e free to estimate
different degrees of a single quality,--color-light.

(160) 2. The lateral path passes through neighboring hues on either
side. In this case it is a sequence from blue, through green into
yellow. This is simply change of hue, without change of value or chroma
if the path be level, but, by inclining it, one end of the sequence
becomes lighter, while the other end darkens. It thus becomes an
intermediate between the first and second typical paths, combining, at
each step, a change of hue with a change of value. This is more
complicated, but also more interesting, showing how the character of the
gray-green dress will be set off by a _lighter_ hat of Leghorn straw,
and further improved by a trimming of _darker_ blue-green. The sequence
can be made still more subtle and attractive by choosing a straw whose
yellow is _stronger_ than the green of the dress, while a _weaker_
chroma of blue-green is used in the trimming. This is clearly expressed
by the notation thus: Y 8/7, G 6/5, BG 4/3, and written on the score by
three dots and their chromas,--7, 5, and 3 (see Fig. 23).

(161) 3. The inward path which leads by increase of gray to the neutral
centre, and on to the opposite hue red-purple, RP 4/5, is full of
pitfalls for the inexpert. It combines great change of hue and chroma,
with small change of value.

(162) If any other color point be chosen in place of gray-green, the
same typical paths are just as easily traced, written by the notation,
and recorded on the color score.

+These paths trace sequences from any point in the color solid.+

(163) In the construction of the color solid we saw that its scales were
made of equal steps in hue, value, and chroma, and tested by balance on
the centre of neutral gray. Any step will serve as a point of departure
to trace regular sequences of the three types. The vertical type is a
sequence of value only. It is somewhat tame, lacking the change of hue
and chroma, but giving a monotonous harmony of regular values. The
horizontal type traces a sequence of neighboring hues, less tame than
the vertical type, but monotonous in value and chroma. The inward type
connects opposite hues by a sequence of chroma balanced on middle gray,
and is more stimulating to the eyes.

(164) These paths have so far been treated as made up of equal steps in
each direction, with the accompanying idea of equal quantities of color
at each step. But by using _unequal quantities of colo