(121) Each meridian traces a scale of value for the hue in which it lies. Each parallel traces a scale of hue for the value at whose level it is drawn. Any oblique path across these scales traces a regular sequence, each step combining change of hue with a change of value and chroma. The more this path approaches the vertical, the less are its changes of hue and the more its changes of value and chroma; while, the nearer it comes to the horizontal, the less are its changes of value and chroma, while the greater become its changes of hue. Of these two oblique paths the first may be called that of a Luminist, or painter like Rembrandt, whose canvases present great contrasts of light and shade, while the second is that of the Colorist, such as Titian, whose work shows great fulness of hues without the violent extremes of white and black. +Total balance of the sphere tested by rotation on any desired axis.+ (122) Not only does the mount of the color sphere permit its rotation on the vertical axis (white-black), but it is so hung that it may be spun on the ends of any desired axis, as, for instance, that joining our first color pair, red and blue-green. With this pair as poles of rotation, a new equator is traced through all the values of purple on one side and of green-yellow on the other, which the rotation test melts in a perfect balance of middle gray, proving the correctness of these values. In the same way it may be hung and tested on successive axes, until the total balance of the entire spherical series is proved. (123) But this color system does not cease with the colors spread on the surface of a globe.[30] The first illustration of an orange filled with color was chosen for the purpose of stimulating the imagination to follow a surface color inward to the neutral axis by regular decrease of chroma. A slice at any level of the solid, as at value 8 (Fig. 10), shows each hue of that level passing by even steps of increasing grayness to the neutral gray N8 of the axis. In the case of red at this level, it is easily described by the notation R 8/3, R 8/2, R 8/1, of which the initial and upper numerals do not change, but the lower numeral traces loss of chroma by 3, 2, and 1 to the neutral axis. [Footnote 30: No color is excluded from this system, but the excess and inequalities of pigment chroma are traced in the Color Atlas.]