+104. The Adam style was taken directly from the Pompeiian, but in most
+cases, instead of having the Pompeiian solid color background with
+design lightly executed, the background is in the light color, and the
+design dark. To follow strictly the Pompeiian palace style would be too
+garish in our modern circumscribed environment.
+
+105. It is a nice psychological problem to decorate the house in a way
+to give true balance to the aesthetic sense. No matter how great one's
+admiration for a thing, there is always a final point of satiety at
+which the desire needs rest or balance. A woman may love flowers, for
+example, but in the season of flowers, when all nature supplies an
+over-abundance, the visual sense becomes satiated, and the house
+interior that is furnished in cool tints and two-tones gives positive
+relief.
+
+106. On the other hand, floral decorations in the home are the balance
+needed to the mind that craves them during the Winter period when there
+is a lack of color without.
+
+
+ [Illustration: Compare perpendicular and horizontal lines: The angles
+ and curves which enclose them change their relative equality.]
+
+       *       *       *       *       *
+
+#ILLUSION EFFECT AND EXPRESSION IN THE USE OF LINES#
+
+107. We very often notice a room which has been carefully carried out
+but is utterly lacking in charm. The color seems right, and, considered
+in detail, the furniture and the furnishings are appropriate, but the
+room lacks effectiveness.
+
+It is uninteresting.
+
+It is like a doll face that is, perhaps, perfect in detail, but utterly
+devoid of EXPRESSION.
+
+The artist who paints a portrait is a failure without the ability to
+give expression: hence in architecture the acute-angled spires or
+arched roofs have the same expression that the "long face" carries.
+
+ [Illustration]
+
+If we smile, the mouth curves upward; if we grieve, the lines turn
+downward.
+
+108. In festival decorations, joy is expressed by loops, curves and
+festoons.
+
+109. In serious decorations (libraries, studies, church or office work)
+straight lines are used; curtains are gathered in plaits so that the
+sags and drapes are all out of them; they are drawn. It is the same when
+we say of a person: "He looks serious, his face is drawn; it is full of
+lines."
+
+110. The observation, "a broad smile on his face," means literally just
+that; the lines extend outward and upward, giving an expression of
+breadth and joy to the countenance.
+
+
+#ILLUSION#
+
+111. A doorway looks wider that has at the top a drapery which crosses
+in one complete curved sweep. A side-wall is larger apparently if along
+the frieze line long, wide loops or festoons are arranged. The same wall
+is more contracted and higher if treated in arrow-point forms of design.
+
+ [Illustration]
+
+The decorator should study these matters of illusion, for they are
+vital to the success of his labor. (See ¶ 116.)
+
+112. Perpendicular lines contract the wall space and extend the apparent
+height of a room; horizontal lines shorten the apparent height of the
+ceiling and lengthen the width of the room. (See exceptions, ¶ 119.)
+
+These straight lines may be used where extremes are needed. (See pages
+61 and 63.)
+
+A short doorway, for instance, looks higher where the portiere is hung
+in straight folds; so also with a cottage window.
+
+ [Illustration]
+
+113. Every decorator who handles fabrics, every cabinetmaker who lays
+out the woodwork of a room, every stained glass window maker, should
+appreciate one fact: A line which is finished at the top or bottom, or
+both, with acute angles appears longer than the line that is finished
+top and bottom with an obtuse or right angle. It is the same with the
+finish of a wall frieze.
+
+If the wall frieze ends abruptly (Illustration A on page 57), it is
+foreshortened; if it is finished by angles (Illustration B), the height
+of the room is apparently greater. (See the illustration on page 51.)
+
+114. It is the same way with curves; given two lines of equal length and
+enclose one with convex and the other with concave curves, and the line
+enclosed convex will appear longer.
+
+ [Illustration: Treated for Broken Heights.]
+
+115. In dress a collar brought down to an acute angle in the front of
+the waist gives height effect, whereas a perfectly straight collar
+around the neck reduces the apparent height and gives width effect.
+
+ [Illustration]
+
+116. The use of arches should be studied. A space that is arched looks
+wider than it actually is, for the eye unconsciously follows the lines
+of the arch, and a distance or width effect is the result. The same
+space treated with a straight line is quickly bridged. The same space
+treated with lines that come to an angle looks narrower, for the reason
+that the eye becomes focused by the apex of the angle, and a height
+effect, not a breadth effect, is the result. (See page 57.)
+
+117. This illusion is best shown in the illustrations of the parallel
+lines that are crossed diagonally, with the result that the lines no
+longer look parallel because of the angles. Nevertheless, they are
+parallel, and the lines running diagonally at the bottom of this page
+are also parallel.
+
+ [Illustration]
+
+We present two practical illustrations of illusion in the use of lines.
+(See ¶ 112.) They represent the side-walls of two rooms of the same
+dimensions, but showing apparently different proportions, the
+perpendicular lines making the side-wall look higher and the horizontal
+lines making the side-wall look lower. (See page 59.)
+
+ [Illustration: Illustration A.]
+
+ [Illustration: Illustration B. (See ¶ 113.)]
+
+ [Illustration]
+
+The length of the wall space is shortened, moreover, by the
+perpendicular lines and lengthened by the horizontal lines.
+
+118. No period expresses more clearly the joy of curves as opposed to
+the severity of straight lines than that voluptuous period of Louis XV
+known as Rococo. It was a profligate era, an era of pleasure, and the
+appended illustration of part of a frieze is in no way exaggerated, but
+a true example of a common expression. (See page 60.)
+
+ [Illustration]
+
+ [Illustration]
+
+119. Distinct perpendicular lines give height effect, but they also
+narrow the apparent width of a wall space. It is best to have such line
+effects indistinct unless they appear as in the illustration on page 63,
+where they are intended to reduce the breadth effect of the pattern and
+neutralize a squat tendency.
+
+Indistinct perpendiculars give height effect, and do not reduce the wall
+width.
+
+ [Illustration: (See ¶ 111.)]
+
+ [Illustration: Perpendicular lines, giving height effect.]
+
+ [Illustration: Perpendicular lines, giving height effect.]
+
+
+#COLOR TERMS#
+
+120. In the study of color and its application authorities differ so
+materially that it is not only impossible to reconcile their theories,
+but the different terms used to express color thought create
+inextricable confusion.
