,transcriber's ,note3 7,,tn3 --7 in text comments added by ,transcriber4 99 99 99 99 99 ,color ,value ,by ,c4 ,r4 ,,clifford ,published by ,,clifford ,,lawton #cgc ,fourth ,avenue1 ,new ,york ,copyrighted1 #aijg ,by ,clifford ,lawton ,fourth ,edition ,,grolier ,,craft ,,press1 ,,inc41 ,n4 ,y4 ,,fundamental ,,conditions ,,light1 ,,color1 ,,form1 ,,proportion ,,and ,,dimensions ,whatever is good in interior decoration is the result of consistent relationship between ,light1 ,color1 ,form1 ,proportion and ,dimensions4 ,the choice of ,color should be guided by the conditions of ,light4 ,the beauty of ,form and the symmetry of ,proportion can exist only by a balance with ,dimensions4 ,therefore1 apart from any knowledge of historic or period decoration1 effective or successful work must observe the technical laws governing conditions4 ,,light #a4 ,the white light of the sun is compounded of an almost innumerable number of color elements1 as shown by the phenomena of the rainbow or by experimenting with the prism4 7,see #g47 ,when a ray of sunshine passes through a glass prism it is decomposed or separated1 and if the prismatic colors are received upon a white screen you will find on the spectrum among the colors generated a pure blue1 a pure red and a pure yellow4 ,these are the primary colors1 and it is necessary when thinking color to bear these prismatic colors in mind as standards4 #b4 ,color is an internal sensation originating in the excitation of the optic nerve by a wave action which we call light4 #c4 ,the theory of light1 the wave theory1 is based upon the assumption that throughout all space there is an infinitely thin medium called ether4 ,scientists differ as to what this may be1 but its movements constitute light1 a reflection from a luminous body4 #d4 ,everything which we see is visible because it either emits light1 like a flame1 or reflects light4 #e4 ,a piece of black cloth upon a white plate reflects but a small proportion of the light4 ,the plate reflects a large proportion4 ,a piece of black velvet reflects less light than black cloth and gives the effect of absolute blackness1 or an empty and dark space4 #f4 ,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 pigments1 hence any demonstration of the theory of color composition is usually unsatisfactory4 #g4 ,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 light2 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 colors1 so far from producing white1 produces almost black4 #h4 ,the theory that red and yellow make orange1 and that a red and blue make violet1 is correct2 but if one attempts to demonstrate the theory with pigments1 one is confronted not only by the lack of standard manufactured colors but by impurities1 adulterations and chemical reaction in the pigments4 ,the adulteration may not be perceptible in one primary color1 but it is manifest when that color is brought into action with another primary1 for it is seldom that a pure secondary results4 ,,color ,,nomenclature--,,harmonies #i4 ,color nomenclature includes primary1 secondary and tertiary colors1 and innumerable hues1 shades and tints4 ,all these colors bear relations to one another1 either relations of analogy1 or relations of contrast4 7,see #ah and #ai47 ,the ,circle ,diagram ,i shows the manner in which the various colors are formed4 7,see also ,diagram ,,iii47 ,illustration3 ,,diagram ,i ,the third circle shows how slate1 citrine and russet are made4 ,for instance1 slate is one part of violet and one part of green4 ,hence1 a tertiary color is made of equal parts of two secondaries4 ,the outer circle1 buff1 sage and plum1 can be analyzed in the same way4 ,this ,diagram ,i is arranged to show not only component parts of a color1 but the parts that properly harmonize4 ,,contrasts #aj4 ,in music it is an established fact that certain notes used in pleasing combination produce sounds we call harmonies4 ,the moment that more than one note is struck1 there is danger of discord1 and when ten notes resound to the touch of the player1 they must be the right notes1 or they jar upon the sensibilities4 ,in the use of color the same immutable law applies4 #aa4 ,in ,circle ,diagram ,,ii the letters ,,rv mean reddish violet1 being a violet having more red than blue in its composition4 ,,bv means bluish violet1 being a violet having more blue than red in its composition4 ,,bg means bluish green1 being a green having more blue than yellow in its composition4 ,,yg means yellow green1 being a green having more yellow than blue in its composition4 ,,yo means yellowish orange1 being an orange having more yellow than red in its composition4 ,,ro means reddish orange1 being an orange having more red than yellow in its composition4 ,thus we may advance from red to yellow by graduations almost imperceptible1 by the addition of yellow1 to a reddish orange1 and so on gradually to orange1 continuing on to yellowish orange1 finally revealing pure yellow4 ,illustration3 ,,diagram ,,ii #ab4 ,the contrasting color at any stage may be determined by proceeding in a direct line across the circle3 ,red has for its contrasting color green2 hence1 reddish orange would have for its contrasting color a bluish green1 for the simple reason that if red contrasts with green and orange contrasts with blue1 the color between the red and the orange would contrast with the color between the green and the blue4 ,let us determine the contrasting color for crimson4 ,crimson is simply a red slightly tinged with blue4 ,if red contrasts with green1 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 yellow4 ,in other words1 crimson1 ,,rv1 would contrast with yellowish green1 ,,yg4 ,determine at what point of the circle any color that you have in mind will come1 and the contrasting color would be immediately opposite4 ,illustration3 ,,diagram ,,iii #ac4 ,the harmony of analogy consists of the harmony of related colors or tones of one color4 7,see #ag47 #ad4 ,the harmony of contrast consists of colors in no way related4 ,as an example of the harmony of analogy1 we would mention red and orange1 because both of these colors have ingredients in common1 red being one of the two component parts of orange4 ,as an example of the harmony of contrast1 we suggest red and green1 because there is nothing in common between the two1 red being a primary color1 and green a secondary1 composed of the other two primaries1 yellow and blue4 7,see #ag47 #ae4 ,green is called the complement of red4 ,the complement of blue would be orange1 because orange is formed by combining the remaining primaries1 red and yellow2 and the complement of yellow would be violet1 because violet is composed of blue and red1 the other primaries4 #af4 ,in ,diagram ,,ii we have arranged at opposite points the primaries #a1 the secondaries #b1 the tertiaries #c1 the quaternaries #d4 ,but ,diagram ,,iii goes further into the subject4 ,it is easy to understand the composition of secondaries1 but it is not so easy to know the tertiaries and quaternaries4 7,see also ,diagram ,i47 ,,contrast ,,analogies #ag4 ,diagram ,,iii is of the utmost value to the colorist1 illustrating not only the composition of color1 but showing the origin of each secondary from the two primaries1 the origin of each tertiary from two secondaries1 and of each quaternary from two tertiaries4 ,it shows by groupings the harmonies of analogy or related colors2 also the harmonies of contrast3 ,by moving on the board one color on one line to another color upon another line1 like the moving of a knight in a game of chess1 and confining the moves always to adjoining lines1 like yellow to violet1 violet to citrine1 citrine to plum1 plum to brown4 ,yellow and violet are true contrasts1 the one color having nothing in common with the other4 ,the citrine and the plum1 however1 are approximate contrasts4 ,for greater convenience1 we have numbered the contrasting colors ,a's and ,b's4 ,absolute contrast is where the two colors have nothing in common4 ,for composition purposes1 however1 citrine and violet may be considered contrasts1 or correctly speaking1 contrast analogies4 7,see #ai47 #ah4 ,a harmony of contrast means the utilization of a primary color with its complementary1 or a color in conjunction with another color in no degree related3 a primary with a secondary4 ,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 analogy4 #ai4 ,all combinations of secondary and tertiary colors1 while apparently harmonies of contrast 7the tertiary being made by the composition of two secondaries71 constitute1 in fact1 contrast analogies1 because by analysis we find that all tertiaries possess color components occurring in the apparently contrasting secondaries4 7,see ,diagram ,,iii47 #bj4 ,the harmony of contrast1 literally1 can only occur in the pure primary colors juxtaposed to the pure secondary colors1 for in no case does the color formed by the combination of the two primaries have anything in common with the third primary2 while a tertiary composed of two secondaries invariably has qualities possessed by the third secondary4 #ba4 ,in a room which is small or dark1 the light tints in harmonies of analogy are advisable4 ,,proportions #bb4 ,in the use of one color with another of contrasting character the question frequently arises1 what proportion of each should be used to obtain the best effect8 ,illustrative color books show usually samples of color of the same size1 leading one unconsciously to the error that contrasting colors should occupy the same surface dimensions4 #bc4 ,in every room there must be a prevailing or dominant color1 and the use of a contrasting color must be limited to proportions which give simply a pleasing emphasis4 ,let us assume that a room has a deep frieze pronouncedly green4 ,to treat the rest of the wall in red of a direct contrast would be ineffective4 #bd4 ,if a rule can be applied we would say that no strong normal color should be used in large surfaces4 ,if we were dealing with pigments we would say that if one-sixth of a side-wall is devoted to a frieze in green1 the balance of the wall space should be treated with the same amount of red1 mixed with the same amount of gray4 #be4 ,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 secondaries4 ,,color ,,in ,,large ,,or ,,small ,,rooms #bf4 ,for a large room well lighted1 yellow1 red and orange in delicate shades are not as desirable as orange1 violet and russet in light shades4 ,this rule1 however1 may be reversed for a large room that is dimly lighted4 ,a superabundance of light gives an uncomfortable glare4 #bg4 ,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 ,i4 ,it will be noted in this diagram that the inner circle is blue1 red and yellow1 the primary colors4 ,the second circle is composed of the secondaries2 the third circle1 the tertiaries1 and the outer circle1 the quaternaries4 ,there is a nice distinction in the combination of primaries for the formation of secondaries1 and exact proportions are quite necessary4 ,an orange1 for instance1 would be off shade if it did not consist of half red and half yellow1 but in the making of the quaternaries1 which are1 at best1 gray shades1 exact proportions are not necessary4 ,nevertheless1 in ,diagram ,i we have observed exact proportions in order to make our demonstration clear4 ,the harmony of analogy is the combination of colors related1 but the relationship must be displayed in proportions consistent with the origin of each and every color used4 ,let us assume that the prevailing note in a room1 in either the side-wall or floor1 is sage4 ,illustration3 ,,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 yellow1 some green and slate and citrine used in the composition of sage1 and hence the use of these colors constitutes the harmony of relationship or analogy4 ,,color ,,proportions #bh4 ,but to arrive at proportions we must reduce the circular table to a geometrical table4 ,we must straighten out the lines so that the exact proportions are apparent4 ,we need not confuse the reader by mathematics1 but to establish our theory we produce the ,diagram ,,ia1 and it will be here seen that the relative proportions existing in the segments of the circles have been observed in the triangles4 ,thus we have thirty-two