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 gold; for example, a blue green tint with white, or green blue with warm gray No. 1.

Dominant.—By dominant harmonies we mean those in which are combined different tones from one color scale. For example, red tint No. 1, and red shade No. 1, or a green blue tint, green blue, and a green blue shade. A dominant harmony composed of grays, or white, gray and black, is sometimes called a neutral harmony.

Complementary.—This term refers to those harmonies in which are combined opposite or complementary colors in the spectrum circuit. The best of them show not only opposition in color but also opposition in tone. Thus, tints of one color with shades of its complementary produce a more pleasiug effect than do complementaries of equal value. The best complementary harmonies contain one or more passive colors.

Analogous.—This name is applied to those harmonies in which are combined tones from scales of neighboring colors in the spectrum circuit.

For example, in a composition of colors from that part of the spectrum containing yellow, green yellow and yellow green the following simple combination may be made: Yellow tint No. 1, green yellow and yellow green shade No. 2.

Perfected.—By perfected harmonies we mean those in which the general effect of one analogous harmony is complementary to that of another.

The above classification of harmonies is very valuable for fixing in the mind the various effects of color combinations, and yet they may seem to somewhat merge into each other in their application, until the underlying principles which govern them are understood. It is unwise to suppose that because the above classification of harmonies is based on the science of color we can infer that it furnishes definite rules for producing best effects.

The good or bad effect of two or more colors in combination in decorative designs or fine art depends very largely upon