The Major Key-note of C is here shewn developing its trinities from within itself, veering round; C and the other 11 developing their trinities in musical clef. Below each is the order in which the pairs meet, avoiding consecutive fifths. Lastly, C# is seen to be an imperfect major harmony; and G?, with B as C?, make the same harmony as F#. The intermediate tones of sharps and flats of the 7 white notes are here coloured in order to shew each harmony, but it must be remembered that they should, strictly, have intermediate tints.
Hughes
In the musical clef, the sixth and seventh notes from the fundamental key-note C (F and #F) are repeated, so that the use of the two poles (#F and ?G) may be clearly seen, and that the notes and colours precisely agree. [Harmonies of Tones and Colours, Diagram III - The Major Keynotes Developing by Sevens, page 25a]