right-angled triangles4 ,sage occupies fourteen-thirty-seconds of the entire composition2 slate occupies five-thirty-seconds2 citrine1 five-thirty-seconds2 green1 six-thirty-seconds2 blue1 one-thirty-second2 yellow1 one-thirty-second2 and these colors1 to observe the proper harmony of analogy in a room1 should be used in the proportions above indicated4 ,sage should be in the preponderance2 citrine and slate should occupy nearly one-sixth of the entire composition1 green about one-fifth1 and the whole should be picked out with touches of sharp blue and sharp yellow1 representing each one-thirty-second4 ,let us take1 for instance1 a room that is in white woodwork1 and apply the sage to the walls and the slate to the floor1 and lighten the sage with citrine and lighten the slate with violet1 and intersperse orange and green in a way permitted by the proportions at our command4 ,when the work is completed we find a harmony of analogy which can be then relieved by touches of the primitive colors1 blue and yellow1 in the proportions shown4 #bi4 ,good examples of contrast color effects may be found in the following series of combinations3 ,,proportions ,,of ,,color ,,analysis ,,from ,,assyrian ,,tiles4 ,example ,no4 #a4 ,blue-,green #fj ,greenish-,yellow #h ,orange #f ,purple-,brown #f ,white #bj --- #ajj ,no4 #b4 ,blue #ce ,yellow #cj ,white #ae ,dull ,red #aj ,black #aj --- #ajj ,no4 #c4 ,blue #fj ,deep ,yellow #bj ,light ,yellow #aj ,white #aj --- #ajj ,no4 #d4 ,pale ,yellow #cd ,green #bg ,blue #be ,red #f ,gold #d ,black #b ,white #b --- #ajj ,no4 #e4 ,black #fc ,yellow #ag ,green #i ,red #d ,light ,red #c ,blue #c ,white #a --- #ajj ,no4 #f4 ,green #cf ,blue-,green #bd ,yellow #ad ,red #aa ,white #aj ,dull ,red #c ,black #b --- #ajj ,no4 #g4 ,green #cf ,blue-,green #bd ,yellow #ad ,red #aa ,white #aj ,dull ,red #c ,black #b --- #ajj ,,black--,,white--,,gray #cj4 ,we do not wish to be understood as stating that the work of the colorist is solely mechanical2 but we would emphasize that the influences of color are very largely the result of studied proportions4 ,the basis upon which one operates must be soundly constructed upon the theory of scale1 and scale is mechanically determined4 ,if red is lightened by the addition of white1 or darkened by the addition of black1 it is removed to another scale1 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 red1 and this should be mathematically accurate4 #ca4 ,to place white by the side of a color heightens or intensifies the tone of that color4 ,to put black beside a color has the opposite effect4 ,it weakens the color4 ,every woman looks better in white1 hence white is the universal wedding gown1 the universal party dress for children1 and1 wherever practical1 the universal ,summer dress for adults as well4 ,white is worn universally by men and women next to the face1 in collars or in neckwear1 and the reason for it is that the contiguous white intensifies whatever color they may possess4 ,black1 on the other hand1 lessens the color or lowers its tone4 #cb4 ,gray is a medium between the two4 ,while it renders an adjacent color less brilliant1 it takes to itself at the same time a tint that is a complement of that adjacent color4 ,in other words1 gray by the side of green appears faintly pinkish4 #cc4 ,black is always desirable as an associate with luminous colors4 ,black does not associate as well with two colors1 one of which is luminous and the other sombre1 as when associated with two luminous colors4 ,,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 reddish4 ,white is preferable when associated with a luminous and a sombre color4 ,thus1 ,,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 bluish1 the green yellowish4 ,,room ,,combinations #cd4 ,the harmony of analogy is a subject that is little understood4 ,it may be color sequence1 progression1 development or succession4 ,illustration3 ,showing ,four-,color ,combinations4 ,,diagram ,,iv and ,,diagram ,v ,illustration3 ,,sequence ,,of ,,harmonies ,,diagram ,,vi ,as these twenty-one sections are arranged1 one has the layout for a suite of seven rooms2 following the top line across in a light scale1 the harmony is complete2 following the center line across in a normal1 the harmony is complete2 so also with the bottom line in a lower scale4 ,follow the colors diagonally and you find they are repeats1 or very close to repeats--red1 russet1 red1 for instance2 violet1 violet1 violet2 blue1 slate1 blue2 green1 green1 green2 yellow1 citrine1 yellow2 orange1 orange1 orange4 ,to the colorist the combinations here suggested are full of inspiration4 ,thus we may combine red1 green and blue by starting with crimson and maintaining the following sequence3 ,crimson1 red1 scarlet1 orange1 yellow1 greenish yellow1 green1 bluish green1 blue1 violet1 and with added red get back to crimson4 ,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 gradual4 #ce4 ,no more delightful harmonies can be imagined than those provided by nature4 ,one may start with the brown of the earth and run into several shades of green1 and from that touch upon yellow1 and from yellow to orange1 and from orange to red1 and red to violet1 and violet to the blue of the sky4 ,or one may follow the colorings and the proportion of colorings in flora and never go astray4 7,see #bb47 #cf4 ,in the application of color to the home nothing is more pleasing than the harmony of sequence2 the coloring of all rooms must be in sympathy with contiguous rooms4 7,diagram ,,vii47 7,see #cd47 #cg4 ,all rooms are subject to the influence of a north or a south light1 or much or little light1 and the colorings must be considered accordingly4 ,the ceiling and the upper parts of a wall require more pale colors where more light is needed4 ,on the floor1 however1 where the greatest light falls1 a little black may be added to soften the tone4 #ch4 ,red and green are sharply contrasting colors2 violet and yellow and blue and orange sharply contrast1 and while their combinations may be used in adjoining rooms1 it will be seen that in ,diagram ,,iv these contrasting tones are not in contact1 but by their arrangement form analogies of contrast combinations4 #ci4 ,yellow1 orange1 red1 violet1 blue and green are related2 orange1 russet1 violet1 slate1 green and citrine are related2 red1 violet1 blue1 green1 yellow and orange are related4 ,viewing the ceilings1 the side-walls or the floor1 there is the harmony of progression that we observe in the tinting of a flower4 ,viewed collectively the harmony is the same4 #dj4 ,to illustrate further our point we would take the ceiling line4 ,we start with yellow1 a primary color2 orange possesses yellow2 orange likewise possesses red1 the adjoining color2 violet possesses red1 and it likewise possesses blue4 ,on the side-wall1 russet possesses orange1 and it also possesses violet2 it is the tertiary color made of these two secondaries4 ,slate is made of green and violet1 and is thus also related to citrine4 ,we do not wish it understood that these colors are to be applied flat1 but simply in the predominating expression4 7,see #bg47 #da4 ,the value of the diagram is obvious when one considers that in no particular is there a break in the sequence2 but if we wish a harmony of analogy in a room1 or a harmony of related parts1 and wish the adjoining room to be in absolute contrast1 we simply adopt the red1 violet and blue for one room1 and the green1 citrine and orange for another2 or the orange1 russet and violet for one room1 and the blue1 green and yellow for the other4 ,if1 however1 the sequence of color is desirable where we move from one apartment to another1 and the eye is pleased by a gradual changing color1 we can adopt any of these combinations in the order as presented4 #db4 ,a vital point in the use of color1 regarded usually with indifference or totally misunderstood1 is the ,unity of ,composition to be preserved in the treatment of a series of floors in a house2 for on each floor of a house the conditions of light vary4 ,as we ascend the stairs we find each floor requires an altered treatment1 because of the added light given from the skylight4 7,see #cg47 ,moreover1 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 apartment4 7,see ,diagram ,,viii47 ,too frequently the whole question of color is dismissed when the matter of north or south exposure is discovered1 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 floor1 and the scale of color which would lend warmth to such a room would be weak in a more exposed apartment4 7,see #cj47 #dc4 ,where the artist has but one room to consider there is little scope for his application of color knowledge4 ,he must frequently compromise to meet the conditions4 ,but presuming that he must treat a floor through1 he should adopt a ,unity which will apply harmoniously to all the rooms and hallways4 ,illustration3 ,,diagram ,,vii ,illustration3 ,,diagram ,,viii ,illustration3 ,,diagram ,,ix ,for ,key to ,numbers see ,diagram ,,vii4 ,,contiguous ,,harmonies #dd4 ,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 light1 they will also form a composition that pleases when seen from a point of common observation4 #de4 ,on the upper floors the scale of color should be gradually softened1 for the yellow or ivory tints that are pleasing on the first floor would be harsh and glaring where there is greater light4 ,exterior conditions must be borne always in mind4 #df4 ,recalling that the primary colors are yellow1 red and blue1 and that the secondary colors are orange1 violet and green1 and that the tertiary colors are russet1 slate and citrine1 all with many tints and shades1 let us arrange a series of five rooms seriatim1 so treating ceiling1 side-wall and floor 7,see ,diagram ,,ix7 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 lines1 the wall lines and the floor lines4 ,let us take the suite of rooms suggested in ,diagram ,,ix4 ,we must consider desirable colorings in all of the rooms to be treated1 and so far as possible adjust the sequence of treatments1 as shown in ,diagram ,,viii1 so that the approach to each room will be in harmonious order as viewed from any room4 ,we have five rooms to treat4 ,the library happens to be on the north side1 hence we wish to treat it in colorings that supply the deficiency of sunshine4 ,the hallway is rather dark4 ,the living-room has only one window1 and requires more warmth of color than the billiard-room and dining-room1 which being sunshiny can be treated in more sombre tones4 ,therefore we select combination #f for the hallway4 ,the one room on the right we treat in ,no4 #a4 ,the rooms on the left we treat in ,nos4 #e1 #d and #c4 ,we have1 therefore1 as we stand in room ,no4 #f1 treated in green1 citrine and orange1 a view to the right of yellow1 orange and red1 which is in harmonious juxtaposition4 ,to the left we have a glimpse of rooms1 the floors of which adjoining the orange floor of the entrance hall1 are yellow1 green and blue4 ,the wall spaces adjoining the citrine wall space of the hall treatment are green1 slate and violet4 ,the frieze lines adjoining the green of the hall treatment are blue1 violet and red--all juxtaposed harmonies4 ,the floors of all rooms are of one deep scale2 the walls lighter scale2 the friezes and ceiling still lighter4 ,if viewed from room #d the harmonies are equally effective4 #dg4 ,diagram ,,vii is useful for many reasons4 ,in its present shape it shows the harmonies of analogy or related parts4 ,to arrange harmonies of contrast1 combine the colors of the first room with the fourth room1 the colors of the second room with the fifth room1 the colors of the third room with the sixth room4 7,see #cg47 ,,harmonies ,,for ,,the ,,room #dh4 ,the floor should usually enter into the color scheme as the low note in the scale4 ,it is the background for the furniture1 and should be deeper than the dado or wainscoting4 ,the wood trims--baseboard1 doors1 plate-rails1 and everything of that character1 except the picture molding--should be like the woodwork of the furniture4 ,this brings the woodwork into contrast with the wainscoting 7unless the wainscoting be wood7 and into harmony with the side-walls1 although the degree of harmony is far removed4 ,thus1 