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 gray, or darkened with black. The writer thinks that red forms the strongest combination with any one of the colors lying between green and blue reduced to a half-tone with white; for example see Fig. 262, Plate 35.

will harmonize with either of the two primaries, blue or red, and also with any one of the colors lying between them, in their normal state, or when reduced with white, or when slightly modified with gray. The reader will perceive that a very strong contrast exists between yellow, which is the lightest and most luminous color in the chart, and violet, its complement. In fact, when combining yellow with any of the colors which lie between red and blue on the opposite side of the circle, it is not best to make the contrast more violent by the addition of black to any of these colors; instead, a more pleasing combination will be obtained by the addition of white to the color selected, thus reducing the violence of contrast. For example, the contrast between the violet and yellow is very strong. If the violet be reduced with white to a half-tone color, the combination will be much more pleasing, because we then get not only harmony of colors, but also a harmonious contrast of colors.

will harmonize with either of the two primaries, red or yellow, and also with any one of the colors lying between them, in their normal state, or when reduced with white, or modified with gray, or darkened with black. Blue makes the most effective combination with any one of the colors lying between red and yellow. Its best combination is orange; see Fig. 255, Plate 34.

Orange will harmonize with any one of the colors lying between green and violet, in their normal state, or when reduced with white, or when slightly modified with gray. Orange makes the best combination with any one of the colors lying between sea-green and blue-violet. For example see Fig. 255, Plate 34.

will harmonize with any one of the colors lying between violet and orange, in their normal state, or when reduced