+
+121. One authority fixes the neutrals as being black, gray and white;
+another regards them as those hues or tones which lack definite color,
+like quaternaries. Authorities differ, moreover, upon even the
+fundamental principles. Chevreuil selects red, yellow and blue as the
+primaries; Dr. Thomas Young selects red, green and violet. Helmholtz
+selects carmine, pale green and blue-violet; Maxwell scarlet red,
+emerald green and blue-violet; Professor Rood agrees with Maxwell;
+Professor Church, of the Royal Academy of Arts, London, regards the
+primaries as red, green and blue; George Hurst, the English authority,
+fixes upon red, yellow and blue, the Brewsterian theory.
+
+122. One must remember always in studying color that we are treating
+with the material, not with the illusion. We are dealing with pigments,
+not with prismatic phenomena, and it must be obvious that the only three
+primary colors that can be used in a way to produce all other colors are
+red, yellow and blue.
+
+123. Whatever may be the spectrum theories of Sir Isaac Newton, Young or
+Helmholtz, for practical reasons we prefer to follow an authority as
+eminent as Chevreuil, for years the head of the National Gobelin Works
+of France, and a man experienced in the practice as well as the theory
+of color. Any effort to fix the character of color and describe it by
+periods and epochs will always prove unsatisfactory, for the reason that
+terms and expressions have changed with every period since the Egyptian,
+4000 B.C.
+
+124. We think we know purple until we discover that the purple of
+royalty, the ermine and purple, the purple of the cardinals' robes,
+frequently approximated what we now call carmine. Royal purple and
+Venetian blue are mere trade terms. Practical men in the purchase of
+things decorative soon discover that color terms convey only individual
+impressions and no distinctive qualities that may be relied upon; so
+that any effort to fix the color value by periods would be futile. We
+may assume that in the age of oak, mahogany, white and gold or walnut
+furniture, the fabric and wall colors harmonized with the wood colors,
+and to that degree we may fix the period character of color. The moment
+that the tone of the woodwork or the light conditions varied, color
+character varied also.
+
+125. We must also bear well in mind that colors which have come down to
+us as examples of ancient times have been subjected to the changing
+influences of centuries, and have faded and altered. The colors on the
+walls of the historic rooms of European palaces have greatly altered.
+The flat reds and the deadish blues of the Pompeiian frescoes have been
+altered by chemical action during the 1,850 years' burial under the lava
+of Vesuvius. We are not justified in judging of the colors of A.D. 79
+by the restoration-examples in 1900. Hence the mere expressions
+Pompeiian red, Pompeiian blue, can convey no definite, positive meaning.
+
+
+ [Illustration: Fig. 1.]
+
+#COLOR VOCABULARY#
+
+126. In music, a tone which is formed by a certain number of vibrations
+per second is the same the world over, and each and every tone has a
+name; but in color no such standards exist. People have attempted to
+formulate a system by denominating the primary colors, red, yellow and
+blue, respectively as R, Y and B, and the combinations of these colors
+as combinations of letters. For example, red, with varying degrees of
+yellow added, is denominated by the letters R R O, or R O R, or O O R.
+This system tends to confusion, and is inadequate to express tints and
+shades. Various other systems have been devised. Color charts have been
+made, and in each system arbitrary names have been assigned, so that
+each color may be known by one of several names. The difficulty of
+insuring accuracy under these circumstances becomes very evident.
+
+127. In discussing color combinations, one is usually confused because
+the subject is not a tangible expression that can be grasped like the
+sound of a note in music. With color charts, every maker has a standard
+of his own and the term "red" may mean anything within a wide range; a
+yellow-red or a blue-red, the yellow-red perhaps being cherry, the
+blue-red perhaps being carmine. An appreciation of the Harmonies of
+Contrast or Harmonies of Analogy or Relationship is accompanied by great
+confusion because of this lack of standardization.
+
+128. There is only one true standard of color, and that is the standard
+as shown in the prism, and expressed by the spectrum. It is within the
+province of any man to determine the proper relationship of color if he
+starts with the chart we here present. We fix definitely the three
+primary and the three secondary colors, the primaries, red, yellow and
+blue, being those indicated by the heavy black lines; the secondaries,
+orange, green and violet, being indicated by the broad stipple lines.
+
+All other lines are the tertiary or quaternary colors.
+
+If we have clearly in our minds the appearance of the normal red and
+yellow, and clearly in our minds the orange that is made up by combining
+the two, we ought to be able to fix in our imagination the colors that
+come midway between the red and the orange, or the colors that come
+nearer the red or nearer the orange. Let us assume we are to select
+colors in the harmony of _contrast_. Take a ruler and lay across the
+chart and the contrasting colors are always opposite; the direct
+contrast of red is green because green is composed of the other two
+primary colors, yellow and blue; the contrast of blue is orange because
+orange is a combination of the other two primaries, yellow and red; the
+contrast of yellow is violet, a combination of blue and red.
+
+Now, to determine the niceties of distinction, let us take a red that is
+a little off shade, a little yellowish; one must determine in the mind's
+eye about how much yellow there is in it and, to determine the true
+contrast, carry your line across from the point which you think is
+represented by the yellowish and you find that it is green with a little
+blue added, or bluish-green.
+
+129. One must also determine the scale of color. The parallel circular
+lines on the chart designate four scales, or four grades, of each color,
+growing lighter by adding white, to the center; as you add more and more
+white the tint becomes more and more light. In determining contrast, be
+careful to stick to your scale. Contrasts, to be in harmony, must be
+colors of the same scale.
+
+130. Harmony of analogy or relationship is clearly expressed in the
+chart. The family relations of red are the things which go with red. We
+may have a harmony of analogy in violet which includes the relations of
+red and blue. We must not attempt to carry the family relationship too
+far. There is a wide range of variety in these combinations of analogy
+because they may include not only all scales of each color from the
+darkest tones to the lightest tints but they include tertiaries and
+quaternaries.
+
+Each man must establish his own standard, and by establishing it he
+forms unconsciously a very comprehensive understanding of color. It has
+never been possible to print a true colored chart because no two copies
+of the sheet off the press would be alike. A little more ink or a little
+less ink, or a little lighter or a little heavier impression, changes
+the values.
