mmB 
 
 >4llif;r-; 
 
 
PUBLISHERS' REMARKS. 
 
 Patrons do well to always remember that there are three distinct 
 departments to our business, Home Amusements, Kindergarten and 
 School Devices and Lithographic Engraving and Printing. We have 
 been the leading Lithographers of our section for more than thirty 
 years. We keep a corps of artists constantly employed in making 
 original designs and have every facility for doing the best work in 
 this line, both in colors and black aud white, for conmiercial houses, 
 publishers, schools and colleges. We particularly solicit orders for 
 Diplomas to be given to the graduating classes of grammar, high and 
 normal schools. ' ' ■ 
 
 We issue a variety of pamphlets which are intended 't<i' make the 
 people familiar with our different undertakings. First on the list is 
 our Educational Catalogue of eighty pages, which should be in the 
 hands of every teacher from the kindergarten to the high school, aud 
 every dealer in books, stationery and school supplies throughout tlie 
 United States who intends to hold the trade of teachers and school 
 ofHcers. Next comes a special catalogue of apparatus for teaching 
 Elementary Science, and then one of those "Books for Teachers" 
 which we publish. Then there is the "little green book" call<;d "The 
 IJradley Color Scheme," which describes our ai)paratus and material 
 for color teaching, together with "Our Little Story," an illustiatcd 
 booklet giving the history of the concern since 18G0. AH this litfni- 
 ture we freely place at the disposal of our friends. 
 
 For a notice of TiiK KINDERGARTEN NEWS see last page of cnv< i 
 MTLTON BlIADLEY CO., 
 
 SrRlNGFIE^,I>^JIU^^SS. 
 
COLOR 
 
 IN THE 
 
 KINDERGARTEN 
 
 A MANUAL OF THE THEORY OF COLOR 
 
 AND THE PRACTICAL USE OF 
 
 COLOR MATERIAL IN THE KINDERGARTEN. 
 
 BY MILTON BRADLEY. 
 
 IvlILTON BRAIDLEY CO., ^ '-^ "T 
 
 Si'RINGFIELD, MaSS. 
 
 
a 
 
 -^ 
 
 Cf)PTRIGHTKl), IS!):?, 
 
 By Mll.rOX BRADLEY CO., 
 Springfield, Mass. 
 
INTRODUCTION. 
 
 Froebel made no mistake when he inchided color as a part of 
 the first material used in his system of elementary education. 
 The realm of color is universal ; it is the first thing that attracts 
 the child, winning his eye before he pays any attention to form. 
 A bright color is noticed almost as soon as a peculiar noise. 
 
 All color comes from the sunlight and is contained in it. 
 When Sir Isaac Newton discovered that a beam of sunlight 
 could be sepai'ated into an indefinite number of colors by re- 
 fraction he opened the way for the first step in color instruction. 
 
 In the First Gift Frojbel presents the whole of color, so 
 arranged that it may be separated into its most natural and 
 scientific component parts. 
 
 He was wise in selecting six colors for this gift, instead of 
 the seven which had been designated by Newton and generally 
 adopted in the popular consideration of the spectrum. 
 
 Very little color enters into the Kindergarten Gifts, except 
 the First. But in the Occupations color has an important place, 
 being represented in the papers, sticks, thread, silk, worsted, 
 beads, etc. 
 
 The most valuable color instruction is connected with par- 
 quetry and weaving. If a child could be in a kindergarten for 
 two or three years much valuable work in paper cutting might 
 be done. In the cardboard sewing some good color teaching 
 can be begun, but the color surfaces are so small that the effect 
 cannot be as striking as are the results in using the papers. 
 
 No exact work can be done in color with the sticks and beads 
 because the natui-al color of the wood affects the dyes, making 
 them dull, and the use of any material except wood must in- 
 volve too great cost. 
 
4 INTRODUCTION. 
 
 Kiudergartuers are pleased to remember that elementary in- 
 striiotioii ill form aud color, so far as it has been pursued in 
 any logical Avay, originated witii Frcebel and has been con- 
 tinued in the kindergarten since his time without essential 
 change. With kindergartners it is unnecessaiy to argue the 
 question why we need to teach children anything about color in 
 these days when we have to teach them so many, many things. 
 Because kindergartners understand that color more "than any- 
 thing else, with the possible exception of drawing, is the con- 
 necting link between art and the sciences they readily admit 
 that we should teach it to the children for the pleasure that a 
 correct knowledge of color will give them through life and the 
 profit it will afford them. 
 
 As soon as he began to manufacture kindergarten material, 
 nearly twenty-five years ago, the writer faced the difficulties 
 in the way of a clear understanding of color aud any attempt to 
 teach the essential facts about it. He found it impossible in 
 buying colored papers from" the paper mills or Avarehouses to 
 match the lots previously purchased with any degree of satis- 
 faction or to insure his customers that any color he had fur- 
 nished them could be duplicated. There were no generally ac- 
 cepted standards of color and every man set up standards to 
 suit himself, if it ever occured to him that any were necessary. 
 
 It was a realization of these facts that led the autiior to study 
 the color question in its different bearings and to ultimately 
 write and publish "Color in the Schoolroom." Since the ap- 
 pearance of that book the subject has been further developed, 
 and it is with a view o"f putting the latest discoveries before the 
 kindergartners in a condensed form aud of providing them with 
 a guide for the special color work involved in the Gifts and 
 Occupations that the author ventures to offer them this little 
 supplementary book. In this connection he wishes to gratefully 
 acknowledge the enthusiastic help in the experimental study of 
 color which he has received through a term of years from 
 teachers of every grade, from the kindergarten to the university. 
 
 Springfield, Mass., May 1, 1893. 
 
The Theory of Color. 
 
 TN ORDER to think, talk and write about any subject we 
 must have a language or nomenclature by which thoughts 
 concerning that subject may be expressed. Standards of color 
 corresponding to definite names are a pre-requisite to a nomen- 
 clature of colors. Hitherto all statements about color have 
 been exceedingly vague, because of the lack of names with 
 which to accurately define the different colors. The solar spec- 
 trum, discovered by Sir Isaac Newton two hundred years ago, 
 contains absolutely unchangeable standards on which to base 
 an intelligent nomenclature of colors; but until recently no prac- 
 tical use has been made of them, because while writers on art 
 since Newton's day have referred to the solar spectrum as be- 
 ing nature's chart of colors, they have also proceeded to set up 
 for themselves charts which they have claimed to be superior to 
 that provided by nature. 
 
 In the solar spectrum there are six colors which all normally- 
 sighted persons readily select as clearly distinguishable from 
 the others, and they have been named by common consent red, 
 orange, yellow, green, blue and violet. Just why Newton saw 
 and named seven colors instead of six, introducing indigo be- 
 tween the blue and the violet, is not altogether clear. But it is 
 now stated on scientific authority that one person in a thousand 
 seems to have an abnormally delicate sense of color which leads 
 him to select a particular violet blue as having the same or 
 nearly the same defiuiteness that characterizes the six colors 
 named above, which fact suggests that probably Newton be- 
 longed to this class, as he would not have named a color that 
 he did not clearly see. But whatever explanation may be given 
 for Newton's selection of a seventh color, it is now maintained 
 
6 COLOR jy THE KINDERGARTEN. 
 
 b}- all Avho have given the subject careful thought that tlie six 
 colors furuish a conveuieut and sutticieut number of standards 
 for all practical purposes. 
 
 The Theory of Sir David Brewster. 
 
 ITntil very recently the Brewster or red, yellow and blue 
 theory has been the only thing approaching a system accepted 
 by artists and colorists, all else being relegated to the realms of 
 taste and feeling. Both Newton and lirewster believed that 
 the colors of the solar spectrum were produced by the over- 
 lapping of three sets of colored rays, red, yellow and blue. The 
 red ra^'s at one end were thought to mix with the yellow rays 
 to make tiie orange, and on the other side of the yellow the blue 
 rays combined with the yellow to produce green. On the same 
 principle in material colors the orange, green and purple were sup- 
 posed to be made by the mixing of red, yellow and l)lue pigments. 
 
