Let us take the suite of rooms suggested in [Diagram IX]. We must consider desirable colorings in all of the rooms to be treated, and so far as possible adjust the sequence of treatments, as shown in [Diagram VIII], so that the approach to each room will be in harmonious order as viewed from any room. We have five rooms to treat. The library happens to be on the north side, hence we wish to treat it in colorings that supply the deficiency of sunshine. The hallway is rather dark. The living-room has only one window, and requires more warmth of color than the billiard-room and dining-room, which being sunshiny can be treated in more sombre tones. Therefore we select combination 6 for the hallway. The one room on the right we treat in No. 1. The rooms on the left we treat in Nos. 5, 4 and 3. We have, therefore, as we stand in room No. 6, treated in green, citrine and orange, a view to the right of yellow, orange and red, which is in harmonious juxtaposition. To the left we have a glimpse of rooms, the floors of which adjoining the orange floor of the entrance hall, are yellow, green and blue. The wall spaces adjoining the citrine wall space of the hall treatment are green, slate and violet. The frieze lines adjoining the green of the hall treatment are blue, violet and red—all juxtaposed harmonies. The floors of all rooms are of one deep scale; the walls lighter scale; the friezes and ceiling still lighter. If viewed from room 4 the harmonies are equally effective.
47. [Diagram VII] is useful for many reasons. In its present shape it shows the harmonies of analogy or related parts. To arrange harmonies of contrast, combine the colors of the first room with the fourth room, the colors of the second room with the fifth room, the colors of the third room with the sixth room. (See [¶ 37].)
HARMONIES FOR THE ROOM
48. The floor should usually enter into the color scheme as the low note in the scale. It is the background for the furniture, and should be deeper than the dado or wainscoting. The wood trims—baseboard, doors, plate-rails, and everything of that character, except the picture molding—should be like the woodwork of the furniture. This brings the woodwork into contrast with the wainscoting (unless the wainscoting be wood) and into harmony with the side-walls, although the degree of harmony is far removed. Thus, if the woodwork of the furniture is mahogany, the wainscoting green, the side-walls pink and gray, we would find the window trims of mahogany, or imitation mahogany, in harmony with the side-walls. (See [¶ 51 and ¶ 52].)
49. I would lay down the rule that the wood trims of a room should harmonize by analogy with the side-walls where such walls are provided with a contrasting wainscoting; but if there is no wainscoting, or the wainscoting be also of wood, then the wood trims and furniture contrast with the side-wall.
Substitute green side-wall for the pink, [¶ 48].
White woodwork is always permissible. Study [Diagram VI] on page 22.