+
+The chart illustrates contrasts of all of the primaries and secondary
+colors and the broken colors or hues. In the same way the tertiary or
+quaternary colors may be arranged, but for convenience we show the
+contrasts as follows:
+
+RUSSET:
+
+ Tertiary,
+    32 parts Red, 16 parts Yellow, 16 parts Blue
+    31 parts Red, 16 parts Yellow, 17 parts Blue
+    30 parts Red, 16 parts Yellow, 18 parts Blue
+    29 parts Red, 16 parts Yellow, 19 parts Blue
+    28 parts Red, 16 parts Yellow, 20 parts Blue
+    27 parts Red, 16 parts Yellow, 21 parts Blue
+    26 parts Red, 16 parts Yellow, 22 parts Blue
+    25 parts Red, 16 parts Yellow, 23 parts Blue
+
+SLATE:
+
+ Tertiary,
+   32 parts Blue, 16 parts Red, 16 parts Yellow
+   31 parts Blue, 16 parts Red, 17 parts Yellow
+   30 parts Blue, 16 parts Red, 18 parts Yellow
+   29 parts Blue, 16 parts Red, 19 parts Yellow
+   28 parts Blue, 16 parts Red, 20 parts Yellow
+   27 parts Blue, 16 parts Red, 21 parts Yellow
+   26 parts Blue, 16 parts Red, 22 parts Yellow
+   25 parts Blue, 16 parts Red, 23 parts Yellow
+
+CITRINE:
+
+ Tertiary,
+    32 parts Yellow, 16 parts Blue, 16 parts Red
+    31 parts Yellow, 16 parts Blue, 17 parts Red
+    30 parts Yellow, 16 parts Blue, 18 parts Red
+    29 parts Yellow, 16 parts Blue, 19 parts Red
+    28 parts Yellow, 16 parts Blue, 20 parts Red
+    27 parts Yellow, 16 parts Blue, 21 parts Red
+    26 parts Yellow, 16 parts Blue, 22 parts Red
+    25 parts Yellow, 16 parts Blue, 23 parts Red
+
+SAGE:
+
+ Quaternary,
+    24 parts Blue, 16 parts Red, 24 parts Yellow
+    25 parts Yellow, 23 parts Blue, 16 parts Red
+    26 parts Yellow, 22 parts Blue, 16 parts Red
+    27 parts Yellow, 21 parts Blue, 16 parts Red
+    28 parts Yellow, 20 parts Blue, 16 parts Red
+    29 parts Yellow, 19 parts Blue, 16 parts Red
+    30 parts Yellow, 18 parts Blue, 16 parts Red
+    31 parts Yellow, 17 parts Blue, 16 parts Red
+
+BUFF:
+
+ Quaternary,
+    24 parts Yellow, 16 parts Blue, 24 parts Red
+    25 parts Red, 23 parts Yellow, 16 parts Blue
+    26 parts Red, 22 parts Yellow, 16 parts Blue
+    27 parts Red, 21 parts Yellow, 16 parts Blue
+    28 parts Red, 20 parts Yellow, 16 parts Blue
+    29 parts Red, 19 parts Yellow, 16 parts Blue
+    30 parts Red, 18 parts Yellow, 16 parts Blue
+    31 parts Red, 17 parts Yellow, 16 parts Blue
+
+PLUM:
+
+ Quaternary,
+    24 parts Red, 16 parts Yellow, 24 parts Blue
+    25 parts Blue, 23 parts Red, 16 parts Yellow
+    26 parts Blue, 22 parts Red, 16 parts Yellow
+    27 parts Blue, 21 parts Red, 16 parts Yellow
+    28 parts Blue, 20 parts Red, 16 parts Yellow
+    29 parts Blue, 19 parts Red, 16 parts Yellow
+    30 parts Blue, 18 parts Red, 16 parts Yellow
+    31 parts Blue, 17 parts Red, 16 parts Yellow
+
+ [Illustration]
+
+131. One who attempts to make color compositions with no more reliable
+guide than taste can expect to accomplish no more than he who in music
+possesses a good ear but no musical training.
+
+132. The note of discord in color is best avoided by an infallible
+guide, as the discord in music is best avoided by thorough training in
+the law of harmony. The color chart on page 73 has been so arranged that
+each of the shades is in exact harmony with the shade directly opposite.
+
+133. For example, to ascertain the color that is in harmony with the
+shade denominated Red-Orange, it is necessary simply to lay a ruler
+across the diagram to find the corresponding harmony, which is
+Blue-Green.
+
+134. We know that the primary colors are red, yellow and blue, and that
+the combination of any two of these gives a secondary color. The
+secondary color is the complement of the remaining third color; thus
+yellow and blue form green, and green is the complement or contrasting
+harmony of red. Red and yellow form orange, and orange is the complement
+of blue. Blue and red form violet, and violet is the complement of
+yellow. These are facts we all know. Now, if red is the complement or
+contrasting harmony of green, and yellow contrasts with violet, then red
+with one, two or three degrees of yellow added will contrast with green
+with one, two or three degrees of blue added.
+
+Assume, for example, that a decorator dealing with a red side-wall
+wishes upholsterings in the correct shade of green. He knows he has a
+red wall, he knows also that he wishes to use some shade of green, but
+without some fixed standard it is impossible for him to do more than
+approximate the correct shade of green to use. If, however, he could
+compare the red of his wall with his color chart and determine exactly
+which of the many shades of red, or which of the many yellow reds, or
+blue reds, the wall is toned in, it is a simple process to ascertain the
+exact green harmonizing with this red.
+
+The second great use of the color chart is then an infallible guide to
+color harmony, whether analagous or contrasting.