 The whole of this theory is practically embraced in the state- 
 ment that there are three primary colors, red, yellow and blue ; 
 that by the mixtures of these three primaries the secondary 
 colors, orange, green and violet, may be produced, and then 
 again the secondaries may be combined in pairs to form the 
 tertiaries, citrine, russet and olive. The advocates of this 
 scheme further assert that the secondaries are complementary 
 to the primaries, the green to the red, the violet to the yellow 
 and the orange to the blue. 
 
 But it can now be easily proved that there is nothing of truth 
 in this l^rewster theory, either as applied to the science of color 
 or the practical use of .pigments. It is at the present time well 
 known that the orange in the solar spectrum is not produced by 
 the overlapping or intermixing of red and yellow rays, but that 
 each separate color or hue in the spectrum has its own wave 
 length and is as much a primary as the red or yellow. It is also 
 equally true that in the pigmentary colors the red, yellow and 
 blue will not produce by mixture an orange, green or violet ap- 
 proximating the other three in tone or purity. 
 
 In the system of color instruction advocated in these pages 
 the solar spectrum is accepted as furnishing the standards, but 
 
COLOR m THE KINDERGARTEN. 7 
 
 instead of selecting three primaries, red, yellow and blue, six 
 primaries or standards, red, orange, yellow, green, blue and 
 violet are chosen, which with white and black furnish the means 
 for producing scientifically all other colors. Then it will be seen 
 that the three primaries of Brewster are here accepted and defi- 
 nitely determined, and to them are added three others from the 
 same source as that from which he claimed to derive his. Con- 
 sequently we present the six colors to the child as original stand- 
 ards, instead of teaching him that there are three which must be 
 combined to make the three others, and thus he is taught the 
 trutli aud not something that will have to be unlearned later. 
 The Young=Helmholtz Theory. 
 Opposed to the Brewster theory of color is the Young-Helm- 
 holtz theory, which is quite generally accepted by the scientists 
 of the present time. According to this theory all color in nature 
 is contained in sunlight, which is practically white light. When 
 a beam of sunlight, admitted into a darkened room, passes 
 through a glass prism it is spread out like a fan into a band of 
 
 beautiful colors, beginning at one end with a dark red, grad- 
 ually changing to a brighter red, which runs into an orange and 
 then through yellow, green and blue to violet, which gradually 
 fades away into darkness. This is the solar spectrum and the 
 effect is represented by the accompanying diagram. 
 
 The explanation of this phenomnon is that the beam of sun- 
 light is composed of a great number of different kinds of rays, 
 which in passing through the prism are refracted or bent from 
 
8 COLOB IN THE KINDERGARTEN. 
 
 their direct course, tiud some are beut more than others ; the 
 red least of all, and the violet most. It is supposed that light 
 is propagated by waves or uudulatious, iu au extremely rare 
 substance termed ether, which is supposed to occupy all space 
 and transparent bodies. These waves are thought to be similar 
 to sound waves in the air, or the ripples on the smooth sur- 
 face of a pond when a pebble is thrown into it. 
 
 Because so many of the phenomena of light can be satis- 
 factorily explained by this theory it has been very generally 
 adopted by the best scientists. The amount that rays of light 
 are refracted from a straight line in passing through a prism is 
 in proportion to the nuinber of waves or undulations per second, 
 and iu inverse proportion to the length of the waves. The 
 red waves are refracted the least and are the longest, while the 
 violet rays are refracted the most and are the shortest. 
 
 The wave lengths of our six standards are approximately iu 
 the proportions of the following numbers : Red, 6600 ; Orange, 
 6100; Yellow, 5800; Green, 5200; Blue, 4700 ; Violet, 4200 ; 
 these figures representing ten millionths of a millimeter. 
 
 While, as before stated, the adherents of the Brewster theory 
 profess to believe that there are three primary colors, red, 
 yellow and blue, from which all the other colors can be made, 
 the scientists, adopting the Helmholtz theory, claim that in sun- 
 light there are three primary colors, red, green and violet, from 
 which all other colors in nature may be produced, or in other 
 words that there are three color perceptions in the eye, which 
 combine to make alL other color effects. 
 
 Outside the realm of pure science it is not a matter of interest 
 whether all color in nature is or may be produced from any 
 three color perceptions, because it is easily demonstrated that 
 from no tln-ee pigmentary colors can all other colors be made, 
 and in the arts and sciences all artificial color effects are se- 
 cured by the use of pigments. Therefore because with any 
 three standards the results of pigmentary combinations are very 
 unlike the corresponding combinations of the same standards 
 in colored light this theory is of no practical value. 
 
CO I, OR IN THE KINDERGABTEN. 9 
 
 The Standards Must Be Chosen From 
 The Solar Spectrum. 
 
 But if six colors are selected from the sohir spectrum aud the 
 best possible imitations of them made in pigments, as for ex- 
 ample, in colored papers, these colors may be combined with 
 results substantially similar to the effects obtained by corre- 
 sponding combiniitions of spectrum colors, except that as the 
 pigmentary colors of the papers fall very far below the spec- 
 trum colors in purity and illumination, so their combinations 
 uuist give results correspondingly below the same combiuatitjus 
 of the spectrum colors. 
 
 Having already provided the six pigmentary colors just meu- 
 tioued, with white aud black, as standards from which to form 
 and name other colors in terms of the standards, some means 
 for measuring the quantity of each color used becomes ueces- 
 sary. It is impossible to obtain these quantities by measuring 
 or weighing the pigments, because, although the pigment may 
 be weighed or measured, the amount of the color effect cannot 
 be determined in ounces and pints. For example, if we wish to 
 produce and definitely distinguish a special color between greea 
 and yellow, it is necessary that we have some means for ascer- 
 taining the amount of green and yellow entering into its com- 
 position, in order to give it a name of any practical value. But, 
 ver}' fortunately, it has been discovered that if on a white disk 
 of card or other substance sectors of two or more alternating 
 colors are painted, and then the disk placed on a rapidly rotating 
 spindle, the several colors merge into one color which is the 
 combined effect of the several sectors painted on the disk. It 
 is also true that the color etfect is determined by the relative 
 number of degrees which measure each of the colors. 
 
 If a white disk is divided into four equal parts by two diame- 
 ters at right angles to each other, and three of these sectors are 
 painted with the standard yellow aud one of the parts with the 
 standard green, rotation will produce a green yellow re[)resented 
 by three parts yellow and one of green ; or if the disk is divided 
 into 100 parts the result will be 75 jiarts yellow and 25 greeu. 
 
10 
 
 COLOR hV THE KINDEUGAETEN. 
 
 If having a. pririinatic spoctrum tlirown on a screen in a dark 
 room we hold two small mirrors in the })a.lh of the light, one so 
 placed as to receive, for example, the red rays and the other 
 the violet rays, the uiiiTors may be so moved as to reflect the 
 red and the violet rays on one spot on another screen. The 
 result oi this ari-:iugemeut will be a mingling of the two colors 
 to produce a color between the violet and red usually called 
 purple. And so we may select any other two colors and thus de- 
 termine what color is ])roduced by the mingling of au}^ two or 
 more spectrum colors. But it is very iueouvenieut to make 
 such tests, even with the best apparatus and most favorable con- 
 ditions, and absolutely impractictible in elementary instruction 
 with ciiiidren. 
 
 The Use of the Color Wheel. 
 
 Fig. 1. Fk;. 2. Fig. 3. 
 
 It is an interesting fact th:it the rotation of the disks painted 
 in sectors as above described produces effects ])ractically the 
 same as the mingling of tlie two reflected lights. This is due 
 to the i)Iiysiological effect called retcmtion of vision. If we set 
 the end of a stick on fin; and rapidly whirl it the appearance of 
 a cii'cle of light is produced because the impression made on the 
 retina of the eye at one instant remains until the end of the 
 liurning stick comes ai'ound to the same point again, and thus a 
 complete circle of light is seen. The mingling of the colors on 
 the rotating disk is due to the same quality of the eye. 
 
 An l-:nglish scientist, J. Clerk jNIaxAvell, while trying experi- 
 
COLOR IN THE KIXDERGARrEX. 
 
