as Red, Orange, Yellow, and the light tones of Green, they form harmonies of contrast. Although White contrasts more with the sombre colors than with the lumi nous, there is not the same difference between White and these two classes of colors as there is between theru

and Gray.

The ground as well as the interval or distance we make between the colored bodies, has some influence on the effect.

HARMONY OF COLORS.

There are six distinct Harmonies of Colors, which may be comprised under two groups:

FIRST GROUP.-HARMONIES OF ANALOGOUS COLORS.

10. Harmony of scale, proceeding from the simultaneous view of different tones of a single scale, more or less approximating.

20. Harmony of hues, proceeding from the simultaneous view of tones of nearly the same height, or nearly so, belonging to scales more or less approximating.

30. Harmony of a dominant colored light, proceeding from the simultaneous view of different colors assorted conformably to the law of contrast, but one of them predominating, as if they were seen through a glass stained with a faint tone of that color.

SECOND GROUP.-HARMONIES OF CONTRAST.

1o. Harmony of contrast of scale, arising from two distinct tones of the same scale.

20. Harmony of contrast of hues, arising from tones of different heights, each belonging to contiguous scales. 39. Harmony of contrast of colors, arising from the simultaneous view of colors belonging to widely different scales, assorted according to the law of contrast; the difference in height of juxtaposed tones may also augment the contrast of color.

1. In the harmony of contrast, the complementary assortiment is superior to every other; the tones must, however, be nearly of equal intensity.

2. The primaries grouped in pairs assort better as a harmony of contrast than an arrangement formed of one

of these primaries and a binary of which that primary is an element, thus-

Blue and Yellow harmonize better than Red and

Orange, because the binary Orange contains Red as one of its elements.

Red and Blue harmonize better than Red and Violet, because the binary Violet contains Red as one of its elements.

Yellow and Red harmonize better than Yellow and Orange, because the binary Orange contains Yellow as one of its elements.

3. The assortment of red, yellow. and blue with a binary containing the primary, contrasts better when the primary is more luminous than the binary.

Therefore, in this assortment, it is better for the pri mary to be of a lower tone than the binary, thus

Red and Violet harmonize better than Blue and
Violet.

Yellow and Orange harmonize better than Red and
Orange.

Yellow and Green harmonize better than Blue and
Green.

4. When two colors do not look well together, separate them with white. It is better for the white to be piaced between each color than between every two colors.

5. Black never produces a bad effect when placed between two luminous colors, and is, therefore, often preferable to white for separating colors from each other, thus

Red and Orange do not go well together, but if separated by black an agreeable and harmonious effect is produced.

6. Black harmonizes with sombre colors, Blue and Violet, and with broken tones of luminous colors produces harmony of analogy sometimes with a good effect.

7. Black does not associate so well with a luminous and a sombre color, as it does with two luminous colors. In all the following assortments Black is inferior to White.

Red and Blue, Orange and Blue.

Red and Violet, Orange and Violet.
Yellow and Blue, Green and Violet.
Green and Blue.

8. Although Gray does not produce a bad effect with two luminous colors, yet it is generally inferior to Black and to White.

9. Gray with sombre colors and broken tones of luminous colors produces harmonies of analogy, not so vigorous as those with black.

It separates colors which do not assort well together. ON THE SELECTION OF THE KIND OF HARMONY FOR A GIVEN OBJECT.

In proceeding to the selection of an assortment of colored objects, we have to take into consideration suitability or appropriateness to the object in view.

Where the greatest brilliancy and splendor are desired, we resort to the contrast produced by complementary colors. In the selection of flowers to form a bouquet. or the furnishing of a palace, the principle is the same; we arrange the colors so that the greatest contrast both in tone and in the quality of the colors employed is pro duced.

Any one familiar with the law of Contrast will attain this aim with better success, even with inferior colors, than another ignorant of the law could obtain with the most brilliant colors.

But where the artist is free to choose, he will consider the aspect of the apartment, and whether it is to be used by daylight or artificial light A room with a cold northern aspect, used in the daytime, should be furnished with objects of light warm tones; while in a room with a southern aspect, light hues of sombre colors may be advantageously employed.

He must never lose sight of the effect of contrast of tone. Thus, in a room papered with the deep crimson paper so commonly employed, the tone is so deep, that it forms a strong contrasting background to all lightcolored objects placed in it; but dark-colored objects are lost for want of relief. In such a paper, contrast of color goes almost for nothing, as a blue or a green

paper, of the saine depth of tone, would produce near the same effect.

In rooms that are feebly lighted, and chiefly by dif fused daylight, light tones of sobie colors, or luminous colors, are preferable for covering the walls; but then other colored portions of the fittings should be colored in analogous harmony, and violent contrast avoided.

In undertaking to apply the principles laid down by M. Chevreul, most persons overlook the importance of tone, or intensity, but which is of equal importance with color. A deep tone of a bright peagreen, of an orange, or of a red, may produce a very crude, vulgar effect, when light tones of the same colors would do the con trary.

Very pleasing effects may be produced by adopting the Harmony of Analogous Colors.

Suppose a room to be furnished in blue, or red, or green, we may proceed with all the tones of one hue of green, for instance, or mingle the tones, of nearly equal intensity, of the various blue and yellow greens that lie on each side of pure green. The distribution of these in the room will require careful consideration, but probably the most satisfactory effect will be attained by taking the lightest tones and brightest hues for the walls, and the deepest for the carpet. The color of the wood for the chairs, etc., will contrast sufficiently to secure distinct relief. The curtains and the furniture may be of intermediate quality of color, and the effect will be greatly enchanced by the introduction of white.

The artist must not omit to take into consideration the influence of form, size, and suitability, when proceeding to carry out the principles of Contrast.