+
+OLD
+SYSTEM| R |RRO|RO |ROO|   O  |OOY| OY|OYY|  Y   |YYG| YG|YGG|  G  |GGB| GB|
+------|===|===|===|===|======|===|===|===|======|===|===|===|=====|===|===|
+NEW   | 1 | 2 | 3 | 4 |   5  | 6 | 7 | 8 |   9  | 10| 11| 12|  13 | 14| 15|
+SYSTEM|RED|R 7|R 6|R 5|ORANGE|R 3|R 2|R 1|YELLOW|Y 7|Y 6|Y 5|GREEN|Y 3|Y 2|
+      |   |Y 1|Y 2|Y 3|      |Y 5|Y 6|Y 7|      |B 1|B 2|B 3|     |B 5|B 6|
+      +---+---+---+---+------+---+---+---+---+--+---+---+---+-----+---+---+
+  H[A]|   |56R|48R|40R|  32R |40Y|48Y|56Y|      |56Y|48Y|40Y| 32Y |40B|48B|
+NORMAL| 64|   |   |   |      |   |   |   |  64  |   |   |   |     |   |   |
+ LINE |   | 8Y|16Y|24Y|  32Y |24R|16R| 8R|      | 8B|16B|24B| 32B |24Y|16Y|
+      +---+---+---+---+------+---+---+---+---+--+---+---+---+-----+---+---+
+  I[B]|56R|49R|42R|35R|  28R |35Y|42Y|49Y|  50Y |49Y|42Y|35Y| 28Y |35B|42B|
+      |   | 7Y|14Y|21Y|  28Y |21R|14R| 7R|      | 7B|14B|21B| 28B |21Y|14Y|
+      | 8W| 8W| 8W| 8W|   8W | 8W| 8W| 8W|   8W | 8W| 8W| 8W|  8W | 8W| 8W|
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     J|48R|42R|36R|30R|  24R |30Y|36Y|42Y|  48Y |48Y|36Y|30Y| 24Y |30B|36B|
+      |   | 6Y|12Y|18Y|  24Y |18R|12R| 6R|      | 6B|12B|18B| 24B |18Y|12Y|
+      |16W|16W|16W|16W|  16W |16W|16W|16W|  16W |16W|16W|16W| 16W |16W|16W|
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     K|40R|35R|30R|25R|  20R |25Y|30Y|40Y|  40Y |35Y|30Y|35Y| 20Y |25B|30B|
+      |   | 5Y|10Y|15Y|  20Y |15R|10R| 5R|      | 5B|10B|15B| 20B |15Y|   |
+      |  W|24W|24W|24W|  24W |24W|24W|24W|  16W |24W|24W|24W| 24W |   |   |
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     L|32R|28R|24R|20R|  16R |20Y|24Y|28Y|  32Y |28Y|24Y|20Y|     |   |   |
+      |   | 4Y| 8Y| 8Y|  16Y |12R| 8R| 4R|      | 4B| 8B|   |     |   |   |
+      |32W|32W|32W|32W|  32W |32W|32W|32W|  32W |32W|   |   |     |   |   |
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+     M|24R|21R|18R|15R|  12R |15Y|18R|21Y|  24Y |   |   |   |     |   |   |
+      |   | 3Y| 6Y| 9Y|  12Y | 9R| 6R|   |      |   |   |   |     |   |   |
+      |40W|40W|40W|40W|  40W |40W|   |   |      |   |   |   |     |   |   |
+      +---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
+
+A color is indicated by the intersection lines perpendicular and
+horizontal.
+
+  [A] This line shows the colors of the normal scale running from Red (R)
+  to Yellow (Y) to Blue (B) to Red (R).
+
+  [B] This line and all below it show the same primary and secondary
+  colors lightened by added white.
+
+
+#ARTIFICIAL LIGHTING#
+
+135. In considering artificial light, we will avoid all efforts to
+analyze the different forms of energy, magnetic energy, electric energy,
+heat energy, mechanical momentum, radiating energy, and deal with result
+rather than with cause and effect. It will be sufficient to state as the
+deduction of the scientist that certain waves or vibrations which affect
+the fibers of the optic nerve are transmitted by the brain into color.
+(¶ 3.) Self-luminous bodies are bodies which produce light. Illuminated
+bodies shine by borrowed light, and are distinguished by the different
+amounts and quantities of light which they reflect. A dense cloud which
+appears nearly black when between the observer's eye and the sun, owing
+to the degree of density with which it intercepts the light, may become
+brilliantly white when the sun's rays fall upon its constituent
+particles, for the light which cannot penetrate the cloud is continually
+reflected to and from the surface of its minute parts. Thus it happens
+that the lower part of a cloud seen against a background of dark
+mountain may appear white, while the upper part may appear dull gray. In
+the alteration of reflection we have an alteration of color. A stick of
+sealing wax will show in some positions white reflected light, while in
+other positions we see only the red. A polished plane furnishes one kind
+of reflection, a piece of chalk another.
+
+136. The decorator has for years past been disposed to defer to the
+illuminating engineer in the artificial lighting of a home. But while
+the technical man or engineer may have a knowledge of power and energy,
+he has not studied the decorative value of lighting. His problem has
+been economic rather than psychologic. The illuminating engineer cannot
+be expected to appreciate fully the harmonies of color in decoration.
+
+137. It is the decorator's province to consider not only the power of
+light in the furnishing of a house, but the character of the light--not
+only its color influence, but the structural character of its
+introduction, as affecting these furnishings. It is beyond his province
+to determine whether carbon should be replaced by tantalum, osmium or
+tungsten to get higher efficiency, but he must understand the effects of
+these lights and prescribe accordingly.
+
+
+#ABSORPTION AND REFLECTION#
+
+138. The architect who designates the number and location of outlets for
+the lighting sources, and specifies the candle-power of the lamps, knows
+nothing of the ultimate decoration of the house. Very often the
+specifications are finished before the color scheme has been decided
+upon, and as a result the degree of illumination either falls short of
+what is needed in case of dark-colored interiors, or proves excessive
+with light-tinted rooms. The architect works from one point, economy,
+the decorator from another, aesthetic; while the householder, the
+consumer who pays the illuminating bills, cannot comprehend why his
+lighting bills increase as his taste for luminous or dark-colored
+furnishings is gratified. Many houses are left in the white plaster for
+a year or more until the plaster settles. In this condition a small unit
+of light is sufficient, but when the decorator completes his work,
+adding fabrics and wall-papers which absorb and diminish the light, the
+householder, unaware of the cause, notices a material increase in his
+bills for illumination. These facts must be understood to be remedied,
+and it remains for the illuminating engineer to determine by direct
+experiment the value of any light as it affects and influences color, as
+well as the value of color as it affects light. It may be assumed
+without danger that the softest light is that of the candle, but we are
+not living in the candle age, and have to deal with either gas or
+electricity as the main illuminating agents.