 11 
 
 ments with painted disks less tluin forty years aoo, happily con- 
 ceived the idea of cutting a radial slit in each disk from circum- 
 ference to center, so that by joining two slitted disks they could 
 be made to show any desired proportion of each, and hence 
 they are called Maxwell disks. 
 
 Fig. 1 shows the method of joining the two disks and Fig. 2 
 their appearance when properly joined to be placed on the ro- 
 tating spindle of a color wheel or color mixer, as the api)aratus 
 is often called. 
 
 Fig. o shows two combined color disks ready to be placed on 
 the rotating spindle and Avith them a large white disk the cir- 
 cuuifereuce of which is divided into 100 parts. 
 
 Fig. 4 shows a color wheel with a com- 
 bination of disks on the spindle ready to be 
 rotated. 
 
 '1 hese disks have heretofore been used 
 as a curious piece of philosophical appara- 
 tus rather than as of any practical value in 
 color investigation, but when the idea of 
 basing a color nomenclature on the six spec- 
 tram colors was conceived the disks at 
 once assumed a practical value never 
 before ascribed to them, and now are 
 an important factor in the onl}- system 
 of artistic color instruction based on 
 the scientific truths of color. 
 Let us suppose that the two disks shown in Fig. 2 are green 
 and yellow, but with a trifle less green than in the painted disk 
 above mentioned. The increased amount of yellow and the 
 smaller quantity of green will cause a color to appear liy rota- 
 tion which will be somewhat dift'erent from the first-described 
 painted disk. In order to determine b}^ definite measurement 
 how much the difference is we place behind these two united 
 disks a whole graduated disk the circumference of Avhich is di- 
 vided into 100 parts, as shown in Fig. 3. From this graduated 
 scale we may determine that the green yellow co'oi- is coinposed 
 
 Fig. 4. 
 
12 COLOR IN THE KIXDERGARTES. 
 
 of orcen 22 parts and yellow 7S parts. No artjument is ueces- 
 sary to prove that where an exactness of color is required it is 
 much better to be able to express a color in such definite terms 
 as are here used than to say that this color is a little "less 
 greenish" than the other. 
 
 In the use of the color wheel it should be remembered, how- 
 ever, that a very high rate of speed must be sustained, as many 
 as fifty revolutions to the second being necessary, in ordw to 
 produce a perfect mixture. 
 
 Fio. 5. 
 
 Fig. T) shows three disks joined ready for use on the spindle, 
 and in the same way any nuHi])er within reasonable limits can 
 be combined so thai any Iwo or more colors may be mixed and 
 the composition definitely i-ccorded in the terms of the colors of 
 the disks. 
 
 The Old Theories Tested by the Wheel. 
 
 As has been stated, the advocates of the Brewster or red, 
 yellow and blue theory claim that orange may be produced from 
 red and yellow. In fact leading educators have said in one 
 lireatli that "in tiie solar spectrum, which is nature's chart of 
 colors, the principal colors are red, orange, yellow, green, blue 
 and violet; of these red, yellow and blue are primaries, from 
 which may be made the secondaries, orange, green and violet." 
 IS'ow we can test this statement by the use of the disks. 
 
 If red and yellow disks of medium size are joined on the 
 s])iiidle in proportion, and a smaller orange disk is placed in 
 front, tile outer ring of color should by rotation match the 
 
COLOR ly THE KINDERGARTEX. 13 
 
 orauge at the center. A trial of this experiment will l>e not 
 only interesting but convincing. Although the result of tlie 
 rotation will be a color which might under some circumstances 
 be called an orange, it is in no sense the same color as the spec- 
 trum orauge at the center. 
 
 If we attempt to produce a green by combining the yellow 
 and blue disks the result will be surprising, but probably not 
 couvincing, because the statement that yellow and blue make 
 green has been so persistently' reiterated as a fundamental 
 axiom that people who have given the subject but little atten- 
 tion will feel that to doubt it is rank heresy. In a text book 
 treating of color is found the following passage: "Green sub- 
 stances reflect the green, i. e., the blue and yellow rays of the 
 sunlight and absorb all the others." It is a fact, however, that 
 in the mixture of blue and yellow light there is little or no traci' 
 of green. 
 
 If a greenish blue and a greenish yellow are used in the 
 disks, as a matter of course a slightly green effect will be ob- 
 tained, but with a good standard blue and standard yellow tlie 
 result is very uearly a neutral gray. It is true tiiat in pigments 
 a dull green can be made from the standard blue and yellow, 
 and from a greenish blue, as Prussian blue, and from a greenish 
 yellow a very fair green can be secured, but in neither case 
 does the result approach the standard green, which has been 
 adopted as the best imitation of the spectrum green. 
 
 If red and blue disks are joined a much more satisfactory imi- 
 tation of the violet may ])e made than is possible in the orange 
 or the green, but it lacks the purity of the standard violet. 
 
 But when these experiments Avitli the disks are presented in 
 argument against the red, yellow and blue primaries, the advo- 
 cates of that theory claim that in the pigments nuich better re- 
 sults are obtained, and that in the practical use of coloi- we nuist 
 depend on pigments, and hence the wheel is of no value in the 
 argument. This view of the case can no longer be maintained, 
 because the day has passed when an intelligent teacher will 
 knowingly ignore the force of an argument backed by scien- 
 
14 COLOR IX THE KIXDEEdARTEN. 
 
 tilic facts. True we must use piomeuts in representiug uature, 
 but when nature has provided us with six good pigineuts for 
 representiug her brilliant colors why accept only three and from 
 them make miserable approximations of the other three? 
 
 Again, why shall we not consider the effects in nature which 
 are produced by the varying mixtures of colored light, and in- 
 vestigate the principles on which they are produced, even though 
 as artists it becomes our task to imperfectly imitate the colors 
 to the best of our ability wdth the pigments at our command? 
 If we consider the principles governing the color effects which 
 are presented to our eyes in the ever-changing landscape, can 
 we not much better interpret these effects and thus be better 
 prepared to imitate them on the canvas or the paper? Nearly 
 all color in nature is produced by the combination of local color 
 and reflected colors. Often at evening the suuliglit takes on a 
 red glow, caused by the reflected sunlight. 
 
 In a room where the windows open on a green lawn with 
 many trees nearly all the light is reflected from green surfaces, 
 and hence is green light. In such a case a correct painting of 
 objects in that room would have a general green effect. 
 
 In order to obtain the most truthful effects of color in uature 
 the artist should have sufllcieut knowledge of the principles 
 which govern the combination of colors by reflected light so 
 that his reason may aid his eyes. 
 
 The afternoon light in a room on the west side of a city 
 street may nearly all be red light, reflected from an opposite 
 red })rick wall. The writer once experienced a realizing sense 
 of this fact while examining some black goods in a tailor's shop 
 so situated. lie complained that they looked brown, but the 
 salesman truthfully replied that the black was a good color, 
 but that in tiie afternoon the brick wall opposite spoiled the 
 looks of all the black goods. 
 
 The story is told of an artist who wished to represent a piece 
 of blue bric-a-brac with a bit of yellow lace thrown on it, but 
 having no lace at hand evolved an artistic production from his 
 limited knowledge of the science of color and gave the surface 
 
COLOR IN THE KINDERGARTEN. 15 
 
 a oreen color. Had lie kuown that blue and yellow light com- 
 bined make gray instead of green he would lia\'e avoided the 
 error. 
 
 The fact that gray is the product of blue and yellow^ light is 
 sometimes taken advantage of in forming backgrounds in litho- 
 graphic printing, in which a stippling of alternate dots of yellow 
 and blue, very close together but not overlapping, is used to 
 produce a beautifully transparent gray nmch more pleasing than 
 any one tint of gray. This result is due to the blending of the 
 two colors in the eye with the same effect as the colors of two 
 rotating disks are mingled. The fact that there is a difference 
 between the color effects produced by mixing two pigments and 
 the mixing of the light reflected from similar colored surfaces is 
 a very strong argument for a system of color instruction based 
 on disk combinations, rather than on pigmentary mixtures. 
 
 A little experimenting with the rotating disks and with pig- 
 ments will convince anyone that the disk combinations form the 
 only possible basis at present known for logical color instruction. 
 Concerning the Complementary Colors. 
 
