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slightly darkened by the graying process. A little white is therefore added until its value is restored to 5.
(111) The two opposites are now completely balanced, for they are equal in value (5), equal in chroma (5), and have proved their equality as complements by uniting in equal areas to form a neutral mixture. It only remains to apply them in their proper position on the sphere.
(112) A band is traced around the equator, divided in ten equal spaces, and lettered R, YR, Y, GY, G, BG, B, PB, P, and RP (see Fig. 18). This balanced red and blue-green are applied with the brush to spaces marked R and BG, care being taken to fill, but not to overstep the bounds, and the color laid absolutely flat, that no unevenness of value or chroma may disturb the balance.
(113) The next pair, represented by Raw Sienna and Ultramarine, is similarly brought to middle value, balanced by equal areas on the Maxwell discs, and, when correct in each quality, is painted in the spaces Y and PB. Emerald Green and Purple Madder, which form the next pigment pair, are similarly tempered, proved, and applied, followed by the two remaining pairs, until the equator of the globe presents its ten equal steps of middle hues.
An equator of ten balanced hues.
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(114) Now comes the total test of this circult of balanced hues by rotation of the sphere. As it gains speed, the colors flash less and less, and finally melt into a middle gray of perfect neutrality. Had it failed to produce this gray and shown a tinge of any hue still persisting, we should say that the persistent hue was in excess, or, conversely, that its opposite hue was deficient in chroma, and failed to preserve its share in the balance.
