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.

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.