 Having shown that the three colors red, yellow and blue can- 
 not be combined to make an orange, a green or a violet of a 
 coiresponding degree of purity, we w'ill consider the other claim 
 which is set np by the advocates of the Brewster theory, namely, 
 that the secondaries are complementary to the primaries, the green 
 to the red, the violet to the yellow and the orange to the blue. 
 
 All color is contained in white light, and if we take from 
 white light any given color, the color remaining is considered 
 the c<)niplementar3\ If a sinall disk of standard red paper is 
 placed on a white wall and the eyes fixed intently on it for a 
 few seconds, and then the eyes slightly moved back and forth, 
 a ring of a bluish green tint will be seen surrounding the red 
 paper. This is called the accidental color, and is supjiosed to 
 be identical with the complementary, but the image is too faint 
 to give any very exact color effect. But it is sufficient to give 
 a clue to the complementary, and Ave are to infer that a color 
 between green and blue is that which is wanted. 
 
1(5 COLOR IN THE KINDERGARTEN. 
 
 U' now \vt' can doteriiiine in what proportions red, blue and 
 tiiven must be united to produce white light, we may solve the 
 problem. This is not possible in the use of any pigmentary 
 colors, because of the impurity of all pigmeuts as compared 
 with siH'ctrum colors. Although the mixture of colored light 
 rellected from the disks, which are uiade of pigmentary colors, 
 gives nmcli purer color thau the actual mechauical mixture of 
 the two [)igments, still, being a reflection of pigmentary colors, 
 it is fai- from pure, and therefore the result must be a white of 
 a low degree of illumiuation. 
 
 If we hold a white card iu a bright daylight introduced through 
 a window into a room, not necessarily direct suulight, it appears 
 white. If we east a shadow or shade on a portion of the card 
 l)y interposing some opaque object, the color is changed, but 
 knowing that it is a white card we do not think of this as an- 
 other color, but call it a shade. It, however, is in fact a gray, 
 and a i)ocMliar gray called a neutral gray. We can perfectly 
 imitate this gray by combining a white and black disk on the 
 wlicel. It is a simple and interesting experiment to see what 
 l)eautiful grays may be produced in this way. 
 
 All such colors are known as neutral grays and they perform 
 a very important part in color analysis, and may be produced 
 by the combination of white and black disks. 
 
 Therefore, if red, blue and green disks of medium size are 
 joined on the wheel and in front of them small white and black 
 disks are combined, we have a means for solving this problem. 
 If these various disks can be so adjusted that when rotated the 
 effect of the three colored disks is a neutral gray or white under 
 a low degree of illumination, exactly matching a gray that may 
 be olitaiued by adjusting the small black and white disks, then 
 one step in the solution is taken, as shown in Fig. (5. 
 
 With such an arrangement a very close match is produced, when 
 the comliined disks show tiie proportions to be red, 41^; blue, 
 22i ; gn'en, .'Wi for the larger disks, and for the small disks white, 
 l."> and black, S,'). Now if lihie and green are combined in the 
 same proportions, as indicated al)Ove and in quantities sufficient 
 
COLOR IN THE KINDERGABTEN. 
 
 17 
 
 when added together to fill the entire circle, of 100 parts, blue 
 will contain 3<S.3 parts and green, Gl .7 parts, as shown in Fig. 7 ; 
 and the disks when rotated Avill give the color which is the com- 
 plementary of red : namely, a blue green. 
 
 Fig. 6. 
 
 Fig. 7. 
 
 In the same way the complementary of each of the other 
 standard colors, and, in fact, of any color may be obtained. 
 
 The comi)lementary of orange is another color between the 
 green and Ithie, but more lai-gely blue. The complementary of 
 green is a violet red, and of violet a color between yellow and 
 green, while yellow and blue are very nearly complementary to 
 each other. 
 
 Taken together, these experiments prove that the coniple- 
 mentariesof the old primaries are not found in the secondaries. 
 How to Secure a Color Nomenclature. 
 
 As has been seen in the use of the green and yellow disks, a 
 variety of hues between two adjacent standards may be pro- 
 duced and thus all the spectrum colors imitated. 
 
 The ])ossibility of imitating these colors having been vlis- 
 covered, the way to establish a definite nomenclature of colors 
 becomes plain. Each standard has only to be designated by 
 some fixed symbol and measured 1)}' the use of the graduated 
 disk to determine the amount of each color which enters into 
 any given combination. To this end for convenience the follow- 
 ing symbols are adopted : — 
 
 R for red, O for orange, Y for yellow, (J for green, 13 for 
 
i8 COLOR IN THE KINDERGARTEN. 
 
 liltu' mid V for violet. W serves us for white and B -would be 
 :ul()i)led for black had it not already been used for blue, and 
 therefori' we euii)loy N for the Latin word niger, indicating 
 black. W ith these symbols and the graduated disk divided into 
 100 parts we have a perfect and simple decimal nomenclature 
 for all colors which can be made from our standards. 
 
 Now let us notice the practical advantage that would result 
 from a general adoption of this nomenclature. Suppose a cus- 
 tomer to visit a wholesale dealer in San Francisco in quest of a 
 large (quantity of i)aper of a special color. He has a sample 
 somewliat near the color and presents it to the dealer. This 
 may be a color between orange and yellow, and he says, "I want 
 something a little more yellowish than this." The dealer is an 
 agent for some Eastein maimfacturer and is ready to order it, 
 if the customer can furnish a sample, but it is impossible to 
 express in words just how much "more yellowish" the color 
 must be. Also the customer is in great haste and a week's de- 
 lay for tlie mail is an important item. But the dealer is pro- 
 vided with a color whi'el, a duplicate of which is in use at his 
 mill in the East. Therefore he slips the orange and the yellow 
 disk on the spindle and in a very few minutes the exact color 
 is produced and accepted by the customer. This may be Y. 35, 
 O. Go, and a telegram is sent innnediately for 100 reams regular 
 size and weight, color (). 65, Y. 35, and 'tis done, and the next 
 day in a New England mill the pajier is being coated witli a 
 color exactly the same as that shown on the Avheel in the San 
 Francisco store. This is no romance, because we have for years 
 been teU-phouing colors from our office to the mill, several 
 miles avvay. 
 
 Tints and Shades. 
 
 Kvei-y color in nature is modilied b}^ light. A high degree of 
 illumination, as bright sunlight, reduces the color, foi'ming a tint 
 of the color. If a shadow is thrown on a color it is obscured, 
 until as the shadow deepens the color is lost in darkness. These 
 effects are called shades of color. In pigments tints and shades 
 may l»t> iinnluced by the use of white and black pigments; with 
 
COLOR IN THE KINDERGARTEN. 19 
 
 the wheel by white and bhick disks. Neither in pigmeuts uor 
 with the disks are the results absolutely like the real effect of 
 sunlight aud deep shadows. lu pigmeuts black does uot pro- 
 duce as perfect shades as various other dark pigmeuts, while 
 white pigmeuts give fairly good tiuts. 
 
 With the disks the reverse is true, aud the black disks give 
 beautiful transparent shades, while the impossibility of securing 
 a perfectly white disk, together with some effect of rotation not 
 perfectly understood, introduces in the lighter tints of some 
 colors a violet gray effect that is not as pure a tint of the color 
 as is secured by the mixture of white pigmeuts. This is most 
 noticealjle in the red and the blue. It is not seen in the violet, 
 aud appears very slightly in the orange aud green and but little 
 in the yellow. On the whole the disk combiuatious of colors 
 are much purer than the mixture of the same colors in pig- 
 ments, and the quantity of each can be measured aud recorded. 
 
 The shades of yellow as shown on the wheel will uot be 
 readily accepted, but careful comparisou with the yellow paper 
 in shadow proves that heretofore an orange yellow shade has 
 been used for a yellow shade. 
 
 As much dissatisfaction had been expressed with the papers 
 provided for the kindergarten, this scheme of color was first 
 applied to the production of a systematic line of such papers. 
 First the six standards and black aud white were made aud 
 then two spectrum colors between each two standards, so as to 
 provide eighteen spectrum colors, which are considered sutfi- 
 cieut for types of all the pure colors in nature. Lastly two 
 tints and two shades of each were made. 
 Scales of Color. 
 
