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COMPOSITION OF SCARLET. 
The contrast to bright scarlet is green in its deepest degree, with the 
addition of black aSswiri. The harmonising tint is full red, or deep scarlet. 
fa ^Care must be taken not to let the scarlet, and pure green,join; as they are too 
much of extremes to associate in any degree without the interference of red; 
and even then thejwo colours muj^e broken one into the other,^if orange is 
introduced, him will^ncrease the harmony; you may then have a 
tint of blue that will assist very much, and if you can introduce a small 
portion of yellow also, it will be an advantage, as you then have a 
purple tint that will give jtn ^a^ r^ e able effect to tne whole, which, with 
mrrrly scarlet and green^you li n itt y can 
Palejscarlet is managed nearly in the same manner, only weakening, as 
aforesaid, the balancing, harmonising, and reflected tints; which are by tins 
means reduced to pale orange, pale red,or pink, with pale lilac,- observing to 
break, and subdue them,as the occasion requires. 
COMPOSITION OF BLUE. 
This colour, from its cold nature, is so unfit for a princijdf in composi¬ 
tion, that I only give its management with a reference to its place in a full 
group.; and even there, it is only by a mixture of white that you can bring 
it out of the shade, which is its proper place, and where it serves as an 
harmonising tint to green. Orange is the contrasting tint, but it must be 
subdued by black, or it would not answer the purpose; and indigo is the only 
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