if the woodwork of the furniture is mahogany1 the wainscoting green1 the side-walls pink and gray1 we would find the window trims of mahogany1 or imitation mahogany1 in harmony with the side-walls4 7,see #ea and #eb47 #di4 ,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 wainscoting2 but if there is no wainscoting1 or the wainscoting be also of wood1 then the wood trims and furniture contrast with the side-wall4 ,substitute green side-wall for the pink1 #dh4 ,white woodwork is always permissible4 ,study ,diagram ,,vi on page #bb4 #ej4 ,the picture molding may harmonize with the ceiling4 ,indeed1 a white picture molding frequently is better than one matching the general woodwork 7,see #cg72 a dark upper molding1 moreover1 reduces the apparent size of a room4 #ea4 ,where black furniture is used1 or gold furniture1 it will of course be understood that the wood trims shall not be black or gold2 but so long as they are in harmony1 that will be sufficient4 ,white wood trims are nearly always permissible as a substitute for colored wood4 #eb4 ,tones of gray with soft colorings 7,see #cb71 are always safe4 ,to summarize 7,note #cg73 #ec4 ,in harmonies of contrast the side-walls1 the furniture woodwork1 wood trimming1 cove1 ceiling and the curtains should be related4 #ed4 ,the rugs1 frieze1 wainscoting or dado1 furniture upholsterings and the curtain borders should be related4 7,see #di47 #ee4 ,if the curtains have no borders1 then the curtains contrast with the wood trims4 #ef4 ,remember always cove and ceiling should be the palest tint of the side-wall color1 and the rug should be of the deepest contrast to the side-wall1 in harmony with the wainscoting1 if there is a wainscoting4 ,remember1 also1 that the colors here prescribed are never to be of the same scale4 ,the rug or carpet is of the deepest1 and the ceiling of the palest4 ,while certain colors are to contrast1 they are not to contrast in the same scale4 7,see #cg and #dj47 #eg4 ,if we find that the tone of color of the wainscoting1 for instance1 is a bluish green1 the side-wall should be of a reddish orange2 for the reason that if green contrasts with red1 and if blue contrasts with orange1 a bluish green would contrast with a reddish orange4 #eh4 ,exception to #ef4 ,only large or well-proportioned rooms can stand the diminishing or reduction effects of contrast4 ,in low ceiling rooms1 leave out the contrasting frieze1 and let border1 cornice and ceiling be in receding colors4 7,see #hi47 #ei4 ,we all know that a northern exposure gives a room a deficiency of sunlight1 and the wall treatment should supply this4 ,a southern room1 on the other hand1 gives so much sunlight that counteracting wall treatments in cold color are permissible4 #fj4 ,in the color treatment of a room one has either to adopt a harmony of analogy or a harmony of contrast1 and this is a matter which depends upon so many conditions that it should be carefully considered4 7,see #hh and #hi47 ,where a plate-rail is used one must remember that a great deal of color may be furnished by the bric-a-brac1 and that the wall behind this plate-rail should be of a color in contrast to the contents of the plate-rail4 #fa4 ,when we follow a scheme of contrast the borders should be usually complements1 and if the reader has studied our diagram he will very readily understand how to determine the exact complementary color4 ,,wall ,,proportions #fb4 ,the wainscoting or dado should be the same as the top border or frieze1 but of a darker tone4 ,the intermixture of white or black is always permissible2 thus a paper as a side-wall might have as its frieze the complementary coloring with more white1 while the wainscoting or dado should be the complementary with black added4 #fc4 ,the cornice should be lighter than the border1 and its members may show several tints1 with the ceiling lighter still4 7,see #ib47 #fd4 ,as a rule the color of the chair coverings should be the complementary of the side-walls1 and the color of the furniture frames should be complementary to the wainscoting2 so by following this rule we find that the wainscoting serves as a contrasting background to the chair frame4 #fe4 ,let us imagine a room wherein the side-walls are of a reddish tint2 the wainscoting1 being a complementary color1 is of a greenish cast4 ,the furniture is of mahogany1 and in contrast to the wainscoting1 while the chair covering1 being greenish in contrast to the chair frame1 is also in contrast to the side-wall4 ,here we have1 then1 the color relations of side-wall1 wainscoting1 furniture-frames and covering2 but it is undesirable that these tones should be in the same scale4 7,see #fb and #ib1 also tables pages #db and #dc47 ,furniture3 ,large pieces1 preserving broken heights4 ,designs3 ,on walls1 draperies and furniture coverings follow rules of proportion4 ,,high ,color3 ,subdued contrasts of somber tones ,,ceiling picked out in contrasts of gold1 red and orange4 ,masses of luminous color are permissible in well-lighted rooms4 ,borders1 friezes1 dadoes and wainscotings may be used1 and a bordered carpet or large rug ,,well in the low tone of the color scheme4 ,,lighted ,furniture3 ,avoid high pieces1 excepting as relief to the use of many low pieces4 ,designs3 ,on walls1 draperies and furniture coverings follow rule of proportion1 ,,low using perpendicular stripes to give height ,,ceiling effect on wall2 avoid friezes1 wainscoting1 dadoes4 ,carpet borders may be safely used4 ,color3 ,subdued contrast of somber tones picked out in bright effects2 luminous masses permissible4 ,,large ,,room ,furniture3 ,large pieces1 preserving broken heights4 ,designs3 ,on walls1 draperies and furniture coverings follow rules of proportion4 ,,high ,color3 ,softly luminous1 soft orange1 yellow1 ,,ceiling green1 sunshiny colors to give artificial light1 picked out with contrasting color4 ,border1 frieze and wainscoting may be used1 also carpet or large rugs in the low tone ,,poorly of the color scheme4 ,,lighted ,furniture3 ,low pieces relieved by some high pieces4 ,designs3 ,on walls1 draperies and furniture coverings follow rule of proportion1 ,,low using perpendicular stripes to give wall ,,ceiling height2 avoid friezes1 wainscoting or dado2 carpet borders may be safely used in the low tone of the color scheme4 ,color3 ,softly luminous1 soft orange1 yellow1 green1 sunshiny colors to give artificial light1 picked out with contrasting color4 ,furniture3 ,small pieces1 relieved by small high pieces4 ,designs3 ,small1 proportionate to the size of the room4 ,,high ,color3 ,use harmonies of analogy or related ,,ceiling parts and of a receding character1 blue or gray green1 gray predominating2 avoid orange or red1 excepting in the ,,well bric-a-brac4 ,small rugs4 ,horizontal ,,lighted effects on walls4 ,furniture3 ,low pieces relieved by small high pieces4 ,designs3 ,small on draperies and furniture ,,low coverings2 use perpendicular stripes to ,,ceiling give height effect on wall2 avoid deep friezes1 wainscoting1 dado or borders4 ,color3 ,use harmonies of analogy or related parts1 of greens or blues1 grays predominating2 avoid luminous colors--yellow1 orange or red1 excepting in the bric-a-brac4 ,small rugs4 ,,small ,,room ,furniture3 ,small pieces1 relieved by small high pieces4 ,designs3 ,small on wall and fabrics4 ,horizontal effects4 ,,high ,color3 ,white in the woodwork gives artificial ,,ceiling light2 use pale gray colors on wall1 slightly tinted green or yellow1 faintly relieved by red or orange--the stronger colors only for the bric-a-brac4 ,for the floor avoid bordered carpets2 use small rugs4 ,,poorly ,,lighted ,furniture3 ,low pieces4 ,designs3 ,follow the rule of proportions1 with perpendicular stripes on wall1 to give height effect4 ,avoid borders on ,,low wall2 use small rugs on floor4 ,,ceiling ,color3 ,a preponderance of white in woodwork and fresh gray on wall with a touch of yellow and green in soft tones4 ,contrasting colors only in bric-a-brac and small details4 ,,room ,,proportions #ff4 ,in small rooms harmonies of contrast are unsafe1 because contrasts must involve advancing colors1 which make a room look smaller4 7,see #hf and #ij47 ,harmonies of analogy are far better2 and as frieze1 wainscoting and dado are not recommended in the small room1 we suggest that the furniture woodwork and the wood trims should be of one color note1 unless it is desired that the wood trims should be white2 and that the side-walls1 curtains and chair upholsterings should be of a note in some degree related and of receding color1 picked out with just a touch of contrasting color4 7,see #ij and #ia47 ,this contrasting color may be introduced in the accessories1 the pictures1 bric-a-brac1 flowers 7natural or artificial7 or books4 ,illustration3 444 pronounced patterns must balance1 etc4 7,see page #ch47 ,illustration3 ,broken heights4 7,see #ge47 ,,decorative ,,proportions 7,,see ,,chart7 ,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 ,proportion4 #fg4 ,a large room with high ceiling and well lighted4 #fh4 ,a large room with low ceiling and well lighted4 #fi4 ,a large room with high ceiling and poorly lighted4 #gj4 ,a large room with low ceiling and poorly lighted4 #ga4 ,a small room with high ceiling and well lighted4 #gb4 ,a small room with low ceiling and well lighted4 #gc4 ,a small room with high ceiling and poorly lighted4 #gd4 ,a small room with low ceiling and poorly lighted4 ,there are two considerations to bear uppermost in mind3 ,proportions affected by ,color and ,proportions affected by ,design4 #ge4 ,it is easily understood that a large room may be safely furnished with large pieces of furniture1 but where there is a wide expanse of floor space care must be exercised to secure broken heights3 ,in a high-ceilinged room the furniture must not be all high2 in a low-ceilinged room the furniture must not be all low4 ,avoid straight line effects in the furniture heights and in the wall-paper1 which1 if in pronounced patterns1 must balance in conspicuous wall members and show the broken junctures or bad matchings in inconspicuous or obscure corners4 ,,colors ,,that ,,give ,,size ,,to ,a ,,room #gf4 ,the wall and fabric designs must be of a size proportionate to the size of the room4 ,the color treatment of a well-lighted room must be subdued to offset the glare of the natural illumination1 and the natural illumination be subdued to soften the color treatment2 glare must be avoided4 #gg4 ,advancing colors are colors which contain red or yellow in the ascendancy2 receding colors are those which contain blue in the ascendancy4 ,green in its purity1 being half yellow and half blue1 is almost neutral4 ,in the same way violet1 being made up of half red and half blue1 is theoretically neutral1 although the blue tone is usually more assertive than the red and makes the color recede4 ,any color or hue possesses advancing or receding qualities according to the ascendancy of red1 blue or yellow in its composition4 #gh4 ,orange is an advancing color2 so also is violet in the shades approaching red2 green in the shades approaching yellow4 #gi4 ,of the tertiary colors russet is an advancing color1 because while it contains some blue in the violet of its composition1 it contains a preponderance of red and orange4 ,,advancing ,,and ,,receding ,,colors #hj4 ,citrine is an advancing color1 because while it contains some blue in the green of its composition1 it contains a preponderance of yellow and orange2 slate is a receding color1 because while it contains some yellow in the green of its composition1 it contains a preponderance of blue2 in the same way plum may be regarded as an advancing color1 because of its preponderance of red2 buff is an advancing color1 because of its preponderance of yellow2 sage is a receding color1 because of its preponderance of blue4 #ha4 ,the carpet should always be in the low tone1 and in a small room a bordered carpet should be always tabooed4 ,so also should one avoid the use of one rug so placed that a border of woodwork shows around it1 because this gives the border effect and makes a small floor space look still smaller4 ,better use small rugs4 ,the use of a lot of narrow rugs lengthwise along a narrow room will make the room look all the narrower1 