 When we arrange one of the spectrum colors with its tiuts 
 ou oue side of it and itJ shades on the other, in regular order, 
 from lightest tiut to darkest shade, a color scale is formed, as 
 shown in each of the horizontal lines in the following chart. 
 Each color is called a tone of the .scale and each scale consists 
 of five tones. The standard or hue is called the key tone ; 
 hence we speak of the red scale or the blue green scale- 
 
20 
 
 COLOR IN THE KINDERGARTEN. 
 
 Now when we place a series of scales with the key toues in 
 the same order as found in the spectrum we have an arrange- 
 ment like that illustrated in this "Chart of Spectrum Scales." 
 
 R.V.T.2. 
 
 ■r.v.t.l' 
 
 R.V. 
 
 V. 
 B.V. 
 
 R. V. S. 1. 
 
 R. V. S. 2. 
 
 V. T. 2. 
 
 V. T. 1. 
 B V. T. 1. 
 
 V.S.I. 
 
 V.S.2. 
 
 B. V. T. 2. 
 V. B. T. 2. 
 
 B. V.S.I. 
 
 B.V. S.2. 
 
 V. B. S. 2. 
 
 B.S.2. 
 
 V. B.T.I. 
 
 V. B. 
 
 V. B.S.I. 
 B.S.I. 
 
 B.T.2. 
 
 x.g:b.t.2. 
 
 B. T. 1 . 
 
 B. 
 
 X.G. B. T.l. 
 
 X.G.B. 
 
 X.G.B. S.l. 
 G.B. S.l. 
 
 XG. B. S.2. 
 G.B. S.2. 
 
 G.B.T. 2. 
 B G.T. 2. 
 
 G. B.T.I. 
 
 G.B. 
 
 B. G. T. 1. 
 
 B.G. 
 
 B. G.S.I. 
 
 B.G. S.2. 
 
 g:s.2. 
 
 G. T. 2. 
 
 G.T.I. 
 
 G. 
 
 G. S.l. 
 
 Y. G. T. 2. 
 G. Y.T.2. 
 
 Y. G.T.I. 
 
 G. Y. T. i: 
 
 Y. G. 
 
 Y. G. S 1. 
 
 Y. G. S.2. 
 
 G.Y. 
 
 G.Y. S.l. 
 
 Y.S.I. 
 O.Y. S.l. 
 
 G.Y. S.2. 
 Y. S 2. 
 
 Y. T. 2. 
 
 Y.T.I. 
 
 Y. 
 
 O.Y. T. 2. 
 
 0. Y. T. 1. 
 
 O.Y. 
 
 O.Y. S.2. 
 
 Y. 0. T. 2. 
 O.T. 2 
 
 Y. O.T.I. 
 
 Y.O. 
 
 Y.O. S.l. 
 
 Y O.S. 2. 
 
 O.T.I. 
 
 0. 
 
 O.S.I. 
 R.O. s.l. 
 0. R.S 1. 
 
 O.S. 2. 
 R. 0. S. 2. 
 
 R. 0. T. 2. 
 O.R.T.2. 
 
 R.O. T.l. 
 
 R.O. 
 
 O.R.T.l. 
 
 0. R. 
 
 0. R. S.2. 
 
 R. T. 2. 
 
 R. T. 1. 
 
 R. 
 
 R.S.I. 
 
 R. S.2. 
 
 V. R. T. 2. 
 
 V.R T.l. 
 
 V. K 
 
 V.R. S.l. 
 
 V.R.S.2. 
 
 Chart of Spectrum Scales. 
 
 It will be noticed in this diagram that three scales interme- 
 diate betweeji blue and green are shown instead of two, as be- 
 tween each other two standards. The color nearest the blue 
 marked X. G. B. is introduced to bring the spectrum nearer 
 perfection, but is not necessary in elementary work. 
 
 One of the chief aims of color instruction is the harmonious 
 combination of colors, and this chart serves as the basis of the 
 theory of harmonies. 
 
 Classification of Harmonies. 
 
 While it is not to be supposed that the theory of harmonies 
 can l)e taught to kindergarten pupils, the laws of harmonies are 
 here briefly outlined for the teacher, so that all the use of colors 
 niay be such as shall not violate these elementary laws, even 
 though the limitations of the material employed render im- 
 possible the most subtle and perfect harmonies. 
 
COLOR IN THE KINDEBGARTEN. 21 
 
 The value of a giveu harmouy depends on the hues, tones 
 and quantities of the several colors used. This is a subject 
 about which it has thus far been impossible to profitably talk 
 or write because of the lack of definite standards of colors and 
 color terms on which to base statements of facts or proposed 
 theories, but with these supplied by the color wheel Ave may 
 hope for rapid advance in the near future. 
 
 For the present the division of harmonies into classes is very 
 much a matter of personal opinion, because our knowledge of 
 the principles governing harmonies is as yet so limited, but 
 Mr. Henry T. Bailey, State Supervisor of Drawing in ]Massa- 
 chusetts, has suggested a classification which seems to be better 
 than anything else proposed, in which he classes all harmonies 
 under these five heads : Contrasted, Dominant, Complementar}', 
 Analogous and Perfected. 
 
 Contrasted. — The contrasted harmonies are those in which 
 color is contrasted with non-color, or more accurately in which 
 an active color, that is, a tone from the spectrum circuit, is con- 
 trasted with a passive color, white, black, gray or sUver and 
 gold ; for example, a blue green tint with white, or green blue 
 with warm gray No. 1 . 
 
 Dominant. — By dominant harmonies we mean those in which 
 are combined ditfereut tones in one color scale. For example, 
 red tint No. 1, red shade No. 1, or green blue tint, green blue, 
 green blue shade. A dominant harmony composed of grays, 
 or white, gray and black, is sometimes called a neutral harmony. 
 
 Coinplementary. — This term refers to those harmonies in 
 which are combined opposite or complementary colors in the 
 spectrum circuit. The best of them are those which exhibit not 
 only opposition in color but also opposition in tone. That is, 
 tints of one color with shades of its complementary produce a 
 more pleasing effect than do complementaries of equal value. 
 The best complementary harmonies contain one or more pas- 
 sive colors. 
 
 Analogous. — This name is applied to those harmonies in which 
 are combined tones from analogous scales. The best analogous 
 
22 COLOR IX THE KIXDERGABTEN. 
 
 harmonies are produced when we take tints from one side of 
 the key tone and combine them with shades from the scale on 
 the opposite side of that containing the key tone. 
 
 Perfected. — By perfected harmonies we mean those in which 
 analogous colors are combined with the complementary of the 
 key color, as yellow green tint, green, blue green shade, with 
 violet red. Also those in which the effect of one analogous 
 harmony is cojnplementary to the effect of another. All color- 
 ing in nature and in the examples of the best historic art will 
 be found to conform to one of these five harmonies. 
 
 From the fact that this division of harmonies is based on the 
 science of color we must not suppose that it furnishes any defi- 
 nite rules for forming' the best harmonies, \yith our present 
 knowledge rules can only at the best prevent certain absolutely 
 bad combinations and give indications of the best effects. The 
 best harmonies can at present only be determined by a consensus 
 of the opinions of trained artists in color. But the immediate 
 value of a sclieme of color with a nomenclature of color based 
 on standai'ds will be found in the possibilities it offers for dis- 
 cussion by means of verbal and printed reports of the experi- 
 ments and (^pinions of artists and of their productions. 
 
 The ultimate value of this system may be seen in the possi- 
 bility of fornuilating rules for a very large number of the best 
 harmonies l»ased on the average opinions of many artists and 
 expressed in the terms of our nomenclature. 
 Broken Colors. 
 
 In ad^tition to the spectrum standards and intermediate hues 
 and their tints and shades which are included in the chart of 
 spectrum scales, theie is another class of colors which in gen- 
 eral terms may l)e called broken colors, or gray colors. 
 