+
+139. We have to consider the mercury arc light, the yellow flame carbon,
+the white magnetite and titanium arc--all of high efficiency, giving
+orange yellow in the flame-carbon to yellow and yellow white in the
+acetyline of the tungsten filaments. Then we have the greenish yellow of
+the Welsbach mantle, the bluish green of the mercury arc, the yellowish
+white of the carbon arc, as well as the clear white of the titanium
+arc.
+
+140. The subject may be divided into three heads: Quality, or
+approximation to natural light. Quantity, as demanded by reflection or
+absorption. Installation, diffusion or mechanical distribution.
+
+141. Normal light is the light of general diffusion in daylight, and
+when we can find an artificial light that has the character of natural
+light we will have what is obviously the best illuminant for the home.
+Bear in mind that natural light as it appears out of doors is materially
+altered when indoors by the presence of different planes and angles,
+which cast and receive various depths of shadow; the quality required is
+that which will provide illumination without glare. The sun's rays are
+softened and mellowed by the depth of air through which they pass, and
+it is this mellowness that is the chief requisite in illumination.
+
+Good decorative illumination does not mean illumination that reveals
+every hidden corner of a room. We need shadows to betray form, relieve
+monotony and give depth to the _ensemble_. If in an illuminated area
+light is of a uniform intensity, we have a bad effect. The variation of
+tone in a fabric is due to the light reaching it from a given point.
+Differences in intensity make shadows and tones.
+
+142. The illuminating engineer treats the home as he treats a public
+hall. He ignores the individuality of the room; the ball-room and the
+sickroom are lighted alike. He does not always consider the diminished
+force of light as it passes through a refracting surface, for it must be
+borne in mind that any method of indirect lighting by refraction is apt
+to cause a loss of volume. The use of various kinds of globes or lamp
+shades must all be considered. A light-colored wall reflects
+illumination, a dark-colored wall absorbs it; hence the amount of
+illumination is increased or diminished by the color of the walls.
+
+
+#LIGHT EFFECT ON COLOR#
+
+143. To illuminate a city, with the dull grim environment of streets and
+houses, a soft yellow glow will give warmth and tone; the greenish
+yellow of the Welsbach or the blue green of the mercury arc may even be
+desirable, but the same green or violet rays are ghastly in a house, and
+should never be permitted.
+
+144. The warm glow of the yellow light, while pleasing to the
+complexion, is, however, objectionable as disturbing the color
+composition of dress or furnishings. A gaslight sends a yellow glow over
+all that it reaches, and has the same effect as the introduction of
+yellow into every color tint in the room. The walls that are red take on
+a scarlet hue; the scarlet ones are yellowed to orange; the blues become
+greenish.
+
+145. In order that the decorator may more readily grasp the subject, we
+have arranged a table showing the color changes effected by rays of
+yellow, blue, green and violet:
+
+ Orange rays falling on white make it appear orange.
+   "            "     red it appears reddish-orange.
+   "            "     orange it appears deeper orange.
+   "            "     yellow it appears orange-yellow.
+   "            "     green it appears dark yellow-green.
+   "            "     blue it appears dark reddish-gray.
+   "            "     violet it appears dark purplish-gray.
+   "            "     black it appears brownish-black.
+
+ Yellow rays falling on white make it appear yellow.
+   "            "     red make it appear orange-brown.
+   "            "     orange make it appear orange-yellow.
+   "            "     yellow make it appear deeper yellow.
+   "            "     green make it appear yellowish-green.
+   "            "     blue make it appear slaty-gray.
+   "            "     violet make it appear purplish-gray.
+   "            "     black make it appear olive-black.
+
+ Green rays falling on white make it appear green.
+   "            "     red make it appear yellowish-brown.
+   "            "     orange make it appear grayish-leaf-green.
+   "            "     yellow make it appear yellowish-green.
+   "            "     green make it appear deeper green.
+   "            "     blue make it appear bluish-green.
+   "            "     violet make it appear bluish-gray.
+   "            "     black make it appear dark greenish-gray.
+
+ Blue rays falling on white make it appear blue.
+   "            "     red make it appear purple.
+   "            "     orange make it appear plum-brown.
+   "            "     yellow make it appear yellowish-gray.
+   "            "     green make it appear bluish-green.
+   "            "     blue make it appear deeper blue.
+   "            "     violet make it appear bluer.
+   "            "     black make it appear bluish-black.
+
+ Violet rays falling on white make it appear violet.
+   "            "     red make it appear purple.
+   "            "     orange make it appear reddish-gray.
+   "            "     yellow make it appear purplish-gray.
+   "            "     green make it appear bluish-gray.
+   "            "     blue make it appear bluish-violet.
+   "            "     violet make it appear deeper violet.
+   "            "     black make it appear violet-black.
+
+146. The pale tints of electric lights, which make every face in a room
+look ghastly, will affect quite as disastrously every soft color in the
+furnishings. In ordinary gaslight a pair of white gloves looks yellow,
+and we have seen Welsbach lamps which threw out a violet-blue
+illumination, depressing in the extreme. Under a yellow glow, blues,
+greens, violets and purples are greatly changed. Under a violet glow,
+yellows and greens are ruined. To see all colors in about the same value
+that they possess by daylight one must have a light in which no color
+tone is apparent.
+
+The question as to the disposition and intensity of the lights is of
+vital importance, and must be considered with the requirements of each
+particular room in mind.
+
+147. For the drawing-room and reception-room it is desirable that all
+parts of the room be evenly lighted, without a pronounced glare in any
+particular part of the room. One of the most effective ways of
+accomplishing this is by distributing the lights around the room, either
+on the ceiling, in the cove or above a wide molding, so that the ceiling
+acts as a reflecting agent, and distributes an even tone of light to all
+parts.
+
+
+#ILLUMINATION#
+
+148. For the dining-room and living-room a different plan must be used,
+because of the different requirements. The table is usually in such
+rooms the chief feature of the furnishings, and it is customary to focus
+upon it the main body of light. While this is obviously necessary, the
+surroundings must not be ignored; neither is it possible to raise the
+center light to such a height that its radiation may reach all parts of
+the room, because in so doing the light reaches the eye at an extremely
+unpleasant angle. The drop fixture should be low enough to effectively
+light all parts of the table, while at the same time its shade should
+screen the light from the eyes of the room's occupants. To illuminate
+the surrounding parts of the room other lights should be distributed
+where they will most effectively supply what further illumination is
+required.
