by the middle horizontal line of color-squares on Plates I-XII (together with an equal number of intermediates represented by blank spaces), requiring a separate curve and consequently different relative proportions of the two component colors for each series of hues—that is, the series from red to orange, orange to yellow, yellow to green, green to blue, blue to violet, and violet to red, respectively; but the progressive increments of white in the scales of tints, black in those of shades, and neutral gray in the several series of broken colors are exactly the same in every case. The first series of Plates (I-XII) shows the pure, full spectrum colors and intermediate hues (middle horizontal line, nos. 1-72),[1] each with its vertical scale of tints (upward, a-g) and shades (downward, h-n), the increments of white for the tints being 9.5, 22.5, and 45 per cent., respectively, those of black in the shades being 45, 70.5, and 87.5 percent. The remaining Plates show these same thirty-six colors or hues in exactly the same order and similarly modified (vertically) by precisely the same progressive increments of white (upward) and black (downward), but all the colors are dulled by admixture of neutral gray; the first series (1′-72′ Plates XIII-XXVI) containing 32 per cent, of neutral gray, the second (1′′-72′′, Plates XXVII-XXXVIII) 58 per cent., the third (1′′′-72′′′ Plates XXXIX-XLIV) 77 percent., and the fourth (1′′′′-72′′′′, Plates XLV-L,) 90 per cent. The last three Plates (LI-LIII) show the six spectrum colors[2] (also purple, the intermediate between violet and red) still further dulled by admixture of 95.5 per cent, of neutral
- ↑ The number is doubled so that every other one represents an intermediate hue not shown in color.
- ↑ Owing to the circumstance that spectrum orange does not, at least when mixed with gray, fairly represent a medium hue between red and orange, being much nearer the former, a hue much near to yellow (yellow-orange, No. 15) has been selected.
