again into the blue scale at tint No. 1 and back to violet-blue tint No. 2.
The next begins at green-blue shade No. 2 and ends in green tint No. 2. Theoretically the line beginning in G. B. S. 2. and leading to G. T. 1. and thence to Y. S. 2. may represent an Analogous Harmony, but it may be doubtful whether a range of such an extent in that part of the spectrum could be made very harmonious. This may be divided into two harmonies at G. T. 1. and each part may be extended to G. T. 2.
The straight line from G-. S. 2. to O. Y. T. 2., embracing five scales, might be extended to include the joining broken line running into the Y. O. scale and finishing at O. Y. S. 2.
The remaining lines at the red end of the chart may be considered as indicating one harmony in six tones, or two harmonies in three tones each.
If the two ends of the Chart of Spectrum Scales are joined so as to form an endless band or a cylinder, bringing the violetred scale adjoining the red-violet, as in the spectrum circuit, the same graphic illustration could be given of harmonies extending from violet to red.
The complementary harmonies require no diagrams, because they are limited to the combination of two scales complementary to each other and would be represented by two parallel vertical lines through any two complementary colors, as for example vertical lines through the red and green-blue scales.
The compositions termed Perfected Harmonies may be fairly well illustrated in the diagram by the combination of the line in V. B. and B. with the broken line commencing in G. Y. S. 2. and ending in G. Y. T. 2.; or again by the line in R. V. to B. V. combined with the straight line from G. T. 1. to Y. S. 2.; or the broken line G. to Y. S. 2. Or again, the entire range of the double combination O. S. 2., O. R. T. 2., V. R. and 0. R, S. 2. with the broken line from G. B. S. 2. to G. T. 2. Another sample of Perfected Harmony is found in the union of line O. R. S. 2., V. R., O. R. T. 2., with line G. B. S. 2. to G. T. 2.
