al
intelligence. But the adequate terms of color harmony are yet to be
worked out.

Let us leave these musical analogies, retaining only the clue that _a
measured and orderly relation underlies the idea of harmony_. The color
solid which has been the subject of these pages is built upon measured
color relations. It unites measured scales of hue, value, and chroma,
and gives a definite color name to every sensation from the maxima of
color-light and color-strength to their disappearance in darkness.

(154) Must not this theoretical color solid, therefore, locate all the
elements which combine to produce color harmony or color discord?[32]

[Footnote 32: Professor James says there are three classic
stages in the career of a theory: "First, it is attacked as
absurd; then admitted to be true, but obvious and insignificant;
finally it is seen to be so important that its adversaries claim
to be its discoverers."]

(155) Instead of theorizing, let us experiment. As a child at the piano,
who first strikes random and widely separated notes, but soon seeks for
the intervals of a familiar air, so let us, after roaming over the color
globe and its charts, select one familiar color, and study what others
will combine with it to please the eye.

(156) Here is a grayish green stuff for a dress, and the little girl who
is to wear it asks what other colors she may use with it. First let us
find it on our instrument, so as to realize its relation to other
degrees of color. Its value is 6,--one step above the equator of middle
value. Its hue is green, G, and its chroma 5. It is written G 6/5.

(157) Color paths lead out from this point in every direction. Where
shall we find harmonious colors, where discordant, where those paths
most frequently travelled? Are there new ones still to be explored?

(158) _There are three typical paths: one vertical_, with rapid change
of value; _another lateral_, with rapid change of hue; and a _third
inward_, through the neutral centre to seek the opposite color field.
All other paths are combinations of two or three of these typical
directions in the color solid.

+Three typical color paths.+

[Illustration: Fig. 25.]

(159) 1. The vertical path finds only lighter and darker values of
gray-green,--"self-colors or shades," they are generally called,--and
offers a safe path, even for those deficient in color sensation,
avoiding all complications of hue, and leaving the ey