but the same rugs placed crosswise would make a room look wider4 ,the diagrams which we have prepared will give even the man who understands it all a quicker grasp of the points involved4 #hb4 ,width effect and distance effect are obtained best by arranging the smaller pieces at the farthest points4 #hc4 ,it is the same with pictures4 ,while a room should be balanced1 and the pictures placed in a manner to give this result1 it is best1 where possible1 to keep the larger pictures1 larger effects1 always near the eye4 ,the crowding of large pieces at the farthest point diminishes the apparent size of the room4 ,,floor ,,treatments ,illustration #hd4 ,continuous design in ceiling or carpet weakens the size effect2 hence rugs which break the continuity by being laid across the room instead of lengthwise are preferable4 7,see ,diagrams and #ha47 #he4 ,it is a safe rule to do a small or narrow room in harmonies of analogy or related colors1 colors of a light tone and of receding character4 ,apart from any effect which color may possess decoratively or pictorially1 its value cannot be overestimated in its application to the laws of proportion4 ,illustration #hf4 ,borders may be safely used on the wall or on the carpet of any large room with high ceiling1 but wall friezes should be avoided where the ceilings are low1 for they foreshorten the height effect4 #hg4 ,we would avoid borders on the floor of a small room to make it look larger1 and we would use wide borders in a large room with a low ceiling so that the floor may be foreshortened4 #hh4 ,one may utilize in a large1 poorly lighted room masses of luminous colors to give artificial sunlight to the room deficient therein1 but in the small1 poorly lighted room this treatment should be avoided4 ,,color ,,schemes ,,for ,,rooms ,,under ,,normal ,,conditions 7,,tn3 left page of two page table7 ,,keynote ,b ,b ,,colors ,b ,a ,drapery ,a ,a ,furniture ,floor ,border ,wood ,trim ,wainscoting ,side-,wall ,coverings 7,brown and gray tones7 7,full tones77,wood tones77,deep tones77,soft tones77,soft tones7 ,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 7,,tn3 right page of two page table7 ,a ,b ,a ,b ,a ,furniture ,frieze ,draperies ,ceiling ,cornice 7,wood tones77,soft tones77,full tones77,pale wash tones77,pale wash tones7 ,mahogany ,pale green ,red ,palest green ,pale yellow ,deep oak ,blue ,orange ,palest blue ,pale green ,gold1 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 #a4 ,the ceiling1 where there is no pronounced cornice or cove1 should follow the wall tint4 ,exception #b4 ,independent of rule1 a low ceiling should be in receding color4 99 99 99 99 99 ,it is impossible to tabulate directions for using color without an understanding of the conditions1 the size1 light and height of a room4 7,see pages #cd and #ce47 ,the above tables relate only to normal conditions4 ,white woodwork can be used effectively in the trims of a room and give greater light and size4 ,the darker the wood trims the smaller the room appears4 ,we have left out of consideration the window treatments which1 as a rule1 should be of white lace1 perhaps overdraped in colored stuffs4 ,if the room is poorly lighted1 it is obviously undesirable to cut off any light from the window by even laces2 the curtains1 therefore1 in a poorly lighted room should be draped back4 ,colored laces1 grenadines or madras stuffs are frequently used to give period style or color tone1 and wherever they are used1 such curtains should harmonize with the wall4 ,so also with the overdraperies to the lace curtains4 #hi4 ,luminous or advancing colors make a small room look all the smaller2 therefore in small rooms we suggest the use of white woodwork1 and in the color treatment we would avoid contrasts1 but would suggest harmonies of analogy in receding colors1 soft grays1 greens and blues4 ,these are not luminous colors and will make a small room look the larger1 while the white will give light effects1 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 wall4 7,see #ff and #he47 #ij4 ,there are cases where a small room has a northern exposure1 and while apparently expedient to treat such a room in warm colors to supply the deficiency of sunlight1 such a course would make a room look smaller4 #ia4 ,under the circumstances treat the room in light hues1 gray preferred1 and get the deficiency of sunlight through some warm isolated details and in the lace curtains4 ,,the ,,wall ,,the ,,keynote ,,color #ib4 ,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 furniture2 above to the ceiling's center the note ascends and below to the floor center it descends2 it goes into tints as it ascends and into deeper shades of gray and brown as it descends4 ,if1 for instance1 blue is the keynote1 by adding black you have drabs1 slates or grays for the floor1 while if the keynote be red you have ecrus and browns for the floor light or gray1 according to the color scale of the keynote4 #ic4 ,it must be understood that in designating a color we do not mean that it shall be solid or pure1 but merely that it prevails4 7,see #bi47 ,a side-wall may be treated in several colors1 but as long as orange prevails1 it follows the conditions of the combination1 pages #db and #dc4 ,the factors included in the line designated ,a are all of one color family4 ,the factors indicated by ,b are also family colors4 ,it will be seen that the ,a or ,b colors taken by themselves form ,,harmonies ,,of ,,analogy2 it is only by combining the ,a's with the ,b's that we have ,,harmonies ,,of ,,contrast4 ,if a room is to be done in harmonies of analogy1 use the ,a colors alone or the ,b colors alone1 but never ,a and ,b together4 ,,the ,,psychology ,,of ,,color #id4 ,whatever may be the charm conveyed by design there is a reason for it4 ,we can analyze it4 ,it has an inherent quality of beauty or historic interest1 and there is a definite and distinct reason for our liking it4 ,but the effect of color is exciting or disturbing1 tranquilizing or pleasing1 inexplicable and inexpressible1 affecting the senses like an appeal to the passions or the appetite4 ,one might as well explain the love of sport1 literature1 art or vice4 ,the sense of color is a nerve sense1 and this sense varies in the individual4 ,we know that colors which are strongest in direct sun rays1 like red and orange1 arouse the normal senses1 while the blues and violets quiet4 ,nature provides vast fields of green because favorable in its effects upon humanity4 ,experiments prove that men of extreme sensibility exposed to the influences of red light finally show excitement which gives muscular development fifty per cent4 in excess of the power possessed by the same subject when exposed for the same period under the influences of blue light4 ,,to ,,determine ,,the ,,color ,,sense ,color1 like music1 while subjected to positive rules of harmony1 appeals to natures according to the responsiveness of their nerve sense1 and the practical decorator in dealing with a customer should discover at the outstart the character of that nerve sense4 ,some natures respond to the normal colors1 barbaric colors4 ,some respond to the softer tints and are disturbed by the sharper tones4 ,a dulled sense requires sharp contrasts2 a quickened sense is satisfied with the soft gray tones4 ,apart from any question of propriety or environment the individual taste for color must be determined before the individual taste can be pleased4 ,a demonstration of four examples in color may serve the purpose of determining one's color sense4 ,first4 ,combinations of normal primary and secondary colors1 7a7 arranged in contrasts1 7b7 in analogies4 ,second4 ,combinations of tones of the above colors1 7a7 arranged in contrasts1 7b7 in analogies4 ,third4 ,combinations of tints of the above colors1 7a7 arranged in contrasts1 7b7 in analogies4 ,fourth4 ,combinations of the gray 7tertiary7 tones of the above colors1 7a7 arranged in contrasts1 7b7 in analogies4 #ie4 ,do not allow your personal color-sympathies to dominate your work4 ,all colors have their usefulness1 for there are occasions when it is proper they should be used1 apart from any question of harmony2 one must consider always the uses of colors1 the lights1 and the purpose of the room under treatment4 #if4 ,nature gives to the dark forest depths great brilliancy of floriculture1 and dark-skinned people indulge unconsciously the same bright scale of color4 ,but as we come out of the forest and advance in civilization we use barbaric colorings more discriminately4 #ig4 ,we employ gold1 orange or yellow for the north room not for inherent beauty1 but for the sense of warmth which they convey to an atmosphere chilled by the absence of sunlight4 ,we employ receding colors in a small room that the room may look larger4 ,we employ cold colors in a sunny room1 especially in the summer home1 for reasons psychological rather than aesthetic4 ,,period ,,uses ,,of ,,color #ih4 ,if our furniture is white and gold1 it is clearly evident that the colorings of a room should be soft and harmonious4 ,if we adopt the dark teakwood of ,india or the deep brown of ,flanders1 our color scheme again changes4 ,the preponderance of white in ,colonial rooms was due to architectural conditions4 ,white illuminates2 and in the days when our ceilings were no higher than seven and a half feet1 and our windows were small1 the room needed an artificial light1 and white supplied this4 #ii4 ,in furnishing an ,empire room1 the decorators have1 little by little1 led themselves to believe that what is known as ,empire green is a distinct shade of green4 ,on the contrary1 green was used in the period of the ,empire simply because it was in pleasing contrast with the mahogany and brass so much used4 ,if the mahogany is dark1 a dark green is desirable2 if light1 a light green4 #ajj4 ,egyptian decoration was full of gold and brilliant coloring1 and a popular form of combination was the triad form3 ,black1 yellow and red4 ,red1 blue and white4 ,dark blue1 light blue and white4 ,cream color1 blue and black4 ,dark red1 medium yellow and blue4 #aja4 ,the ,greek decorators1 who painted in fresco1 used white1 red1 blue1 yellow and black4 ,natural marbles were much used in green and red and alabaster1 and bronze1 gold and silver4 ,we see the flat colors of the ,greek1 ,etruscan and ,pompeiian age and we imagine they are typical of the period1 but we must consider that the examples of that period which we now possess are faded and emasculated1 and that the more authentic the example1 the more aged it is1 and hence the more weakened in color character4 ,the ,greeks loved color1 and their embroideries were in gold and blue and ,tyrian purple4 ,roman coloring was but a continuance of the ,greek1 characterized by dark and rich backgrounds1 which were frequently black1 red or deep yellow and dark blue1 on which figures and landscapes1 or animals1 or groups from still life1 were executed in bright colorings of powerful contrasts4 ,black and white were used1 and later1 when the ,byzantine artists and craftsmen found their way to ,western ,italy1 they spread this love of bold coloring1 so that at the dawn of the ,renaissance we find a return to the ,greek and ,roman coloring1 which1 however1 was modified in ,england1 ,germany and ,flanders1 according to temperamental conditions4 #ajb4 ,we find1 for instance1 some forms of ,florentine decoration1 full of yellow1 red-yellow1 blue-greens and light slate blues4 ,botticelli used whites1 creams1 reds and citrine1 with umber tones heightened by gold1 and if we examine carefully the ,sixteenth and ,seventeenth ,century ,italian brocades which are preserved in the museums1 we discover a great preponderance of yellow-green as an ornament on dark violet1 or light olive green on dark blue1 or dull orange on crimson brown4 ,in some of the richest early ,italian fabrics we find3 ,purple and sage-green ornaments on indigo ground2 outlines in gold4 ,dull crimson1 pale blue and chrome yellow ornaments on dark gray ground4 ,pale yellow-green ornaments on deep amber ground4 ,dark blue-green and light greenish-yellow ornaments on deep crimson ground4 ,pale greenish-blue ornaments on dark gray-blue ground1 with white and gold picked out in