 A l)roken color, as a broken red for example, is a standard 
 red mixed with neutral gray, that is with black and white. In 
 still other words, a broken color is a tint of that color in shadow ; 
 or again we may say it is a shade of a tint or a tint of a shade. 
 
 In nature nearly all colors are broken. First, there is always 
 more or less vapor together with other impurities in the air, so 
 
COLOR IN THE KINDERGARTEN. 23 
 
 that even in a clear clay objects a few hundred feet from us 
 are seen through a gray veil, as it were, and in a misty or hazy 
 day this is very evident. In the case of somewhat distant 
 foliage the general color effect is produced by the light re- 
 flected from the aggregation of leaves, some of which may be 
 in bright sunlight and others in shadow, with a mixture of 
 broken twigs. All these tints and shades of green and brown 
 are mingled in one general effect in the eye. Also, owing to 
 the rounded forms and irregular illumination of objects, we see 
 very little full or local color in nature. 
 
 Therefore the study of broken colors becomes the most fasci- 
 nating branch of this whole subject. It also has an interest 
 because nearly all the colors found in tapestries, hangings, car- 
 pets, ladies' dress goods, etc., come under this head. In fact 
 it would be hazardous for an artisan or an artist to use any 
 full spectrum color in his work, except in threads, lines or dots. 
 A considerable quantity of pure, standard green, for instance, 
 would mar the effect of any landscape. 
 
 It is a very interesting diversion to analyze samples of the 
 dress goods sold cnch season under the most wonderful names. 
 For example, "Ecru'" is a broken orange yellow, with a nomen- 
 clature of 0.12, Y.lo, W.17, ISr..56. "Lin," is quite differ- 
 ent in color, but the difference is largely in the quantity and 
 proportions of white and black, thus : 0.7, Y.6, W.6, N.81. 
 "Styx," is a broken red, thus: R.IO, W.21, N.G9; "Ashes 
 of Eoses" is a broken violet red, thus : R.8:i, V.2^, W.1.5^, 
 N.74; "Hanneton," is a broken orange : 0.7f, W.0:|^, N..So ; 
 "Old Rose," broken red: R.Gai, W.24i, N.IO; "Oasis," 
 broken yellow green : Y.7, G.IOJ, W.8^, N.74; "Empi-e:" 
 G.ISJ, B.ll, W.lGi, N. 53. 
 
 So we might analyze "Elephants' Breath," "Baby Blue," 
 "Nile Green" "Crushed Strawberry" and hundreds of other 
 names used by the manufacturers aud dealers, but while the 
 same names occur with considerable regularity each season the 
 colors change with the demands of the goddess of fashion. 
 
 The names of a number of natural pigments have heretofore 
 
24 COLOR IN THE KINDEBGABTEN. 
 
 been the hest-reeognized staudards for color names, and among 
 these are ''Vermillion," "Enrnt Sienna," "Eaw Sienna" and 
 ''Indian Ked." 
 
 The followiuiz; are the analyses of three samples of vermilliou 
 of the best tube oil colors in the market : K.80, 0.14, W.6 ; 
 R.87, 0.8, AV.5; R.oO, 0.'24, N.26. 
 
 These three samples of "Eurut Sienna" analyze as follows: 
 American, K.U, 0.6, W.3, N.89^; German, R.22i, 0.11^, 
 W.2, N.G4; French, R.'25, 0.12^, W.5^, N.57. 
 
 Similar samples of "EaAv Sienna" analyze as follows: 
 0.18^, Y.6i, N.75; 0.17, Y.14, A\M, N.68; 0.8^, 
 Y.3.^" W.2, N.8(5. . 
 
 Two samples of "Indian Red" analyze as follows : R.llJ, 
 0.7, AV.4, N.77^; R.l^U, ^-^U, W.2i, N.70i. 
 
 From these figures it is readily seen that no use of pigmentary 
 names can be relied on for a nomenclature. 
 
 The So=cafled Tertiary Colors. 
 
 In the I5rewster theory of color the tertiaries hold an im- 
 portant place, they are spoken of as a specific class of colors, 
 and are divided into three different lines, namely: "Citrines," 
 "Russets" and "Olives." 
 
 It is claimed that the union of orange and green makes citrine ; 
 of orange and of purple, russet; of green and purple, olive. 
 It must be evident to every one giving the subject any careful 
 thought that as in this system orange is, for example, a mixture 
 of red and yellow in indefinite proportions, and green is the 
 mixture of blue and yellow in various quantities, the name 
 citrine can have no definite meaning, as the orange may be any 
 color from red to yellow, while the green may be a mixture of 
 blue and yellow pigments in any proportion, so that if these 
 indefinite secondaries are mixed in indefinite proportions the 
 result nuist be very dissimilar. 
 
 Moreover, although the names citrine, russet and olive are 
 familiar and convenient terms for three general classes of colors, 
 it is probable that no two persons would agree very nearly as to 
 any single color best representing either class. 
 
COLOR IN THE KINDEEGARTEN. 25 
 
 There are various colors which are recognized as coming 
 within the line of citrines. The following are analyses of two 
 which may be considered fair samples : First, 0.2^, Y.8, 
 W.6i, N.83; second, 0.4, Y.19^, W.3, N.73^. Both are 
 broken orange yellow, but the last is much less broken and 
 much lighter. 
 
 An analysis of two examples of olives gives G.13, B.6, 
 W.12, N.69, and G.19, B.ll^, W.IO^, N.59. The last is 
 lighter and much less broken than the first, having 30^ parts of 
 color, while the other has but 19. Both are broken blue greens. 
 
 From two samples of russet we get R.36, 0.4, W.9, N.51 
 and R.47, 0.7, W.<S, N.38. The latter has more color, i. e., 
 is less broken, and is also lighter. Both are broken blue greens. 
 
 So in all these cases we have for the term citrine a gray 
 orange yellowy; for olive, gray blue green, and for russet, gray 
 orange red, each of which is a spectrum hue mixed with white 
 and black. 
 
 Probably many people will think that these combinations of 
 color do not express what they mean when they say citrine, 
 olive or russet, which shows that some more definite terms are 
 required than those which we are accustomed to use. 
 How the Grays are Classified. 
 
 As we have seen that a broken color is a gray color, if, for 
 example, we add more black and white to a russet which is a 
 gray orange red, reducing the proportion of color at the same 
 time, we shall pass the line where it should be called a gray 
 orange red or a russet, and shall have a russet gray, or a gi'ay 
 with a little red and orange in it, i. e., a warm gray. 
 
 If the olives are treated in the same way we have cool grays. 
 If we take only white and black we have neutral grays. If a 
 little green is mixed with neutral grays we have a line of green 
 grays. Thus all grays may for convenience be classed as neu- 
 tral, warm, cool and green grays. 
 
 The term warm color is applied to any color at the red end 
 of the spectrum, including red, orange and yellow. The green 
 blues, blues and violet blues, with possibly the violet, may be 
 
26 COLOR IN THE KINDEBGARTEN. 
 
 called cool colors, while the greeu is a doubtful color in this 
 sense. 
 
 Simultaneous Contrasts. 
 
 The subject of Simultaneous Contrasts is very interesting and 
 relates to the mutual effect that two colors have on each other 
 when placed in juxtaposition. Much has been published on 
 this subject, entire books having been written reg.arding it, but 
 the}' have been of comparatively little value, because of the lack 
 of any detiuite standards of color, and hence the lack of any 
 clear statement about the colors to which they refer. Therefore 
 it has been impossible for a reader or a student to exactly re- 
 peat the experiments described. 
 
 A very good illustration of the effect of Simultaneous Con- 
 trasts may be seen by first mounting on a piece of cardboard 
 one square each of the six standard colors and pasting on the 
 center of each a smaller disk of some gray, a dark neutral gray, 
 for example. AVhen this is done it will be difficult for the per- 
 son making the experiment to convince another that all the gray 
 disks came from the same sheet of paper. 
 
 A Review of the Bradley Color Scheme. 
 
 To sum up briefly the Color Scheme which the writer has tried 
 to present in the foregoing pages, it may be stated as follows : — 
 
 First, six standard colors are selected from the solar spec- 
 trum and their locations absolutely fixed by their wave lengths, 
 so that they can at any future time be referred to for compari- 
 son with pigmentary colors. 
 
