We do not wish it understood that these colors are to be applied flat, but simply in the predominating expression. (See [¶ 27].)
41. The value of the diagram is obvious when one considers that in no particular is there a break in the sequence; but if we wish a harmony of analogy in a room, or a harmony of related parts, and wish the adjoining room to be in absolute contrast, we simply adopt the red, violet and blue for one room, and the green, citrine and orange for another; or the orange, russet and violet for one room, and the blue, green and yellow for the other. If, however, the sequence of color is desirable where we move from one apartment to another, and the eye is pleased by a gradual changing color, we can adopt any of these combinations in the order as presented.
42. A vital point in the use of color, regarded usually with indifference or totally misunderstood, is the Unity of Composition to be preserved in the treatment of a series of floors in a house; for on each floor of a house the conditions of light vary. As we ascend the stairs we find each floor requires an altered treatment, because of the added light given from the skylight. (See [¶ 37].) Moreover, in the arrangement of a floor the relation of one room to another is frequently so influential that no one room should be treated without due consideration to the adjacent apartment. (See [Diagram VIII].)
Too frequently the whole question of color is dismissed when the matter of north or south exposure is discovered, but the north room on the lower floor of a house is by no means so well lighted as the north room of the fourth or fifth floor, and the scale of color which would lend warmth to such a room would be weak in a more exposed apartment. (See [¶ 30].)
43. Where the artist has but one room to consider there is little scope for his application of color knowledge. He must frequently compromise to meet the conditions. But presuming that he must treat a floor through, he should adopt a Unity which will apply harmoniously to all the rooms and hallways.
DIAGRAM VII