small quantities4 ,emerald green and dull orange ornaments on dark gray-green ground outlined in gold4 #ajc4 ,the ,french ,renaissance takes inspiration from the ,roman and ,greek4 ,the ,louis ,,xiv is a development of the ,renaissance1 with a conspicuous use of gold4 ,the ,louis ,,xv is an elaboration along the same lines4 ,the ,louis ,,xvi is a simplification and a return to the classic4 ,the ,georgian is largely ,roman and ,pompeiian4 #ajd4 ,the ,adam style was taken directly from the ,pompeiian1 but in most cases1 instead of having the ,pompeiian solid color background with design lightly executed1 the background is in the light color1 and the design dark4 ,to follow strictly the ,pompeiian palace style would be too garish in our modern circumscribed environment4 #aje4 ,it is a nice psychological problem to decorate the house in a way to give true balance to the aesthetic sense4 ,no matter how great one's admiration for a thing1 there is always a final point of satiety at which the desire needs rest or balance4 ,a woman may love flowers1 for example1 but in the season of flowers1 when all nature supplies an over-abundance1 the visual sense becomes satiated1 and the house interior that is furnished in cool tints and two-tones gives positive relief4 #ajf4 ,on the other hand1 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 without4 ,illustration3 ,compare perpendicular and horizontal lines3 ,the angles and curves which enclose them change their relative equality4 99 99 99 99 99 ,,illusion ,,effect ,,and ,,expression ,,in ,,the ,,use ,,of ,,lines #ajg4 ,we very often notice a room which has been carefully carried out but is utterly lacking in charm4 ,the color seems right1 and1 considered in detail1 the furniture and the furnishings are appropriate1 but the room lacks effectiveness4 ,it is uninteresting4 ,it is like a doll face that is1 perhaps1 perfect in detail1 but utterly devoid of ,,expression4 ,the artist who paints a portrait is a failure without the ability to give expression3 hence in architecture the acute-angled spires or arched roofs have the same expression that the long face carries4 ,illustration ,if we smile1 the mouth curves upward2 if we grieve1 the lines turn downward4 #ajh4 ,in festival decorations1 joy is expressed by loops1 curves and festoons4 #aji4 ,in serious decorations 7libraries1 studies1 church or office work7 straight lines are used2 curtains are gathered in plaits so that the sags and drapes are all out of them2 they are drawn4 ,it is the same when we say of a person3 ,he looks serious1 his face is drawn2 it is full of lines4 #aaj4 ,the observation1 a broad smile on his face1 means literally just that2 the lines extend outward and upward1 giving an expression of breadth and joy to the countenance4 ,,illusion #aaa4 ,a doorway looks wider that has at the top a drapery which crosses in one complete curved sweep4 ,a side-wall is larger apparently if along the frieze line long1 wide loops or festoons are arranged4 ,the same wall is more contracted and higher if treated in arrow-point forms of design4 ,illustration ,the decorator should study these matters of illusion1 for they are vital to the success of his labor4 7,see #aaf47 #aab4 ,perpendicular lines contract the wall space and extend the apparent height of a room2 horizontal lines shorten the apparent height of the ceiling and lengthen the width of the room4 7,see exceptions1 #aai47 ,these straight lines may be used where extremes are needed4 7,see pages #fa and #fc47 ,a short doorway1 for instance1 looks higher where the portiere is hung in straight folds2 so also with a cottage window4 ,illustration #aac4 ,every decorator who handles fabrics1 every cabinetmaker who lays out the woodwork of a room1 every stained glass window maker1 should appreciate one fact3 ,a line which is finished at the top or bottom1 or both1 with acute angles appears longer than the line that is finished top and bottom with an obtuse or right angle4 ,it is the same with the finish of a wall frieze4 ,if the wall frieze ends abruptly 7,illustration ,a on page #eg71 it is foreshortened2 if it is finished by angles 7,illustration ,b71 the height of the room is apparently greater4 7,see the illustration on page #ea47 #aad4 ,it is the same way with curves2 given two lines of equal length and enclose one with convex and the other with concave curves1 and the line enclosed convex will appear longer4 ,illustration3 ,treated for ,broken ,heights4 #aae4 ,in dress a collar brought down to an acute angle in the front of the waist gives height effect1 whereas a perfectly straight collar around the neck reduces the apparent height and gives width effect4 ,illustration #aaf4 ,the use of arches should be studied4 ,a space that is arched looks wider than it actually is1 for the eye unconsciously follows the lines of the arch1 and a distance or width effect is the result4 ,the same space treated with a straight line is quickly bridged4 ,the same space treated with lines that come to an angle looks narrower1 for the reason that the eye becomes focused by the apex of the angle1 and a height effect1 not a breadth effect1 is the result4 7,see page #eg47 #aag4 ,this illusion is best shown in the illustrations of the parallel lines that are crossed diagonally1 with the result that the lines no longer look parallel because of the angles4 ,nevertheless1 they are parallel1 and the lines running diagonally at the bottom of this page are also parallel4 ,illustration ,we present two practical illustrations of illusion in the use of lines4 7,see #aab47 ,they represent the side-walls of two rooms of the same dimensions1 but showing apparently different proportions1 the perpendicular lines making the side-wall look higher and the horizontal lines making the side-wall look lower4 7,see page #ei47 ,illustration3 ,illustration ,a4 ,illustration3 ,illustration ,b4 7,see #aac47 ,illustration ,the length of the wall space is shortened1 moreover1 by the perpendicular lines and lengthened by the horizontal lines4 #aah4 ,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 ,rococo4 ,it was a profligate era1 an era of pleasure1 and the appended illustration of part of a frieze is in no way exaggerated1 but a true example of a common expression4 7,see page #fj47 ,illustration ,illustration #aai4 ,distinct perpendicular lines give height effect1 but they also narrow the apparent width of a wall space4 ,it is best to have such line effects indistinct unless they appear as in the illustration on page #fc1 where they are intended to reduce the breadth effect of the pattern and neutralize a squat tendency4 ,indistinct perpendiculars give height effect1 and do not reduce the wall width4 ,illustration3 7,see #aaa47 ,illustration3 ,perpendicular lines1 giving height effect4 ,illustration3 ,perpendicular lines1 giving height effect4 ,,color ,,terms #abj4 ,in the study of color and its application authorities differ so materially that it is not only impossible to reconcile their theories1 but the different terms used to express color thought create inextricable confusion4 #aba4 ,one authority fixes the neutrals as being black1 gray and white2 another regards them as those hues or tones which lack definite color1 like quaternaries4 ,authorities differ1 moreover1 upon even the fundamental principles4 ,chevreuil selects red1 yellow and blue as the primaries2 ,dr4 ,thomas ,young selects red1 green and violet4 ,helmholtz selects carmine1 pale green and blue-violet2 ,maxwell scarlet red1 emerald green and blue-violet2 ,professor ,rood agrees with ,maxwell2 ,professor ,church1 of the ,royal ,academy of ,arts1 ,london1 regards the primaries as red1 green and blue2 ,george ,hurst1 the ,english authority1 fixes upon red1 yellow and blue1 the ,brewsterian theory4 #abb4 ,one must remember always in studying color that we are treating with the material1 not with the illusion4 ,we are dealing with pigments1 not with prismatic phenomena1 and it must be obvious that the only three primary colors that can be used in a way to produce all other colors are red1 yellow and blue4 #abc4 ,whatever may be the spectrum theories of ,sir ,isaac ,newton1 ,young or ,helmholtz1 for practical reasons we prefer to follow an authority as eminent as ,chevreuil1 for years the head of the ,national ,gobelin ,works of ,france1 and a man experienced in the practice as well as the theory of color4 ,any effort to fix the character of color and describe it by periods and epochs will always prove unsatisfactory1 for the reason that terms and expressions have changed with every period since the ,egyptian1 #djjj ,b4,c4 #abd4 ,we think we know purple until we discover that the purple of royalty1 the ermine and purple1 the purple of the cardinals' robes1 frequently approximated what we now call carmine4 ,royal purple and ,venetian blue are mere trade terms4 ,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 upon2 so that any effort to fix the color value by periods would be futile4 ,we may assume that in the age of oak1 mahogany1 white and gold or walnut furniture1 the fabric and wall colors harmonized with the wood colors1 and to that degree we may fix the period character of color4 ,the moment that the tone of the woodwork or the light conditions varied1 color character varied also4 #abe4 ,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 centuries1 and have faded and altered4 ,the colors on the walls of the historic rooms of ,european palaces have greatly altered4 ,the flat reds and the deadish blues of the ,pompeiian frescoes have been altered by chemical action during the #a1hej years' burial under the lava of ,vesuvius4 ,we are not justified in judging of the colors of ,a4,d4 #gi by the restoration-examples in #aijj4 ,hence the mere expressions ,pompeiian red1 ,pompeiian blue1 can convey no definite1 positive meaning4 ,illustration3 ,fig4 #a4 ,,color ,,vocabulary #abf4 ,in music1 a tone which is formed by a certain number of vibrations per second is the same the world over1 and each and every tone has a name2 but in color no such standards exist4 ,people have attempted to formulate a system by denominating the primary colors1 red1 yellow and blue1 respectively as ,r1 ,y and ,b1 and the combinations of these colors as combinations of letters4 ,for example1 red1 with varying degrees of yellow added1 is denominated by the letters ,r ,r ,o1 or ,r ,o ,r1 or ,o ,o ,r4 ,this system tends to confusion1 and is inadequate to express tints and shades4 ,various other systems have been devised4 ,color charts have been made1 and in each system arbitrary names have been assigned1 so that each color may be known by one of several names4 ,the difficulty of insuring accuracy under these circumstances becomes very evident4 #abg4 ,in discussing color combinations1 one is usually confused because the subject is not a tangible expression that can be grasped like the sound of a note in music4 ,with color charts1 every maker has a standard of his own and the term red may mean anything within a wide range2 a yellow-red or a blue-red1 the yellow-red perhaps being cherry1 the blue-red perhaps being carmine4 ,an appreciation of the ,harmonies of ,contrast or ,harmonies of ,analogy or ,relationship is accompanied by great confusion because of this lack of standardization4 #abh4 ,there is only one true standard of color1 and that is the standard as shown in the prism1 and expressed by the spectrum4 ,it is within the province of any man to determine the proper relationship of color if he starts with the chart we here present4 ,we fix definitely the three primary and the three secondary colors1 the primaries1 red1 yellow and blue1 being those indicated by the heavy black lines2 the secondaries1 orange1 green and violet1 being indicated by the broad stipple lines4 ,all other lines are the tertiary or quaternary colors4 ,if we have clearly in our minds the appearance of the normal red and yellow1 and clearly in our minds the orange that is made up by combining the two1 we ought to be able to fix in our imagination the colors that come midway between the red and the orange1 or the colors that come nearer the red or nearer the orange4 ,let us assume we are to select colors in the harmony of contrast4 ,take a ruler and