 Second, the best- possible pigmentary imitation of these six 
 colors are made, which, with the purest white and blackest black 
 form eight standards of color. From these pigmentary stand- 
 ards Maxwell disks are made, by which intermediate spectrum 
 hues are determined and named, and by which a complete and 
 simple nomenclature of colors in terms of the standards is pos- 
 sible and practicable. In accordance with this nomenclature a 
 line of colored papers has been prepared for elementary instruc- 
 tion in color. 
 
 1 his system of color instruction is based on the belief that 
 
COLOR IN THE KINDERGARTEN. 27 
 
 the study of color as seen iu uature should be the first thing to 
 occupy our attention and that the art of mixing pigments to 
 produce corresponding effects will be a ver}^ simple matter to 
 one who has the color sense properly trained. 
 Some Color Definitions. 
 
 All color terms used by artists, naturalists, manufacturers, 
 tradesmen, milliners and the members of our households are as 
 indefinite as one might naturally expect from the utter lack of 
 a logical basis for the whole subject of color. 
 
 Without definitions or means for intelligently naming any 
 color, it is not strange that the terms used in speaking of colors 
 and color effects are so contradictory as to lose much of their 
 force, if perchance they retain anything of their original mean- 
 ing. For example, probably most people apply the term shade 
 to any modification of a color, either a hue, tint or shade. 
 
 It is true that a concise and reasonably full dictionary of 
 color terms must be the outcome of long experience iu the 
 study of the science of color and its use in our every-day lives, 
 and at the best only suggestions can be made at present. But 
 as there must be a beginning and some terms seem to be fairly 
 well established, the following incomplete list of definitions is 
 offered, always subject to amendment by the majority vote, 
 for whenever such changes indicate advance they should be 
 welcome. 
 
 Standard Colors. — As used in this system of color nomen- 
 clature, the best pigmentary imitation of each of the six spec- 
 trum colors red, orange, yellow, green, blue and violet, and 
 black and white. 
 
 Pigmentary Colors. — All colors used and produced in the 
 arts and sciences. This is in distinction from colors seen in 
 nature, as iu flowers and the solar spect'/um. The term refers 
 not only to pigments in the strictest sense but to all surfaces 
 coated, painted or dyed artificially. 
 
 Pure Colors. — A pure or full color, also called a saturated color, 
 is the most intense form of that color without the admixture of 
 white or black or gray. All spectrum colors are pure, while no 
 
28 COLOR IN THE KINDERGARTEN. 
 
 pigmentary color is absolutely pure, l)ut tlie pigmeutary color 
 ■which approaches most nearly to the correspondiug color iu the 
 spectrum must be selected as the pigmentary type of purity for 
 that color. For example, the standard for green nmst be the 
 best possible pigmeutary imitation of the spot in the spectrum 
 which by general consent is called green, and so not only for 
 the six standards but for all their combinations which produce 
 the other colors in nature. 
 
 In pigmentary colors the term pure is entirely one of relative 
 degree. As processes of manufacture are improved and new 
 chemical discoveries made, there is good reason to believe that 
 we shall have much more intense colors and hence much better 
 imitations of spectrum colors than are at present possible. 
 Therefore as our pigments become purer those now accepted 
 as full colors will iu time become tints or broken colors and 
 new standards will be adopted. 
 
 Hue. — The hue of a color is that color mixed with a smaller 
 quantity of another color. An orange hue of red is the stand- 
 ard red mixed with a smaller quantity of orange. \\"\\h the 
 disks pure hues are secured only by mixing two standards ad- 
 jacent iu the spectrum circuit. 
 
 Loml Color. — The term applied to the natural color of an ob- 
 ject when seen in ordinarily good daylight and at a convenient 
 distance, as a sheet of paper at arms length, a tree at twice its 
 height, etc. 
 
 Tint. — Any pure or full color mixed with white, or reduced 
 by strong light. In the disk combinations a spectrum disk 
 combined with a white disk. 
 
 Shade. — A full color in shadow, i. e., with a low degree of 
 illumination. In disk combinations a disk of a spectrum color 
 combined with a black disk produces by rotafou a sh:ide of 
 that color. In pigments the admixture of black does not usually 
 produce as satisfactory a shade of a color as may be secured 
 with some other pigments, and each artist has his own prefer- 
 ences in making shades of the various colors on his palette. 
 
 Scale. — A scale of color is a series of colors consistinu- of a 
 
COLOR IN THE KINDERGARTEN. 29 
 
 pure or full color at the ceuter aud graduated by a succession 
 of steps to a light tint on one side and a deep shade on the 
 other. 
 
 Tone. — Each step in a color scale is a tone of that color, and 
 the full color may be called the normal tone or the key tone In 
 art this word h:is had such a vai'iety of meaning as to render 
 it very convenient for Amateur Art Critics, together witli such 
 terms as breadth, atmosphere, quality, values, etc., but in the 
 consideration of color it should have this one, definite meaning. 
 Warm Colors. — Red, orange and yellow, and combinations 
 in which they predominate. 
 
 Cool Color.^. — Usually considered to be green, blue and violet, 
 and the combinations in which they predominate. l)Ut it is, per- 
 haps, questionable whether green and violet may properly be 
 termed either warm or cool. The term cool as applied to colors 
 is quite indefinite, except in a general way, but red, orange and 
 yellow are universall}' considered as wurni, and blue and green 
 blue as cool. 
 
 Neutral Gray. — Pure black and white mixed by disk rotation, 
 or white in shadow. Black and white pigments mixed do not 
 usually produce a neutral gray, but rather a blue gray. 
 
 Warm Gray. — A neutral gray with the admixture of a small 
 quantity of red, orange or yellow. 
 
 Cool Gray. — A neutral gray with a small quantity of a cool 
 color. 
 
 Neutral Colors. — A term usually applied to gray, white. l)lack, 
 silver and gold ; but the term passive colors has been suggested 
 as better, with active colors for the pronounced colors, such 
 as the spectrum colors and their combiuat'ons. 'J'liis sugges- 
 tion is made because the word neutral should be confined to 
 black and white and their combinations, while the term passive 
 can be used more broadly. 
 
 The term neutral has also sometimes been improperly applied 
 to all grays and very broken colors. 
 
 Broken Colors. — Often improperly called liroken tints. 
 For simplicity a tint is described as a pui'e color mixed witli 
 
30 COLOR IS THE KINDERGARTEN. 
 
 white, and a shade as the color mixed with black ; the corre- 
 spouding broken color is the same color mixed with both black 
 and white or neutral gray. A tint of a color thrown into a 
 shadow or a shade of a color in bright sunlight gives a broken 
 color. For various reasons a very large proportion of the 
 colors in nature are bi'oken. Broken colors are much easier to 
 combine harmoniously than full colors, or even tints and shades. 
 
 In disk combinations when a pure color is combined with 
 both a white and black disk the result will be a broken color. 
 When a color is mixed with both black and white, i. e., with 
 gray, and becomes thereby a broken color, it then belongs to a 
 broken scale and has no place in any pure scale, i. e., a scale 
 in which the key tone is a pure color. Neither has a broken 
 scale of a color any place in a chart of pure scales or spec- 
 trum scales. 
 
 Luminosity. — The luminosity of a color is determined by 
 comparing it with a neutral gray. When a color seems to be of 
 the same brightness as a given neutral gray, i. e., not lighter 
 nor darker, then that gray is its measure of luminosity. 
 
 Potentiality. — The ability or strength of a color to effect 
 other colors by combinations with them. For example, white 
 has a greater potentiality than l)lack, yellow greater than red, 
 and violet the least of all the spectrum colors. 
 
 Ray of Light. — The finest supposable element of light- 
 impression in the eye. 
 
 Beam of Light. — A num])er of rays. 
 
 Quality. — This term seems to be used rather indefinitely 
 when applied to color, but perhaps it is not far removed from 
 the term hue or kind of color. 
 