+
+149. For the bedroom or boudoir the location of the lights should also
+be subordinated to the purposes of the room, and in addition to
+providing sufficient illumination to the entire area, special
+illumination should be provided for the mirrors and the dressing-table.
+The lights for the mirrors should be planned to illuminate the person
+and not the image.
+
+150. For large reception-rooms in hotels and public institutions the
+plan is frequently adopted of having all light provided by small table
+lamps with opalescent shades. These provide a medium glow throughout the
+entire room that is pleasing, and avoid entirely the garishness usually
+associated with such rooms. One of the mistakes of the day is the use of
+high-power lights, which are so intense that they require to be screened
+or shaded, involving waste of light and concentrating an unnecessary
+amount of illumination upon a narrow sphere.
+
+
+#REFLECTIVE POWER OF COLOR#
+
+The following table will give an idea of the percentage of light
+reflected from ordinary wall-hangings and papers:
+
+                                        Per Cent.
+                                       Reflection
+
+    White blotting-paper                   .82
+    White cartridge-paper                  .80
+    Ordinary foolscap                      .70
+    Ordinary newspaper              .50 to .70
+    Chrome yellow paper                    .62
+    Orange paper                           .50
+    Yellow wall-paper                      .40
+    Yellow painted wall (clean)            .40
+    Tracing cloth, pale blue               .35
+    Light pink paper                       .36
+    Blue paper                             .25
+    Emerald green                          .18
+    Dark brown paper                       .13
+    Vermilion paper                        .12
+    Blue green paper                       .12
+    Cobalt blue paper                      .12
+    Black paper                            0.5
+    Deep chocolate paper                   0.4
+    French ultramarine blue paper          3.5
+    Black cloth                            1.2
+    Black velvet                           0.4
+
+151. It is very difficult to select practical artificial illuminants,
+because of the various color properties possessed by each. A Welsbach
+mantle, which gives a greenish tint, is pretty sure to alter the
+character of any color other than green. Incandescent electric light, as
+well as ordinary gaslight, contains a yellow tint.
+
+
+#THE COLOR OF ARTIFICIAL LIGHTS#
+
+152. In planning or matching colors for a room, it is best to consider
+the purpose for which the room is to be used, and match the colors under
+the same light conditions that will prevail in the finished room.
+
+Deep, full colors are less affected by the shadings in artificial
+illuminants than lighter tones of the same color.
+
+    ILLUMINANT.                        COLOR.
+
+ Sun (high in sky)             White.
+ Sun (near horizon)            Orange red.
+ Sky light                     Bluish white.
+ Electric arc (short)          White.
+ Electric arc (long)           Bluish white to violet.
+ Nernst lamp                   White.
+ Incandescent (normal)         Yellow-white.
+ Incandescent (below voltage)  Orange to orange-red.
+ Acetyline flame               Nearly white.
+ Welsbach light                Greenish white.
+ Gaslight (Siemens burner)     Nearly white, faint yellow tinge.
+ Gaslight (ordinary)           Yellowish white to pale orange.
+ Kerosene lamp                 Yellowish white to pale orange.
+ Candle                        Orange yellow.
+
+
+#ARTIFICIAL LIGHT APPLICATION#
+
+153. The introduction of light by the medium of a wire, which may be
+carried to any point in a room, encourages so many possibilities for
+comfort and effect that it behooves us to forget traditional customs
+which were established during the gaslight period. The introduction of
+gaslight through tubes was a rather complex problem, and the carrying of
+the pipes into the room through a main chandelier was the most
+advisable constructive form. But we have no need for such cumbersome
+fixtures in this day of wiring.
+
+A mere cord takes the place of an inch pipe. Modern German and Austrian
+lighting fixtures frequently are mere pendants, with the cord frankly in
+evidence. In this way the lights may be placed wherever needed--at the
+head of the lounge, so one may read more clearly by it; close by the
+piano; over the tea-table. In fact, supplementary lights to the general
+illumination are a convenience that the decorator should consider.
+
+154. The lighting of a house is a matter so dependent upon aesthetic
+conditions that it is never within the scope of the electrician. It is a
+problem for a decorator alone to solve. Intense and glaring lights of
+unusual power must be avoided. Luminants of low intrinsic brilliancy are
+preferable.
+
+155. The floor is the least important surface for illumination, and has
+no reflecting power of value. The walls vary in value according to their
+color and surface. With lights radiating upward, however, the ceiling
+possesses definite power, and should be considered.
+
+156. Dark colors absorb light, while white and light colors reflect, and
+this must always be remembered; for upon the character of the
+decorations and furnishings of various rooms the quantity as well as the
+quality of light has serious influence.
+
+
+#POWER NECESSARY#
+
+157. While the list which we give herewith is based largely upon area,
+it may be taken as a basis of calculation for lighting equipment.
+
+It is estimated that 300 square feet of a hallway requires four
+sixteen-candlepower, or eight eight-candlepower units.
+
+In a room 20 x 20 feet, with furnishings of mahogany and green, broken
+up by bookcases and other furniture producing heavy shadows, it is
+estimated that twelve eight-candlepower lights are sufficient if worked
+into the frieze, and that a reading lamp of not less than
+thirty-two-candlepower be used as a drop light.
+
+Assuming a room is 15 x 15 feet, and furnished in light tones, four
+eight-candlepower lamps are ample.
+
+A living-room 20 x 25 feet, in light tones of color, requires two
+thirty-two-candlepower lights, centrally located, and about twelve
+eight-candlepower lights. This should provide brilliant illumination.
+
+A room 15 x 20 feet, in dark wood and hangings, needs eight
+eight-candlepower reflector lamps, backed up by six more
+eight-candlepower lamps.
+
+Bedrooms 15 x 15 feet in size, where they are not furnished in deep
+colors, should be equipped with two sixteen-candlepower lights.
+
+
+#COLOR CONTROL#
+
+158. Mechanical lighting is so easily undertaken that it predisposes one
+to extravagance. Properly applied, artificial light adds materially to
+the charm of a room, but with illumination secured by the mere twist of
+the wrist one is prone to ignore the value of shadows and kill the
+beauty of light and shade by throwing illumination into the remotest
+corners. The danger to good decoration is not only in overlighting, but
+in overdecorating, and commercialism naturally encourages this tendency.