lay across the chart and the contrasting colors are always opposite2 the direct contrast of red is green because green is composed of the other two primary colors1 yellow and blue2 the contrast of blue is orange because orange is a combination of the other two primaries1 yellow and red2 the contrast of yellow is violet1 a combination of blue and red4 ,now1 to determine the niceties of distinction1 let us take a red that is a little off shade1 a little yellowish2 one must determine in the mind's eye about how much yellow there is in it and1 to determine the true contrast1 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 added1 or bluish-green4 #abi4 ,one must also determine the scale of color4 ,the parallel circular lines on the chart designate four scales1 or four grades1 of each color1 growing lighter by adding white1 to the center2 as you add more and more white the tint becomes more and more light4 ,in determining contrast1 be careful to stick to your scale4 ,contrasts1 to be in harmony1 must be colors of the same scale4 #acj4 ,harmony of analogy or relationship is clearly expressed in the chart4 ,the family relations of red are the things which go with red4 ,we may have a harmony of analogy in violet which includes the relations of red and blue4 ,we must not attempt to carry the family relationship too far4 ,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 quaternaries4 ,each man must establish his own standard1 and by establishing it he forms unconsciously a very comprehensive understanding of color4 ,it has never been possible to print a true colored chart because no two copies of the sheet off the press would be alike4 ,a little more ink or a little less ink1 or a little lighter or a little heavier impression1 changes the values4 ,the chart illustrates contrasts of all of the primaries and secondary colors and the broken colors or hues4 ,in the same way the tertiary or quaternary colors may be arranged1 but for convenience we show the contrasts as follows3 ,,russet3 ,tertiary1 #cb parts ,red1 #af parts ,yellow1 #af parts ,blue #ca parts ,red1 #af parts ,yellow1 #ag parts ,blue #cj parts ,red1 #af parts ,yellow1 #ah parts ,blue #bi parts ,red1 #af parts ,yellow1 #ai parts ,blue #bh parts ,red1 #af parts ,yellow1 #bj parts ,blue #bg parts ,red1 #af parts ,yellow1 #ba parts ,blue #bf parts ,red1 #af parts ,yellow1 #bb parts ,blue #be parts ,red1 #af parts ,yellow1 #bc parts ,blue ,,slate3 ,tertiary1 #cb parts ,blue1 #af parts ,red1 #af parts ,yellow #ca parts ,blue1 #af parts ,red1 #ag parts ,yellow #cj parts ,blue1 #af parts ,red1 #ah parts ,yellow #bi parts ,blue1 #af parts ,red1 #ai parts ,yellow #bh parts ,blue1 #af parts ,red1 #bj parts ,yellow #bg parts ,blue1 #af parts ,red1 #ba parts ,yellow #bf parts ,blue1 #af parts ,red1 #bb parts ,yellow #be parts ,blue1 #af parts ,red1 #bc parts ,yellow ,,citrine3 ,tertiary1 #cb parts ,yellow1 #af parts ,blue1 #af parts ,red #ca parts ,yellow1 #af parts ,blue1 #ag parts ,red #cj parts ,yellow1 #af parts ,blue1 #ah parts ,red #bi parts ,yellow1 #af parts ,blue1 #ai parts ,red #bh parts ,yellow1 #af parts ,blue1 #bj parts ,red #bg parts ,yellow1 #af parts ,blue1 #ba parts ,red #bf parts ,yellow1 #af parts ,blue1 #bb parts ,red #be parts ,yellow1 #af parts ,blue1 #bc parts ,red ,,sage3 ,quaternary1 #bd parts ,blue1 #af parts ,red1 #bd parts ,yellow #be parts ,yellow1 #bc parts ,blue1 #af parts ,red #bf parts ,yellow1 #bb parts ,blue1 #af parts ,red #bg parts ,yellow1 #ba parts ,blue1 #af parts ,red #bh parts ,yellow1 #bj parts ,blue1 #af parts ,red #bi parts ,yellow1 #ai parts ,blue1 #af parts ,red #cj parts ,yellow1 #ah parts ,blue1 #af parts ,red #ca parts ,yellow1 #ag parts ,blue1 #af parts ,red ,,buff3 ,quaternary1 #bd parts ,yellow1 #af parts ,blue1 #bd parts ,red #be parts ,red1 #bc parts ,yellow1 #af parts ,blue #bf parts ,red1 #bb parts ,yellow1 #af parts ,blue #bg parts ,red1 #ba parts ,yellow1 #af parts ,blue #bh parts ,red1 #bj parts ,yellow1 #af parts ,blue #bi parts ,red1 #ai parts ,yellow1 #af parts ,blue #cj parts ,red1 #ah parts ,yellow1 #af parts ,blue #ca parts ,red1 #ag parts ,yellow1 #af parts ,blue ,,plum3 ,quaternary1 #bd parts ,red1 #af parts ,yellow1 #bd parts ,blue #be parts ,blue1 #bc parts ,red1 #af parts ,yellow #bf parts ,blue1 #bb parts ,red1 #af parts ,yellow #bg parts ,blue1 #ba parts ,red1 #af parts ,yellow #bh parts ,blue1 #bj parts ,red1 #af parts ,yellow #bi parts ,blue1 #ai parts ,red1 #af parts ,yellow #cj parts ,blue1 #ah parts ,red1 #af parts ,yellow #ca parts ,blue1 #ag parts ,red1 #af parts ,yellow ,illustration #aca4 ,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 training4 #acb4 ,the note of discord in color is best avoided by an infallible guide1 as the discord in music is best avoided by thorough training in the law of harmony4 ,the color chart on page #gc has been so arranged that each of the shades is in exact harmony with the shade directly opposite4 #acc4 ,for example1 to ascertain the color that is in harmony with the shade denominated ,red-,orange1 it is necessary simply to lay a ruler across the diagram to find the corresponding harmony1 which is ,blue-,green4 #acd4 ,we know that the primary colors are red1 yellow and blue1 and that the combination of any two of these gives a secondary color4 ,the secondary color is the complement of the remaining third color2 thus yellow and blue form green1 and green is the complement or contrasting harmony of red4 ,red and yellow form orange1 and orange is the complement of blue4 ,blue and red form violet1 and violet is the complement of yellow4 ,these are facts we all know4 ,now1 if red is the complement or contrasting harmony of green1 and yellow contrasts with violet1 then red with one1 two or three degrees of yellow added will contrast with green with one1 two or three degrees of blue added4 ,assume1 for example1 that a decorator dealing with a red side-wall wishes upholsterings in the correct shade of green4 ,he knows he has a red wall1 he knows also that he wishes to use some shade of green1 but without some fixed standard it is impossible for him to do more than approximate the correct shade of green to use4 ,if1 however1 he could compare the red of his wall with his color chart and determine exactly which of the many shades of red1 or which of the many yellow reds1 or blue reds1 the wall is toned in1 it is a simple process to ascertain the exact green harmonizing with this red4 ,the second great use of the color chart is then an infallible guide to color harmony1 whether analagous or contrasting4 ,,old ,,system ,r ,,rro,,ro ,,roo ,o ,,ooy ,,oy,,oyy ,y ,,yyg ,,yg,,ygg ,g ,,ggb ,,gb ------ ,,new #a #b #c #d #e #f #g #h #i #aj #aa #ab #ac #ad #ae ,,system,,red,r #g,r #f,r #e,,orange,r #c,r #b,r #a,,yellow,y #g,y #f,y #e;,,green,y #c,y #b ,y #a,y #b,y #c ,y #e,y #f,y #g ,b #a;,b #b;,b #c ,b #e;,b #f ---------------------------------------- ------------ ,h,a #ef,r#dh,r#dj,r #cb,r #dj,y#dh,y#ef,y #ef,y#dh,y#dj,y #cb,y #dj;,b#dh;,b ,,normal #fd #fd ,,line #h,y#af,y#bd,y #cb,y #bd,r#af,r #h,r #h;,b#af;,b#bd;,b #cb;,b #bd,y#af,y ---------------------------------------- ------------ ,i,b#ef,r#di,r#db,r#ce,r #bh,r #ce,y#db,y#di,y #ej,y #di,y#db,y#ce,y #bh,y #ce;,b#db;,b #g,y#ad,y#ba,y #bh,y #ba,r#ad,r #g,r #g;,b#ad;,b#ba;,b #bh;,b #ba,y#ad,y #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w #h,w ---------------------------------------- ------------- ,j#dh,r#db,r#cf,r#cj,r #bd,r #cj,y#cf,y#db,y #dh,y #dh,y#cf,y#cj,y #bd,y #cj;,b#cf;,b #f,y#ab,y#ah,y #bd,y #ah,r#ab,r #f,r #f;,b#ab;,b#ah;,b #bd;,b #ah,y#ab,y #af,w#af,w#af,w#af,w #af,w #af,w#af,w#af,w #af,w #af,w#af,w#af,w #af,w #af,w#af,w ---------------------------------------- ------------- ,k#dj,r#ce,r#cj,r#be,r #bj,r #be,y#cj,y#dj,y #dj,y #ce,y#cj,y#ce,y #bj,y #be;,b#cj;,b #e,y#aj,y#ae,y #bj,y #ae,r#aj,r #e,r #e;,b#aj;,b#ae;,b #bj;,b #ae,y ,w#bd,w#bd,w#bd,w #bd,w #bd,w#bd,w#bd,w #af,w #bd,w#bd,w#bd,w #bd,w ---------------------------------------- ------------- ,l#cb,r#bh,r#bd,r#bj,r #af,r #bj,y#bd,y#bh,y #cb,y #bh,y#bd,y#bj,y #d,y #h,y #h,y #af,y #ab,r #h,r #d,r #d;,b #h;,b #cb,w#cb,w#cb,w#cb,w #cb,w #cb,w#cb,w#cb,w #cb,w #cb,w ---------------------------------------- ------------- ,m#bd,r#ba,r#ah,r#ae,r #ab,r #ae,y#ah,r#ba,y #bd,y #c,y #f,y #i,y #ab,y #i,r #f,r #dj,w#dj,w#dj,w#dj,w #dj,w #dj,w ---------------------------------------- ------------- ,a color is indicated by the intersection lines perpendicular and horizontal4 ,a ,this line shows the colors of the normal scale running from ,red 7,r7 to ,yellow 7,y7 to ,blue 7,b7 to ,red 7,r74 ,b ,this line and all below it show the same primary and secondary colors lightened by added white4 ,,artificial ,,lighting #ace4 ,in considering artificial light1 we will avoid all efforts to analyze the different forms of energy1 magnetic energy1 electric energy1 heat energy1 mechanical momentum1 radiating energy1 and deal with result rather than with cause and effect4 ,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 color4 7 #c47 ,self-luminous bodies are bodies which produce light4 ,illuminated bodies shine by borrowed light1 and are distinguished by the different amounts and quantities of light which they reflect4 ,a dense cloud which appears nearly black when between the observer's eye and the sun1 owing to the degree of density with which it intercepts the light1 may become brilliantly white when the sun's rays fall upon its constituent particles1 for the light which cannot penetrate the cloud is continually reflected to and from the surface of its minute parts4 ,thus it happens that the lower part of a cloud seen against a background of dark mountain may appear white1 while the upper part may appear dull gray4 ,in the alteration of reflection we have an alteration of color4 ,a stick of sealing wax will show in some positions white reflected light1 while in other positions we see only the red4 ,a polished plane furnishes one kind of reflection1 a piece of chalk another4 #acf4 ,the decorator has for years past been disposed to defer to the illuminating engineer in the artificial lighting of a home4 ,but while the technical man or engineer may have a knowledge of power and energy1 he has not studied the decorative value of lighting4 ,his problem has been economic rather than psychologic4 ,the illuminating engineer cannot be expected to appreciate fully the harmonies of color in decoration4 #acg4 ,it is the decorator's province to consider not only the power of light in the furnishing of a house1 but the character of the light--not only its color influence1 but the structural character of its introduction1 as affecting these furnishings4 ,it is beyond his province to determine whether carbon should be replaced by tantalum1 osmium or tungsten to get higher efficiency1 but he must understand the effects of these lights and prescribe accordingly4 ,,absorption ,,and ,,reflection #ach4 ,the architect who designates the number and location of outlets for the lighting sources1 and specifies the candle-power of the lamps1 knows nothing of the ultimate decoration of the house4 ,very often the specifications are finished before the color scheme has been decided upon1 and as a result the degree of illumination either falls short of what is needed in case of dark-colored interiors1 or proves excessive with light-tinted rooms4 ,the architect works from one point1 economy1 the decorator from another1 aesthetic2 while the householder1 the consumer who pays the illuminating bills1 cannot comprehend why his lighting bills increase as his taste for luminous or dark-colored furnishings is gratified4 ,many houses are left in the white plaster for a year or more until the plaster settles4 ,in this condition a small unit of light is sufficient1 but when the decorator completes his work1 adding fabrics and wall-papers which absorb and diminish the light1 the householder1 unaware of the cause1 notices a material increase in his bills for illumination4 ,these facts must be understood to be remedied1 and it remains for the illuminating engineer to determine by direct experiment the value of any light as it affects and influences color1 as well as the value of color as it affects light4 ,it may be assumed without danger that the