WE become aware of beauty in a color composition through the easy perception of likenesses among its diverse elements. In this process the mind, following its normal method of thinking from the particular to the general, passes from perception of the variety of color stimuli to apprehension of their essential unity. In the attempt to create beauty in a color treatment, however, this process is reversed. We begin by insuring unity through the choice and distribution of a dominant hue, and then proceed to add the variety of hue and tone necessary to beauty.

In one sense this is an easy, simple, almost a mechanical process. We already know, through study of the chromatic circle, how the various hues are related. We know that the color on either side of the dominant hue is half like and half unlike it, and therefore sure to yield a measure both of unity and diversity if used with it; and that its complementary, lying directly opposite on the circle, is wholly unlike it and therefore certain to add to the effect of diversity. We know that the color values must be arranged in an ascending scale from relatively dark on the floor to relatively light on the ceiling; that the walls and ceiling must be relatively neutral, whatever their hue, while somewhat purer color may be used on the floor and in hangings and furniture coverings; that pure or almost pure color can be used only for accent and in very small areas; that in general the purity of a color will vary inversely with its area; and that while contrasts of hue, intensity and tone are required to give diversity and make beauty possible, not more than two of these factors ought to appear in any given contrast, while one is sufficient for many of them. Equipped with this knowledge, we can start with any hue approved by our judgment as a fitting dominant hue and build up. a color scheme free from serious dissonances, revealing unity in diversity, and therefore, in some measure, beauty.

In fact, we can, even with our present knowledge, go further than this; for we understand the emotional values of the various hues, of pure and neutral colors, of light and dark tones, and can accordingly proceed at once to the expression of ideas, which is the only thing that gives interior decoration dignity and standing among the other creative arts. Finally, we recognize the importance of expressing these ideas through convergent effects, in which line, form, texture, proportion, balance and light supplement and confirm hue, intensity and tone, and we know a little of the technique through which these convergences are produced.

This much, and a little more, it is easy to teach and to learn. Beyond this little more the use of color cannot be taught. Instruction can lay down a few broad principles, or guides to practice, and through study of these principles the beginner in the art can learn to avoid serious mistakes and to work out pleasing though simple harmonies for any dominant hue, just as the beginner in music, through study of the principles of counterpoint and musical progression, can learn to avoid dissonances and to work out pleasing though simple harmonies for any melody. But the subtle or invigorating harmonies that soothe or stir the soul demand for their creation in either art an imaginative power and a mastery of technique not to be acquired by reading a book, or a multitude of books. The brief and tentative discussion of color harmony here included is offered as a guide to further study, and particularly to experiment and practice. We must use color in our rooms. Hence we must create color arrangements, whether pleasant or unpleasant. Accordingly any exposition of the subject, however limited in value, seems justified if it can help toward pleasing arrangements, however simple.

When the decorator, as a result of his study of all the considerations of fitness involved, decides upon the dominant hue for a given room and sets about the production of a color harmony, his problem is fourfold. He must (a) select hues which are pleasing together; (b) distribute these hues, both as to area and position, so that the total effect is pleasing; (c) distribute all the colors, whatever their hue, with reference to their luminosity or value, in such a way that the tonality, or total effect of light and shade in the room, is pleasing; and (d) distribute the hues with reference to their purity or intensity in such a way that a balance is struck, pleasing in itself and consistent with the motive of the room, between the forcefulness and obvious quality of pure color and the passivity and subtlety of neutral color.

We find that hues which are pleasing together may be selected through variations of any one of three general methods, which result in three general classes or types of color harmonies, known as (a) harmonies of analogy; (b) harmonies of complementaries, or contrast; and (c) triads or trichromatic harmonies. These methods will perhaps appear most clear if they are described and exemplified in terms of the same dominant hue. Any hue on the warm side of the chromatic circle would do for this purpose, but we will take yellow-orange, because of its peculiar fitness for use under widely varying conditions. It is, in the first place, a color which can be used effectively in all three types of harmonies. It can in practice be used effectively in either cheap or costly schemes of furnishing. It is agreeable and becoming to most people, and it can be used fittingly in the hall, living room, drawing room, dining room, breakfast room, and even in the bedroom. The hue varies, according to the amounts of black and white in it, from dark golden brown to old ivory. It is intimately related to yellow on one side and to orange on the other, and more remotely related to green and to red. It is in strong contrast to blue and to violet, and complementary to blue-violet.

It is clear that the easiest way to give variety in color to a room done in yellow-orange is to keep the hue constant and vary the tones in a close harmony, as in the use of a rich golden brown carpet and hangings, light golden brown walls, tan ceiling, nut-brown woodwork and furniture, and ecru curtains. Such a room will possess the virtues of unity and repose, but it will also reveal the fatal vice of monotony. Even if its monotony be relieved by small color accents in pictures, pottery, lamps, books and cushions, the room will still be likely to have three serious faults. First, its background surfaces, being all alike except for variations in tone, constantly employ the same color nerves, giving them no opportunity for the intervals of rest that we have seen to be essential to clear and pleasurable color perception. Secondly, the contrasts between adjacent surfaces will cause the lower and richer tones of the carpet to take the life out of the wall color. Finally, there is in fact too little diversity in the treatment to be pleasant to normal people throughout a long period of time.