nced Confusion, deliberate complication.[83]

_Harmonies_ in form and in colour are produced in different
ways--sometimes by repetition with variation; sometimes by the
different parts being rather reflected on each than repeated. This
explains the harmony that may be called consonance, if I rightly
understand M. Blanc's theory.

_Contrast_ is most generally understood as a common resource in the
hands of the artist for producing strong effects; but M. Blanc
cleverly expresses the reticence needed to ensure contrast being
pleasurable, not painful. "To adorn persons or things," he says, "is
not simply for the purpose of causing them to be conspicuous; it is
that they may be admired. It is not simply to draw attention to them,
but that they may be regarded with feelings of pleasure.... If
contrast be needed, let it be used as the means of rendering the whole
more powerful, brilliant, and striking. For instance, if orange is
intended to predominate in a decoration, let blue be mingled with it,
but sparingly. Let the complementary colour be its auxiliary, and not
its rival." Contrasts are always unpleasant, if the two forces
struggle with each other for pre-eminence, whether it be in form or in
colour. The rule to be observed in all ornamental design is this:
"that contrasting objects, instead of disturbing unity, should assist
it by giving most effect to that we wish to bring forward and
display."

_Radiation_ belongs to the principle of symmetry, starting from a
centre from which all lines diverge, and to which all lines point.
This is to be found throughout nature, from the rays of the sun to the
petals of the daisy. All decorative art employs and illustrates it.

"_Gradation_ in colour, as in form, is not quite synonymous with
progression, but expresses a series of adroitly managed transitions.
The English intermingle in their decoration, colours very finely
blended; nor do they find any transition too delicate. This, as in all
principles of ornament, has to be employed according to the feelings
intended to be produced on the mind of the spectator--whether for
absolute contrast or for imperceptible progression, when the tenderest
colours are needed."

_Complication_ is illustrated by M. Blanc, by a quotation from
"Ziegler."[84] "Complication is another aspect of the art which owns
the same sentiment as that expressed by Daedalus in his labyrinth,
Solomon in his mysterious seal, the Greeks in their interlacing and