softest light is that of the candle1 but we are not living in the candle age1 and have to deal with either gas or electricity as the main illuminating agents4 #aci4 ,we have to consider the mercury arc light1 the yellow flame carbon1 the white magnetite and titanium arc--all of high efficiency1 giving orange yellow in the flame-carbon to yellow and yellow white in the acetyline of the tungsten filaments4 ,then we have the greenish yellow of the ,welsbach mantle1 the bluish green of the mercury arc1 the yellowish white of the carbon arc1 as well as the clear white of the titanium arc4 #adj4 ,the subject may be divided into three heads3 ,quality1 or approximation to natural light4 ,quantity1 as demanded by reflection or absorption4 ,installation1 diffusion or mechanical distribution4 #ada4 ,normal light is the light of general diffusion in daylight1 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 home4 ,bear in mind that natural light as it appears out of doors is materially altered when indoors by the presence of different planes and angles1 which cast and receive various depths of shadow2 the quality required is that which will provide illumination without glare4 ,the sun's rays are softened and mellowed by the depth of air through which they pass1 and it is this mellowness that is the chief requisite in illumination4 ,good decorative illumination does not mean illumination that reveals every hidden corner of a room4 ,we need shadows to betray form1 relieve monotony and give depth to the ensemble4 ,if in an illuminated area light is of a uniform intensity1 we have a bad effect4 ,the variation of tone in a fabric is due to the light reaching it from a given point4 ,differences in intensity make shadows and tones4 #adb4 ,the illuminating engineer treats the home as he treats a public hall4 ,he ignores the individuality of the room2 the ball-room and the sickroom are lighted alike4 ,he does not always consider the diminished force of light as it passes through a refracting surface1 for it must be borne in mind that any method of indirect lighting by refraction is apt to cause a loss of volume4 ,the use of various kinds of globes or lamp shades must all be considered4 ,a light-colored wall reflects illumination1 a dark-colored wall absorbs it2 hence the amount of illumination is increased or diminished by the color of the walls4 ,,light ,,effect ,,on ,,color #adc4 ,to illuminate a city1 with the dull grim environment of streets and houses1 a soft yellow glow will give warmth and tone2 the greenish yellow of the ,welsbach or the blue green of the mercury arc may even be desirable1 but the same green or violet rays are ghastly in a house1 and should never be permitted4 #add4 ,the warm glow of the yellow light1 while pleasing to the complexion1 is1 however1 objectionable as disturbing the color composition of dress or furnishings4 ,a gaslight sends a yellow glow over all that it reaches1 and has the same effect as the introduction of yellow into every color tint in the room4 ,the walls that are red take on a scarlet hue2 the scarlet ones are yellowed to orange2 the blues become greenish4 #ade4 ,in order that the decorator may more readily grasp the subject1 we have arranged a table showing the color changes effected by rays of yellow1 blue1 green and violet3 ,orange rays falling on white make it appear orange4 red it appears reddish-orange4 orange it appears deeper orange4 yellow it appears orange-yellow4 green it appears dark yellow-green4 blue it appears dark reddish-gray4 violet it appears dark purplish-gray4 black it appears brownish-black4 ,yellow rays falling on white make it appear yellow4 red make it appear orange-brown4 orange make it appear orange-yellow4 yellow make it appear deeper yellow4 green make it appear yellowish-green4 blue make it appear slaty-gray4 violet make it appear purplish-gray4 black make it appear olive-black4 ,green rays falling on white make it appear green4 red make it appear yellowish-brown4 orange make it appear grayish-leaf-green4 yellow make it appear yellowish-green4 green make it appear deeper green4 blue make it appear bluish-green4 violet make it appear bluish-gray4 black make it appear dark greenish-gray4 ,blue rays falling on white make it appear blue4 red make it appear purple4 orange make it appear plum-brown4 yellow make it appear yellowish-gray4 green make it appear bluish-green4 blue make it appear deeper blue4 violet make it appear bluer4 black make it appear bluish-black4 ,violet rays falling on white make it appear violet4 red make it appear purple4 orange make it appear reddish-gray4 yellow make it appear purplish-gray4 green make it appear bluish-gray4 blue make it appear bluish-violet4 violet make it appear deeper violet4 black make it appear violet-black4 #adf4 ,the pale tints of electric lights1 which make every face in a room look ghastly1 will affect quite as disastrously every soft color in the furnishings4 ,in ordinary gaslight a pair of white gloves looks yellow1 and we have seen ,welsbach lamps which threw out a violet-blue illumination1 depressing in the extreme4 ,under a yellow glow1 blues1 greens1 violets and purples are greatly changed4 ,under a violet glow1 yellows and greens are ruined4 ,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 apparent4 ,the question as to the disposition and intensity of the lights is of vital importance1 and must be considered with the requirements of each particular room in mind4 #adg4 ,for the drawing-room and reception-room it is desirable that all parts of the room be evenly lighted1 without a pronounced glare in any particular part of the room4 ,one of the most effective ways of accomplishing this is by distributing the lights around the room1 either on the ceiling1 in the cove or above a wide molding1 so that the ceiling acts as a reflecting agent1 and distributes an even tone of light to all parts4 ,,illumination #adh4 ,for the dining-room and living-room a different plan must be used1 because of the different requirements4 ,the table is usually in such rooms the chief feature of the furnishings1 and it is customary to focus upon it the main body of light4 ,while this is obviously necessary1 the surroundings must not be ignored2 neither is it possible to raise the center light to such a height that its radiation may reach all parts of the room1 because in so doing the light reaches the eye at an extremely unpleasant angle4 ,the drop fixture should be low enough to effectively light all parts of the table1 while at the same time its shade should screen the light from the eyes of the room's occupants4 ,to illuminate the surrounding parts of the room other lights should be distributed where they will most effectively supply what further illumination is required4 #adi4 ,for the bedroom or boudoir the location of the lights should also be subordinated to the purposes of the room1 and in addition to providing sufficient illumination to the entire area1 special illumination should be provided for the mirrors and the dressing-table4 ,the lights for the mirrors should be planned to illuminate the person and not the image4 #aej4 ,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 shades4 ,these provide a medium glow throughout the entire room that is pleasing1 and avoid entirely the garishness usually associated with such rooms4 ,one of the mistakes of the day is the use of high-power lights1 which are so intense that they require to be screened or shaded1 involving waste of light and concentrating an unnecessary amount of illumination upon a narrow sphere4 ,,reflective ,,power ,,of ,,color ,the following table will give an idea of the percentage of light reflected from ordinary wall-hangings and papers3 ,per ,cent4 ,reflection ,white blotting-paper 4#hb ,white cartridge-paper 4#hj ,ordinary foolscap 4#gj ,ordinary newspaper 4#ej to 4#gj ,chrome yellow paper 4#fb ,orange paper 4#ej ,yellow wall-paper 4#dj ,yellow painted wall 7clean7 4#dj ,tracing cloth1 pale blue 4#ce ,light pink paper 4#cf ,blue paper 4#be ,emerald green 4#ah ,dark brown paper 4#ac ,vermilion paper 4#ab ,blue green paper 4#ab ,cobalt blue paper 4#ab ,black paper #j4e ,deep chocolate paper #j4d ,french ultramarine blue paper #c4e ,black cloth #a4b ,black velvet #j4d #aea4 ,it is very difficult to select practical artificial illuminants1 because of the various color properties possessed by each4 ,a ,welsbach mantle1 which gives a greenish tint1 is pretty sure to alter the character of any color other than green4 ,incandescent electric light1 as well as ordinary gaslight1 contains a yellow tint4 ,,the ,,color ,,of ,,artificial ,,lights #aeb4 ,in planning or matching colors for a room1 it is best to consider the purpose for which the room is to be used1 and match the colors under the same light conditions that will prevail in the finished room4 ,deep1 full colors are less affected by the shadings in artificial illuminants than lighter tones of the same color4 ,,illuminant4 ,,color4 ,sun 7high in sky7 ,white4 ,sun 7near horizon7 ,orange red4 ,sky light ,bluish white4 ,electric arc 7short7 ,white4 ,electric arc 7long7 ,bluish white to violet4 ,nernst lamp ,white4 ,incandescent 7normal7 ,yellow-white4 ,incandescent 7below voltage7 ,orange to orange-red4 ,acetyline flame ,nearly white4 ,welsbach light ,greenish white4 ,gaslight 7,siemens burner7 ,nearly white1 faint yellow tinge4 ,gaslight 7ordinary7 ,yellowish white to pale orange4 ,kerosene lamp ,yellowish white to pale orange4 ,candle ,orange yellow4 ,,artificial ,,light ,,application #aec4 ,the introduction of light by the medium of a wire1 which may be carried to any point in a room1 encourages so many possibilities for comfort and effect that it behooves us to forget traditional customs which were established during the gaslight period4 ,the introduction of gaslight through tubes was a rather complex problem1 and the carrying of the pipes into the room through a main chandelier was the most advisable constructive form4 ,but we have no need for such cumbersome fixtures in this day of wiring4 ,a mere cord takes the place of an inch pipe4 ,modern ,german and ,austrian lighting fixtures frequently are mere pendants1 with the cord frankly in evidence4 ,in this way the lights may be placed wherever needed--at the head of the lounge1 so one may read more clearly by it2 close by the piano2 over the tea-table4 ,in fact1 supplementary lights to the general illumination are a convenience that the decorator should consider4 #aed4 ,the lighting of a house is a matter so dependent upon aesthetic conditions that it is never within the scope of the electrician4 ,it is a problem for a decorator alone to solve4 ,intense and glaring lights of unusual power must be avoided4 ,luminants of low intrinsic brilliancy are preferable4 #aee4 ,the floor is the least important surface for illumination1 and has no reflecting power of value4 ,the walls vary in value according to their color and surface4 ,with lights radiating upward1 however1 the ceiling possesses definite power1 and should be considered4 #aef4 ,dark colors absorb light1 while white and light colors reflect1 and this must always be remembered2 for upon the character of the decorations and furnishings of various rooms the quantity as well as the quality of light has serious influence4 ,,power ,,necessary #aeg4 ,while the list which we give herewith is based largely upon area1 it may be taken as a basis of calculation for lighting equipment4 ,it is estimated that #cjj square feet of a hallway requires four sixteen-candlepower1 or eight eight-candlepower units4 ,in a room #bj x #bj feet1 with furnishings of mahogany and green1 broken up by bookcases and other furniture producing heavy shadows1 it is estimated that twelve eight-candlepower lights are sufficient if worked into the frieze1 and that a reading lamp of not less than thirty-two-candlepower be used as a drop light4 ,assuming a room is #ae x #ae feet1 and furnished in light tones1 four eight-candlepower lamps are ample4 ,a living-room #bj x #be feet1 in light tones of color1 requires two thirty-two-candlepower lights1 centrally located1 and about twelve eight-candlepower lights4 ,this should provide brilliant illumination4 ,a room #ae x #bj feet1 in dark