+The floor is frequently best treated if not entirely covered with a
+one-pattern treatment; the walls are frequently most pleasing if done in
+several papers instead of one. The most effective room is the one
+lighted in various degrees of strength, and while the decorator
+unconsciously follows this idea and avoids superabundance of pattern by
+using panels, friezes and wainscotings, we believe that each and every
+section or part of a room should be treated separately, observing, of
+course, a consistent spirit of design, preserving the period style and
+the general color effect; we would vary the actual shade of coloring and
+the size of pattern according to the dimensions of the wall space it
+occupies. The large patterns and the strong colorings which may be
+appropriate to an exposed wall are all out of proportion in narrow or
+darkened confines. Dark and deep recesses should obviously be treated
+differently to advanced or conspicuous spaces.
+
+159. At a recent meeting of the Illuminating Engineering Society, D.
+McFarlan Moore made the following observations: "A few years ago there
+was practically no way of changing the colors of the various forms of
+lamps, that is, the candle had its color perforce; such a thing as
+modifying it was not dreamed of. The oil lamp had its color; the open
+burner gas flame its color, the incandescent lamp its color, and the
+arc lamp its color. At the present time there are only two ways widely
+in use of varying the color; that is, if a person wishes to have a light
+of a different color, there are two main ways of getting it. One way is
+to get another light source, and the other way is to use a diffusion
+globe of some kind, which in any instance is extremely unscientific and
+inefficient. Some of the most recent advances in this line are connected
+with the flaming arc lamp. There we have an instance where the first
+step, at least, was taken toward scientifically controlling the color
+value. I refer to placing different chemicals in the carbon and thereby
+obtaining a color which can, to a very great extent, be determined
+previously. But still it by no means can be said that by means of the
+flaming arc lamp the color factor is under perfect control. However, it
+is possible now to have the color value under perfect control, and this
+is obtained by utilizing a vacuum tube, and by changing the various
+gases used in the tube to change the color. This has many advantages,
+and from a scientific standpoint it cannot be criticised, as can the
+other methods which have been used. For example, if you use a properly
+regulated vacuum tube and feed it with air only, a pink light results;
+if you feed it with nitrogen a yellow light results, and such a light
+can be used for a great many purposes; in fact its range of usefulness
+so far as the color is concerned, is about the same as that of the
+ordinary incandescent lamp, and therefore can be used by florists or by
+clothing merchants, and the distortion is not any worse than that of
+the ordinary incandescent lamp. However, it is not by any means claimed
+that when a tube is fed nitrogen, that the color is at all near
+daylight; it is simply a color which appears about the same as that
+produced by the ordinary incandescent lamp. Due to the enormous
+radiating surfaces of the tube, the color in day time looks considerably
+redder than that of the incandescent lamp because the lamp is extremely
+small as compared with the tube. When such a tube is fed with carbon
+dioxide at a definite pressure, and at a definite intensity, a light is
+obtained that undoubtedly is closer to average daylight color values
+than any light which has ever been produced before, and we can almost
+say that it is entirely satisfactory. For instance, experts in matching
+colors in the largest dye works of this country, men who have tried all
+other forms of light, and found them not at all suitable for their uses,
+have matched their colors under a vacuum tube supplied with carbon
+dioxide and have found after months of practical use that they could not
+detect any difference between most delicate lavender shades, when they
+are matched at night time under the tube and in day time by daylight,
+not direct sunlight."
+
+
+#DRESS AND COMPLEXION#
+
+160. The nerves of the eye, exhilarated by any pronounced color,
+unconsciously observe the complement of that color when turned from it.
+The eye accustomed to the red of a woman's dress, unconsciously sees a
+greenish cast in the face that is naturally pale, and in the same way
+the pallor of a woman's face takes on a tint of red as the complement
+or contrast of a green dress. As one's appetite for the thing that is
+sweet becomes exhausted by a superabundance of sweets, so the eye
+resting upon a mass of red in the dress of a woman fails to appreciate
+the red tint in the face, and the face thus juxtaposed becomes pallid. A
+red-faced woman often wears brighter red in dress, so that her face may
+appear less red. The blue dress gives yellow to the face; the yellow
+dress gives blue; these results are altered materially by the
+intervention of white between the face and the dress. White intensifies
+color. If there is a tinge of pink in the face white brings it out. If
+there is sallowness in the face white accentuates it. It is for this
+reason that many women wear yellow instead of white at the neck, so that
+the yellow of the face becomes less conspicuous by contrast. (See ¶ 31.)
+
+161. It is dangerous, however, in matters of dress to strictly apply
+this rule, because color has a temperamental influence apart from the
+purely visual. Some women are positively depressed by certain colors;
+such colors are to be avoided, no matter what the deductions of theory.
+(See ¶ 94.)
+
+162. The black dress will make a woman look pale, for the reason that
+the black absorbs whatever color there may be in her face. A dark color
+has also absorbent characteristics. The lighter the color, the less
+absorbent. Hence light greens are preferable to bring out the color in
+the face than dark greens, assuming that we are to consider only this
+point, which is all that is necessary to consider in house decoration.
+Therefore light greens as a background to theater boxes or as a wall
+background are always desirable.
+
+ [Illustration: Lighting by wires. See ¶ 153.]
+
+
+#COLOR TERMS#
+
+ BROKEN COLOR. Color changed by the addition of black,
+    white or gray.
+
+ CHROMA. Color.
+
+ COLD COLORS are colors containing very little, if any, red or
+    yellow.
+
+ CONTRAST ANALOGIES. Apparent contrasts of secondary and
+    tertiary colors which have constituent parts that are
+    related. Thus compositions of citrine and plum are apparent
+    contrasts, citrine being one of the three tertiary
+    colors, russet, slate and citrine, and plum being composed
+    of russet and slate, but in both citrine and plum
+    there is red, yellow and blue; hence related. There can
+    be no true contrasts excepting between primaries and
+    secondaries.
+
+ GRAY. Normal gray is black and white mixed, but quaternary
+    colors are also called grays, or colors of the dull or
+    neutral scale.
