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HARMONY OF COLORS. 
The Harmony of Colors. 
There are two main aims in the study of color ; the first is to 
become so familiar with it that we shall thoroughly appreciate and 
enjoy it when we meet with it in nature or art ; and the other is the 
acquirement of such a knowledge of the laws that control the har- 
monious combinations of colors, that we may use them most 
effectively. 
The success of the first aim depends almost entirely upon being 
brought in pleasant contact with objects whose chief beauty is their 
color ; the second, by ascertaining the underlying principles that 
control the beauty of such objects. 
Our fifst efforts at the harmonious combination of colors are in- 
fluenced almost entirely by our taste, and but little is done under the 
guidance of fixed rules, but when we begin to question the correctness 
of our taste, we feel the need of some fundamental principles upon 
which to base our judgment. 
Our experience with hap-hazard combinations soon convinces us 
that some colors combine much more satisfactorily than other colors 
do, and the laws given for our guidance in the harmonious use of 
colors, are the results of the experience of those who have given the 
subject the most thorough study. 
There are several different methods of classifying colors and color 
effects, but the ultimate aim of all is the same, — the putting together 
of different colors so that they shall form harmonious combinations. 
Chevreul divides the harmony of colors into six divisions, under 
two general heads, as follows: — 
First Kind. 
HARMONIES OF ANALOGOUS COLORS. . » 
i. "The harmony of scale, produced by the simultaneous view of 
different tones of a single scale, more or less approximating. 
2. The harmony of hues, produced by the simultaneous view of 
tones of the same height, or nearly so, belonging to scales more or 
less approximating. 
3. The harmony of a dominant colored light, produced by. the 
simultaneous view of different colors, assorted conformably to the 
law of contrast, but one of them predominating, as would result from 
seeing these colors through a slightly stained glass. 
Second Kind. 
HARMONIES OF CONTRASTS. 
i . The harmony of contrast of scale, produced by the simultaneous 
view of two tones of the same scale, very distant from each other. 
2. The harmony of contrast of hues, produced by the simultaneous 
view of colors belonging to scales very far asunder, assorted according 
to the law of contrast. The difference in height of juxtaposed tones 
may also augment the contrast of colors." 
No color can be viewed without another color being created by 
the eye; thus, if red is viewed, the eye creates for itself green, and 
this green is cast upon whatever is near. If green is viewed, red is in 
like manner created and cast upon adjacent objects; thus, if red and 
green are juxtaposed, each creates the other in the eye, and the red 
created by the green is cast upon the red, and the green created by 
the red is cast upon the green; and the red and the green become 
improved by being juxtaposed. Chevreul thoroughly investigated 
this and the various other phenomena connected with the contrast of 
colors, and he has classed them under these three heads : simulta- 
neous contrast, successive contrast and mixed contrast. 