wood and hangings1 needs eight eight-candlepower reflector lamps1 backed up by six more eight-candlepower lamps4 ,bedrooms #ae x #ae feet in size1 where they are not furnished in deep colors1 should be equipped with two sixteen-candlepower lights4 ,,color ,,control #aeh4 ,mechanical lighting is so easily undertaken that it predisposes one to extravagance4 ,properly applied1 artificial light adds materially to the charm of a room1 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 corners4 ,the danger to good decoration is not only in overlighting1 but in overdecorating1 and commercialism naturally encourages this tendency4 ,the floor is frequently best treated if not entirely covered with a one-pattern treatment2 the walls are frequently most pleasing if done in several papers instead of one4 ,the most effective room is the one lighted in various degrees of strength1 and while the decorator unconsciously follows this idea and avoids superabundance of pattern by using panels1 friezes and wainscotings1 we believe that each and every section or part of a room should be treated separately1 observing1 of course1 a consistent spirit of design1 preserving the period style and the general color effect2 we would vary the actual shade of coloring and the size of pattern according to the dimensions of the wall space it occupies4 ,the large patterns and the strong colorings which may be appropriate to an exposed wall are all out of proportion in narrow or darkened confines4 ,dark and deep recesses should obviously be treated differently to advanced or conspicuous spaces4 #aei4 ,at a recent meeting of the ,illuminating ,engineering ,society1 ,d4 ,mc,farlan ,moore made the following observations3 ,a few years ago there was practically no way of changing the colors of the various forms of lamps1 that is1 the candle had its color perforce2 such a thing as modifying it was not dreamed of4 ,the oil lamp had its color2 the open burner gas flame its color1 the incandescent lamp its color1 and the arc lamp its color4 ,at the present time there are only two ways widely in use of varying the color2 that is1 if a person wishes to have a light of a different color1 there are two main ways of getting it4 ,one way is to get another light source1 and the other way is to use a diffusion globe of some kind1 which in any instance is extremely unscientific and inefficient4 ,some of the most recent advances in this line are connected with the flaming arc lamp4 ,there we have an instance where the first step1 at least1 was taken toward scientifically controlling the color value4 ,i refer to placing different chemicals in the carbon and thereby obtaining a color which can1 to a very great extent1 be determined previously4 ,but still it by no means can be said that by means of the flaming arc lamp the color factor is under perfect control4 ,however1 it is possible now to have the color value under perfect control1 and this is obtained by utilizing a vacuum tube1 and by changing the various gases used in the tube to change the color4 ,this has many advantages1 and from a scientific standpoint it cannot be criticised1 as can the other methods which have been used4 ,for example1 if you use a properly regulated vacuum tube and feed it with air only1 a pink light results2 if you feed it with nitrogen a yellow light results1 and such a light can be used for a great many purposes2 in fact its range of usefulness so far as the color is concerned1 is about the same as that of the ordinary incandescent lamp1 and therefore can be used by florists or by clothing merchants1 and the distortion is not any worse than that of the ordinary incandescent lamp4 ,however1 it is not by any means claimed that when a tube is fed nitrogen1 that the color is at all near daylight2 it is simply a color which appears about the same as that produced by the ordinary incandescent lamp4 ,due to the enormous radiating surfaces of the tube1 the color in day time looks considerably redder than that of the incandescent lamp because the lamp is extremely small as compared with the tube4 ,when such a tube is fed with carbon dioxide at a definite pressure1 and at a definite intensity1 a light is obtained that undoubtedly is closer to average daylight color values than any light which has ever been produced before1 and we can almost say that it is entirely satisfactory4 ,for instance1 experts in matching colors in the largest dye works of this country1 men who have tried all other forms of light1 and found them not at all suitable for their uses1 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 shades1 when they are matched at night time under the tube and in day time by daylight1 not direct sunlight4 ,,dress ,,and ,,complexion #afj4 ,the nerves of the eye1 exhilarated by any pronounced color1 unconsciously observe the complement of that color when turned from it4 ,the eye accustomed to the red of a woman's dress1 unconsciously sees a greenish cast in the face that is naturally pale1 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 dress4 ,as one's appetite for the thing that is sweet becomes exhausted by a superabundance of sweets1 so the eye resting upon a mass of red in the dress of a woman fails to appreciate the red tint in the face1 and the face thus juxtaposed becomes pallid4 ,a red-faced woman often wears brighter red in dress1 so that her face may appear less red4 ,the blue dress gives yellow to the face2 the yellow dress gives blue2 these results are altered materially by the intervention of white between the face and the dress4 ,white intensifies color4 ,if there is a tinge of pink in the face white brings it out4 ,if there is sallowness in the face white accentuates it4 ,it is for this reason that many women wear yellow instead of white at the neck1 so that the yellow of the face becomes less conspicuous by contrast4 7,see #ca47 #afa4 ,it is dangerous1 however1 in matters of dress to strictly apply this rule1 because color has a temperamental influence apart from the purely visual4 ,some women are positively depressed by certain colors2 such colors are to be avoided1 no matter what the deductions of theory4 7,see #id47 #afb4 ,the black dress will make a woman look pale1 for the reason that the black absorbs whatever color there may be in her face4 ,a dark color has also absorbent characteristics4 ,the lighter the color1 the less absorbent4 ,hence light greens are preferable to bring out the color in the face than dark greens1 assuming that we are to consider only this point1 which is all that is necessary to consider in house decoration4 ,therefore light greens as a background to theater boxes or as a wall background are always desirable4 ,illustration3 ,lighting by wires4 ,see #aec4 ,,color ,,terms ,,broken ,,color4 ,color changed by the addition of black1 white or gray4 ,,chroma4 ,color4 ,,cold ,,colors are colors containing very little1 if any1 red or yellow4 ,,contrast ,,analogies4 ,apparent contrasts of secondary and tertiary colors which have constituent parts that are related4 ,thus compositions of citrine and plum are apparent contrasts1 citrine being one of the three tertiary colors1 russet1 slate and citrine1 and plum being composed of russet and slate1 but in both citrine and plum there is red1 yellow and blue2 hence related4 ,there can be no true contrasts excepting between primaries and secondaries4 ,,gray4 ,normal gray is black and white mixed1 but quaternary colors are also called grays1 or colors of the dull or neutral scale4 ,,harmony ,,of ,,analogy is produced by using related colors4 ,,harmony ,,of ,,contrast4 ,the juxtaposition of a primary color1 for example1 with a secondary made of the other two primaries4 ,thus of the primaries red1 yellow and blue1 the contrasts would be red and green4 ,of the two colors thus forming contrast the one is said to be the ,,complementary of the other4 ,,hue4 ,applied to the predominating color in a composition4 ,,intense ,,or ,,saturated ,,colors4 ,colors that are pure1 having no tint or shade4 ,,neutral ,,colors4 ,applied to black1 gray and quaternary colors4 ,,normal4 ,intense colors of the prism4 ,colors of the natural scale4 ,,prismatic ,,colors are the colors viewed through a prism4 ,,quaternary ,,colors4 ,made by combining two tertiary colors4 ,quaternary colors are plum1 sage and buff4 ,,scale4 ,relates to colors of the same degree of tone4 ,,secondary ,,colors4 ,orange1 green and violet1 each a combination of two primaries4 ,,shade4 ,produced by the addition of black to a normal color4 ,,sombre ,,colors4 ,blue1 violet and the subdued tones of luminous colors4 ,,spectrum4 ,the illusion of color produced by means of the prism4 ,,tertiary ,,colors4 ,made by combining two secondary colors2 tertiary colors are slate1 russet and citrine4 ,,tint4 ,produced by the addition of white to a normal color4 ,,tones are the gradations of color by adding either black or white4 ,,warm ,,colors or luminous colors are those having normal yellow or red in the preponderance4 ,,advancing ,,colors4 ,reds and bright yellow arouse the nerve sense more quickly than blue or tones of color predominating in blue4 ,hence they are called advancing colors4 ,,receding ,,colors4 ,blue colors or colors in which blue predominate or the exciting influences of yellow or red are subjugated1 are cold or receding colors4 99 99 99 99 99 ,,table ,,of ,,contents ,paragraph4 ,page4 ,adjoining ,rooms #ch to #dg ,advancing ,colors #gg1 #gh1 #gi1 #hj1 #hi ,angles1 ,illusion of #aac1 #aad1 #aae1 #aag ,artificial ,light1 ,colors of #hf ,balance of ,pattern #ge1 #gf ,borders #fa1 #fb1 #ha1 #hf ,bric-a-brac #fj1 #hi ,black1 ,the ,use of #cc ,color ,nomenclature #i ,complexion #afj ,contrasting ,colors #ab1 #ad to #bd ,contrast ,analogies #ag to #bj ,ceiling #cg1 #db1 #dc1 #ic ,curtains #ec to #ef ,cove and ,ceiling #ef ,cornice #fc ,chair ,coverings #fd ,colors that ,give ,size to a ,room 7,see ,receding ,colors7 ,carpet #ha ,color ,sympathies #ie ,curves1 ,the ,use of #ajg1 #ajh1 #aaa1 #aad1 #aaf1 #aah ,color ,terms #abj to #acd ,chart #abg ,dress1 ,depressing ,influences #afa ,dress1 ,woman's #afj ,decorative ,illumination #ada ,definitions #hi ,draperies #db1 #dc ,decorative ,proportions #cg ,exciting ,colors #id1 #afj ,frieze1 ,the ,use of 7,see ,wall ,proportions1 also ,room ,combinations7 ,floors #db1 #ha1 #hd1 #hf1 #hg #db1 #dc ,gray1 ,the ,use of #cb1 #ia1 #ib ,guide to ,color ,harmony #abg ,harmonies ,mechanically ,determined #acb ,height ,effects #ge1 #gf ,harmony of ,analogy #ac1 #ag1 #bg1 #ic ,harmonies #aj ,illusion in the ,use of ,lines #ajg to #aai ,intensification of ,color #ca1 #cc1 #aei ,joy in ,lines 7,see ,curves7 ,lights and ,shadows #aeh ,lighting a ,room1 ,candle-power ,needed #aeg ,light ,installation #hd ,light1 ,effect on ,color #hb ,luminous ,colors 7,see ,advancing ,colors7 ,large ,room1 ,dark #cd ,low-,ceiling ,rooms #eh ,large ,rooms #eh ,large1 ,well-,lighted ,rooms #bf #cd ,light #a1 #h ,mixing ,colors #h ,neutrals #aba ,national ,types of ,color #dg1 #dh ,nature ,colors #ce1 #if ,north ,light #cg1 #ei1 #ij1 #ia ,proportions in ,color ,contrast #bb to #bd1 #bh to #cj1 #ce ,pigments1 ,the ,use of #bb ,proportions ,effected by ,design 7,see ,decorative ,proportions7 ,proportions ,effected by ,color #gg ,period ,uses of ,color #dg1 #dh ,psychology of ,color #id ,picture ,moldings #ej ,plate-,rails #dh to #ei ,progression of ,color #cd1 #ci ,prismatic ,colors #f1 #g1 #h ,room ,combinations #bc to #bh ,rugs #ha1 #hd ,rooms ,under ,normal ,conditions #db1 #dc ,receding ,colors #gg1 #hj1 #hi ,reflection #e1 #ace1 #aee1 #aef ,spectrum #a ,small ,dark ,rooms #ba #ce ,small ,well-,lighted ,rooms #be #ce ,sequence of ,color #cd1 #ce1 #cf1 #da ,south ,light #cg1 #ei ,side-wall #dh to #eg1 #ib ,small ,room1 ,high ,ceiling #ce ,small ,room1 ,low ,ceiling #ce ,side-wall as ,keynote #ib ,straight ,lines1 ,effect of #ajg1 #aji1 #aaa-aac1 #aae-aag1 #aai ,seriousness in ,lines 7,see ,straight ,lines7 ,spectrum ,theories #aba1 #abb ,trade ,terms ,meaningless #abd1 #abe ,taste in ,color1 to ,determine #id ,white1 ,the ,use of #ca1 #cc1 #hh1 #hi1 #ih1 #aei1 #afj ,wood ,trims #dh to #ei ,wainscoting #dh to #eg1 #fb1 #ic #db1 #dc ,width ,effects #hb to #he1 #hg ,wall ,proportions #cc to #cd