+
+ HARMONY OF ANALOGY is produced by using related colors.
+
+ HARMONY OF CONTRAST. The juxtaposition of a primary
+    color, for example, with a secondary made of the other
+    two primaries. Thus of the primaries red, yellow and
+    blue, the contrasts would be red and green. Of the two
+    colors thus forming contrast the one is said to be the
+    COMPLEMENTARY of the other.
+
+ HUE. Applied to the predominating color in a composition.
+
+ INTENSE OR SATURATED COLORS. Colors that are pure, having
+    no tint or shade.
+
+ NEUTRAL COLORS. Applied to black, gray and quaternary
+    colors.
+
+ NORMAL. Intense colors of the prism. Colors of the natural
+    scale.
+
+ PRISMATIC COLORS are the colors viewed through a prism.
+
+ QUATERNARY COLORS. Made by combining two tertiary colors.
+    Quaternary colors are plum, sage and buff.
+
+ SCALE. Relates to colors of the same degree of tone.
+
+ SECONDARY COLORS. Orange, green and violet, each a combination
+    of two primaries.
+
+ SHADE. Produced by the addition of black to a normal color.
+
+ SOMBRE COLORS. Blue, violet and the subdued tones of luminous
+    colors.
+
+ SPECTRUM. The illusion of color produced by means of the
+    prism.
+
+ TERTIARY COLORS. Made by combining two secondary colors;
+    tertiary colors are slate, russet and citrine.
+
+ TINT. Produced by the addition of white to a normal color.
+
+ TONES are the gradations of color by adding either black or
+    white.
+
+ WARM COLORS or luminous colors are those having normal
+    yellow or red in the preponderance.
+
+ ADVANCING COLORS. Reds and bright yellow arouse the nerve
+    sense more quickly than blue or tones of color predominating
+    in blue. Hence they are called advancing colors.
+
+ RECEDING COLORS. Blue colors or colors in which blue predominate
+    or the exciting influences of yellow or red are
+    subjugated, are cold or receding colors.
+
+
+       *       *       *       *       *
+
+
+ TABLE OF CONTENTS
+
+                                       Paragraph.    Page.
+
+ Adjoining Rooms                         38 to 47
+ Advancing Colors              77, 78, 79, 80, 89
+ Angles, Illusion of           113, 114, 115, 117
+ Artificial Light, Colors of                            86
+
+ Balance of Pattern                        75, 76
+ Borders                           61, 62, 81, 86
+ Bric-a-brac                               60, 89
+ Black, The Use of                             33
+
+ Color Nomenclature                             9
+ Complexion                                   160
+ Contrasting Colors                  12, 14 to 24
+ Contrast Analogies                      17 to 20
+ Ceiling                           37, 42, 43, 93
+ Curtains                                53 to 56
+ Cove and Ceiling                              56
+ Cornice                                       63
+ Chair Coverings                               64
+ Colors that Give Size to a Room (See Receding Colors)
+ Carpet                                        81
+ Color Sympathies                              95
+ Curves, The Use of  107, 108, 111, 114, 116, 118
+ Color Terms                           120 to 134
+ Chart                                        127
+
+ Dress, Depressing Influences                 161
+ Dress, Woman's                               160
+ Decorative Illumination                      141
+ Definitions                                          89
+ Draperies                                        42, 43
+ Decorative Proportions                               37
+
+ Exciting Colors                          94, 160
+
+ Frieze, The Use of (See Wall Proportions, also Room Combinations)
+ Floors                        42, 81, 84, 86, 87   42, 43
+
+ Gray, The Use of                      32, 91, 92
+ Guide to Color Harmony                       127
+
+ Harmonies Mechanically Determined            132
+ Height Effects                            75, 76
+ Harmony of Analogy                13, 17, 27, 93
+ Harmonies                                     10
+
+ Illusion in the Use of Lines          107 to 119
+ Intensification of Color             31, 33, 159
+
+ Joy in Lines (See Curves)
+
+ Lights and Shadows                          158
+ Lighting a Room, Candle-power Needed        157
+ Light Installation                                     84
+ Light, Effect on Color                                 82
+ Luminous Colors (See Advancing Colors)
+ Large Room, Dark                                       34
+ Low-Ceiling Rooms                            58
+ Large Rooms                                  58
+ Large, Well-Lighted Rooms                    26        34
+ Light                                      1, 8
+
+ Mixing Colors                                 8
+
+ Neutrals                                    121
+ National Types of Color                            47, 48
+ Nature Colors                            35, 96
+ North Light                      37, 59, 90, 91
+
+ Proportions in Color
+     Contrast             22 to 24, 28 to 30, 35
+ Pigments, The Use of                         22
+ Proportions Effected by Design (See Decorative Proportions)
+ Proportions Effected by Color                 77
+ Period Uses of Color                               47, 48
+ Psychology of Color                           94
+ Picture Moldings                              50
+ Plate-Rails                             48 to 59
+ Progression of Color                      34, 39
+ Prismatic Colors                         6, 7, 8
+
+ Room Combinations                                23 to 28
+ Rugs                                      81, 84
+ Rooms Under Normal Conditions                      42, 43
+ Receding Colors                       77, 80, 89
+ Reflection                      5, 135, 155, 156
+
+ Spectrum                                       1
+ Small Dark Rooms                              21       35
+ Small Well-Lighted Rooms                      25       35
+ Sequence of Color                 34, 35, 36, 41
+ South Light                               37, 59
+ Side-wall                           48 to 57, 92
+ Small Room, High Ceiling                               35
+ Small Room, Low Ceiling                                35
+ Side-wall as Keynote                          92
+ Straight Lines, Effect of 107, 109, 111-113, 115-117, 119
+ Seriousness in Lines (See Straight Lines)
+ Spectrum Theories                       121, 122
+
+ Trade Terms Meaningless                 124, 125
+ Taste in Color, to Determine                  94
+
+ White, The Use of   31, 33, 88, 89, 98, 159, 160
+ Wood Trims                              48 to 59
+ Wainscoting                     48 to 57, 62, 93   42, 43
+ Width Effects                       82 to 85, 87
+ Wall Proportions                                 33 to 34
+
+
+
+
+
+End of the Project Gutenberg EBook of Color Value, by C. R. Clifford
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