1. The complementary of the colour of the hangings, but more or less broken, and a little deeper. 2. Grey complementary to the colour of the hangings. 3. A colour which, without being complementary, contrasts with that of the hangings. 4. Grey, tinted by a colour which, without being complementary to that of the hangings, contrasts with them. 473. When the hangings are white, or of an extremely feeble tone of colour, and the border does not stand out very strongly by its colour, we may make a harmony of tone or of hue with the tint of the wainscoting. For example, white, or nearly white hangings, with a gilt or brass border, harmonize well with a wainscoting which differs only by some tones more from the colour of the hangings. _Cornice of the Ceiling._ 474. The cornice of a white ceiling must be of light colours, and but little varied; not according with those of the hangings, but of the wainscoting. White parts, which may be confounded with the ceiling, must be carefully avoided, as must also whatever will cause too much difference between the parts of the whole. When the hangings are white, or of a very pale grey, with a gilt or brass border, the cornice may present ornaments of the same material, and in this case they may stand upon a white or upon a grey, a little deeper than that of the hangings. _Chairs, Sofas, &c., placed in front of the Wainscoting or Hangings._ 475. The colour of the covering of chairs should be complementary to that of the hangings, properly so called, or, more generally, the same as that of the border, because this may be different from its complementary, and contrast, nevertheless, with the tint of the hangings. We see, then, that the chairs should contrast with the hangings, as may also the wainscoting; but the colour of the chairs being pure, it will also be purified by that of the wainscoting, which, for this reason, we have advised to be deadened. 1. The case of clearest contrast—_i.e._, when the colours of the hangings and the chairs are complementary—is the most favourable to distinct vision, as well as to successive contrast, whenever we observe first the hangings separately, and afterwards the chairs separately, and _vice versâ_. 2. When the colour of the hangings and of the chairs contrast without being complementary, we must take into consideration the degree of _light_ in the colour of the hangings. For example, if they are blue, and the border is yellow, the covering of the furniture being a yellow, more golden than citron, this stuff must be of a much higher tone than the blue tone of the hangings; and the tone of the wood of the chairs, &c., must be still higher than the yellow, to avoid a dull appearance.