tte," whose warmth and lightness is
unmistakable.

The chroma of each flower written with the silhouette completes the
record. The hues of a beautiful Persian rug, with dark red
predominating, or a verdure tapestry, in which green is dominant, or a
Japanese print, with blue dominant, will trace upon the score a pattern
descriptive of its color qualities. These records, with practice, become
as significant to the eye as the musical score. The general character of
a color combination is apparent at a glance, while its degrees of chroma
are readily joined to fill out the mental image.

(144) Such a plan of color notation grows naturally from the spherical
system of measured colors. It is hardly to be hoped, in devising a color
score, that it should not seem crude at first. But the measures forming
the basis of this record can be verified by impartial instruments, and
have a permanent value in the general study of color. They also afford
some definite data as to personal bias in color estimates.

(145) This makes it possible to collect in a convenient form two
contrasting and valuable records, one preserving such effects of color
as are generally called pleasing, and another of such groups as are
found unpleasant to the eye. Out of such material something may be
gained, more reliable than the shifting, personal, and contradictory
statements about color harmony now prevalent.

CHAPTER VII.

COLOR HARMONY.

+Colors may be grouped to please or to give annoyance.+

(146) Attempts to define the laws of harmonious color have not attained
marked success, and the cause is not far to seek. The very sensations
underlying these effects of concord or of discord are themselves
undefined. The misleading formula of my student days--that three parts
of yellow, five parts of red, and eight parts of blue would combine
harmoniously--was unable to define the _kind_ of red, yellow, and blue
intended; that is, the hue, value, and chroma of each of these colors
was unknown, and the formula meant a different thing to each person who
tried to use it.

(147) It is true that a certain red, green, and blue can be united in
such proportions on Maxwell discs as to balance in a neutral gray; but
the slightest change in either the hue, value, or chroma, of any one of
them, upsets the balance. A new proportion is then needed to regain the
neutral mixture. This has already been shown in the discussion of triple
balance (paragraph 82).

(