36. In the application of color to the home nothing is more pleasing than the harmony of sequence; the coloring of all rooms must be in sympathy with contiguous rooms. ([Diagram VII].) (See [¶ 34].)
37. All rooms are subject to the influence of a north or a south light, or much or little light, and the colorings must be considered accordingly. The ceiling and the upper parts of a wall require more pale colors where more light is needed. On the floor, however, where the greatest light falls, a little black may be added to soften the tone.
38. Red and green are sharply contrasting colors; violet and yellow and blue and orange sharply contrast, and while their combinations may be used in adjoining rooms, it will be seen that in [Diagram IV] these contrasting tones are not in contact, but by their arrangement form analogies of contrast combinations.
39. Yellow, orange, red, violet, blue and green are related; orange, russet, violet, slate, green and citrine are related; red, violet, blue, green, yellow and orange are related. Viewing the ceilings, the side-walls or the floor, there is the harmony of progression that we observe in the tinting of a flower. Viewed collectively the harmony is the same.
40. To illustrate further our point we would take the ceiling line. We start with yellow, a primary color; orange possesses yellow; orange likewise possesses red, the adjoining color; violet possesses red, and it likewise possesses blue. On the side-wall, russet possesses orange, and it also possesses violet; it is the tertiary color made of these two secondaries. Slate is made of green and violet, and is thus also related to citrine.