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 These diagrams are designed to show the range or extent which a single composition may cover under its special definition and do not imply a necessity for using at one time all the colors through which the line passes, or that they are specially good harmonies.

A striking illustration in nature, of a Perfected Harmony was seen one bright autumn morning in a species of woodbine covering the side of a red brick building, in which could be discovered an infinite variety of colors in greens and violet-reds whose tones were increased in number and intensified in effect by the reflections of the sunlight and the corresponding shadows, producing very light tints and very dark shades of various hues of the complementary colors, and forming a complicated and wonderfully beautiful effect very definitely classified as a Perfected Harmony.

So much has been said and written about Field's Equivalents that there is a very general impression among artists and others that they constitute an important element in harmonious compositions of color. This proposition as given in Owen Jones' Grammar of Ornament is as follows:—

"The primaries of equal intensities will harmonize or neutralize each other, in the proportions of 3 yellow, 5 red and 8 blue—integrally as 16.

The secondaries in the proportions of 8 orange, 13 purple, 11 green—integrally as 32.

The tertiaries, citrine (compound of orange and green), 19; russet (orange and purple), 21; olive (green and purple), 24 — integrally as 64."

In commenting on this in "The Theory of Color" Dr. Von Bezold says: "It is often maintained that the individual colors in a colored ornament should be so chosen, both as regards hues and the areas assigned to them, that the resulting mixture, as well as the total impression produced when such ornaments are looked at from a considerable distance, should be a neutral