The proportions in which the respective colours in a colour-scheme should be used have been given and we may mention those in a particular harmony:

Sage 14/32, slate and citron 5/32, each, green 6/22 and blue and yellow 1/22 each.*

Such examples are useful as indicating the large amount of neutral tone as opposed to stronger hues commonly advisable; especially for amateurs in furnishing and those who have not a strongly developed colour-sense. It would manifestly be absurd, however, from the conditions axe changed. In the example given the green would (from its quantity) naturally be employed in the textiles - furniture-coverings, curtains and door-hangings. We should hope that no one would use for these the unadulterated prismatic green, yet that is the hue provided for in the above proportion-table. A modified green would, of course, be chosen, and according to the extent of its modification so could a larger proportion of this colour be employed with a consequent reduction of the amount of whichever neutral the modification impinged upon.

* to attempt to apply in practice such tables literally or in any "rule of thumb" manner, measuring off so many square feet to be in such a colour, so many in another, and so on. As there is nothing like actual demonstration let us try it and see.

The proportions in each instance are based on the normal colours, and the moment these are departed Ceilings usually approximate white, and woodwork and sash curtains are very frequently white; in such cases, then, we have the intrusion of another neutral, still further lessening the necessity, at least, for the employment of so great a body of sage, slate and citron.

* Color Value, by C. R. Clifford.

But more important still is the advisability (not reckoned with in the proportion table) of introducing other colour. There has been entirely too much of this "keying and relating" of quiet tones, resulting in the reaction of the modernists who in some phases have run riot in the contrarv direction. Let us be both scien-tific and sane. To stick to our example the general effect of a room in this colour-scheme would be greenish, and the relieving strong colours yellow and blue also equal green. Now the complementary of green is red, and the complementary should always be introduced to give relief. There should, therefore, be some touches somewhere of a modified red, such as rose, garnet or the like. Look at the blue and yellow scheme with a touch of rose in Plate 63: now lay a piece of white paper over the rose and see how the scheme immediately "goes dead."

And with all the exemplifications of the past, why in the name of art should we confine ourselves to the poverty-stricken colour-combinations we so often see? We might sometimes think from these that blended colour does not exist. Consider the frescoes and tapestries and banners, the glorious needlework, velvets and brocades from the Renaissance to the days of Louis Seize; visit the museums and observe the wonders of Oriental art: look at the indications of colour evident even through the medium of half-tone reproduction in such an interior as Plate 139 and in such textiles as are shown in Plates 130 A, 143 B, 144,145 A, B and C, 152 B, 162 A and B. We may then realise what colour has been and may be again!

The secret of the decorative effect of blended colour is an open and very simple one. Let us take, for example, a picture or a piece of textile. The hues of either may be of much variety and even brilliant in themselves, but to a great extent they complement and thus neutralise each other, some one colour, however, being dominant. If we look at a picture or a fabric, then, we shall see two results - if good it counts as a beautiful piece of blended colour; nevertheless its total effect is not a confusion but is generally neutral, with red, yellow or another hue somewhat in ascendancy over the rest. This explains why we may, if we so wish, use an immense deal of colour provided it is properly balanced.