_White or Whitish Hangings of Normal Grey, Pearl Grey, or very pale coloured Grey, of a uniform colour, or with a Velvet Pattern of the Colour of the Ground._ 469. Although papers of this kind admit of borders of all colours, yet we must avoid too great a contrast of tone in a border containing pure colours; for the intense tones of blue, violet, red, green, are too crude to combine with these light grounds. Gilt brass borders accord well with these grounds, especially with the pure or grey whites. If a grey present a tint of green, of blue, or of yellow, we may use borders of the complementary of these tints, taken many tones above, or of a grey, deeply tinged with this complementary. 470. Among the harmonies of analogy, we may take for grey hangings, borders of some tones higher, and of a grey contrasting with their tint, but very lightly. _For Borders of Hangings that present a pure Colour with White, or many Tones belonging either to the same Scale or to contiguous Scales_ (see 466). For _chintzes_, we must have analogous borders. For larger patterns than chintzes, repeated like the latter, a binding of galloon suffices. Hangings with human figures, landscapes, or other pictures, require a frame either of painted, gilt, or bronzed wood, or, better still, a border imitated by painting. _Colour of the Wainscoting relatively to the Hangings._ _When the Hangings and the Border make a Contrast of Colour._ 471. The dominant colour of the wainscoting must generally be more or less approximating, and may be— 1. The same as that of the border, but a little darker, and especially more or less broken with black. 2. Grey lightly tinted with the colour of the border, and of the same tone, or very near it. 3. The complementary of the colour of the hangings, when the dominant colour of the border is not its complementary. If we employ a complementary lightly broken with black, the moulding must be picked out in brown on the border and on the wainscoting. 4. A grey complementary to the colour of the hangings, when the border is not the complementary of the hangings. In these cases we bring out upon the colour of the hangings, properly so called, that of the wainscoting, which we always render more or less dull. Thus the colour of the hangings and the wainscoting are agreeably harmonized, and the border suitably separates them. 5. A normal grey of many tones, with which we may combine white. 472. When the colour of the wainscoting is the same as that of the hangings, but duller or deeper, in general it has a poor effect, arising particularly from the fact that the colour of the border, which contrasts with that of the hangings and of the wainscoting, is in too small superficial proportion to the other. _When the Assortment of the Hangings and the Border make either the Harmonies of Contrast of Scale or of Contrast of Hue, or the Harmonies of Analogy._ The dominant colour of the wainscoting may be—