 Value. — This word as applied to art is much abused and one 
 which gives trouble to many. It may be difficult to define this 
 term, although it has a very definite meaning to the artist. It 
 is the one subject which must be carefully considered by the 
 engraver or artist who attempts to interpret nature in black and 
 white. It is the thing that the photographic plate usually fails 
 to give in color subjects. 
 
COLOR IN THE KINDERGARTEN. 31 
 
 Complementary Colors. — As white light is the siiiii of all 
 color if we take from white light a given color the remaiuiug 
 color is the complement of the given color. When the eye has 
 been fatigned by looking intently for a few seconds at a red 
 spot on a white wall and is then slightly turned to the wall, a 
 faint tint of a bluish green is seen, and this is called the acci- 
 dental color of the red, which is supposed to be identical with 
 its complementary color. If with the disks we determine a 
 color which with a given color will produce by rotation a neu- 
 tral gray, we have the complementary color more accurately 
 than by any other means at present known in the use of pig- 
 mentary colors. 
 
 Harmony. — Two colors are said to be in harmony or to com- 
 bine harmoniously if the effect is pleasing when they are in 
 juxtaposition or are used in a composition. 
 
 Spectrum CircnU. — If a pigmentary imitation of the solar 
 spectrum with the addition of violet red at the red end and red 
 violet at the violet end be made, and the two ends joined, we 
 shall have a spectrum circuit. This may be in the form of a 
 circle, an ellipse or an oval. 
 
 Primary Colors. — In the Brewster theory, red, yellow and blue. 
 In the Young-Helmholtz theory red, green and violet are termed 
 primary colors because it is supposed that from these three sen- 
 sations all color preceptions are experienced. But this tlieory 
 is questioned by many scientists to-day. Practically every spec- 
 trum col(»r is a primary, because each has its own wave length. 
 
 Secondary Colors. — In the Brewster theory orange, green and 
 purple are called secondary because it is claimed that they are 
 produced by the combination of primary colors in pairs. 
 
 Tertiary Colors. — A term used in the Brewster theory to de- 
 note three classes of colors called russet, citrine and olive, 
 made by mixing the secondaries in pairs. These are all broken 
 spectrum colors. The orange and purple produce russet ; the 
 orange and green form citrine ; the green and purple, olive. 
 There seems to be no good reason for perpetuating the indefi- 
 nite terms secondaries and tertiaries as applied to color. 
 
Color Material in the Kindergarten. 
 
 TH E object of this section of our manual is to suggest 
 some methods for the presentation of color to the kin- 
 dergarten children through the material used. Color is so uni- 
 versal that almost everything around us furnishes some lesson, 
 when the teacher and the children have once learned to heed it. 
 
 No real kindergartuer will for a moment conclude tliat be- 
 cause certain suggestions are printed in a manual of instruc- 
 tion such methods are to be followed to the exclusion of all 
 others. But if enough examples are here shown and the rea- 
 sons given why they are used, the teacher may readily judge 
 whether certain other methods which may suggest themselves 
 to her mind may be substituted without violating any funda- 
 mental principle. 
 
 The teaching of color when properly conducted is certain to 
 be interesting to both teacher and pupil. It is not an isolated 
 study, but is closely connected with other educational topics 
 and with our daily lives. 
 
 As the study of language which taught the child to express 
 himself correctly only in the lesson of the day would be almost 
 worthless, and the reading lesson would be of little value which 
 simply taught the pupil to read one text book, so that color 
 instruction is vahieless which does not bring something more 
 than the mere pleasure to be derived from it for the moment. 
 Jt should lead the pupil to closer observation, to see color 
 where he has iiever thought of looking for it, to discover har- 
 monics wluMV he never knew before they could be found, and 
 should ultimately lead him to the practical application of what 
 he has learned in tlie arts and mamifactures. 
 
 'I'lie nu'thod of development and the length of the lesson 
 must be left largely to tlie teacher's judgment. Each lesson 
 
COLOR IN THE KINDERGARTEN. 33 
 
 should be carefully prepared, and iu developiug the lessous 
 there are three important topics to be remembered and held 
 definitely in mind by the teacher, namely : Recognition, ar- 
 rangement and use. The child should be taught to recognize 
 the particular colors, to know them wherever he sees them, just 
 as he would know a familiar face ; he should be able to arrange 
 spectrum colors in their proper order and to use them iu making 
 harmonious combinations. 
 
 Short lessons are recommended, as experience proves that 
 ten or fifteen-minute lessons accomplish better results than 
 longer ones. 
 
 As the sun is the source of all color in nature and the solar 
 spectrum the chart of color standards, the child should first be 
 made familiar with the spectrum. 
 
 The Prismatic Spectrum. 
 
 A cheap glass prism which cau be bought for a few cents 
 will serve the purpose of the kindergarten iu tlie absence of 
 the expensive one sold with an ordinary outfit of physical ap- 
 paratus. As no kindergarten ought to be held in a room de- 
 void of sunlight it is well to allow one or more prisms to so 
 hang that the children may see a spectrum somewhere in the 
 room much of the time. 
 
 To show a clear spectrum bright sunlight is essential and a 
 clear day desirable, as light clouds dim the brightness of the 
 colors. Hold the prism with as steady a hand as possible and 
 a little experimenting when no children are present will deter- 
 mine the best location for operating. If there should be inside 
 or outside blinds the effect will be greatly improved by closing 
 them, so as to darken the room as much as possible. But e.eu 
 without a darkened room a color spot can easily be shown. 
 
 The spectrum may be thrown wherever the colors can be 
 seen clearest, whether it be on the wall or on the tloor. Some 
 colors develop brightest in one place and some in another. So 
 when a particular color is to be studied the spectrum must be 
 presented where that color can be seen most favorably. 
 
 Look at the spectrum as a whole and what cau be seen ? First 
 
34 COLOR IN THE KINDEHOABTEN. 
 
 call the particular attention of the pupils to the outside colors 
 of the spectrum, the red and violet ; next take the two colors 
 which follow these, namely, the orange and blue, and lastly 
 study the green and the yellow, the central colors of the spec- 
 trum band. This order seems to be the best to follow. The 
 orange very likely may be found to be the most dirtlcult one to 
 handle, and therefore will require greater care. 
 The Colored Papers. 
 
 Distribute samples of colored papers in the six colors, red, 
 orange, yellow, green, blue and violet. Ask the pupil to match 
 the outside colors of the spectrum in the paper. Ask for the 
 names of these colors ; match colors next to these in the same 
 way, and lastly match the central ones. Tell them that all 
 these colore and many more are in the sunlight, and see if the 
 spectrum reminds them of anything they have seen before, as 
 the rainbow or the sun shining through a glass of Avater. 
 
 Call attention to the fact that these six colors are the ones 
 mosi clearly seen in the spectrum, and tell the pupil they are 
 called the spectrum standards. These colors must be observed 
 until they become fixed standards, the child's own property just 
 as much as the mental image of the ball, cube or cylinder. 
 
 Each standard nmst be made the subject of particular study, 
 and fixed in the mind by comparison vxith the spectrum. If the 
 child thinks when he sees red, ''This is like my spectrum red," 
 and forms a correct conclusion, he is ready for orange, and so 
 with each of the colors. 
 
 If it were j)ossible at each lesson to show the children a spec- 
 trum in a perfectly dark room they could get a definite idea of 
 the exact red, orange, yellow, etc., but as this is impracticable, 
 and on very many days no natural spectrum can be obtained, a 
 paper spectrum is a vuluable substitute for general instruction, 
 trom the colored papers a very pleasing and valuable imitation 
 of a real solar spectrum can be made. This will have the six 
 standard colors and two intermediate colors or spectrum hues 
 between each two standards, with the violet red at the red end 
 and the red violet at the violet end. While these colors are 
 
COLOR IX THE KINDERGARTEN. 35 
 
 not fouud iu the spectrum, they are frequently met iu nature 
 and form a complete spectrum circuit. 
 
 The Rainy=day Spectrum. 
 
 This paper spectrum has been aptly termed a "Rainy-day 
 Spectrum." 
 
 The following diagram gives the dimension of the space to 
 be occupied by each color iu a well-adjusted prismatic solar 
 spectrum, with a length of thirteen inches outside the red and 
 
 V BV VB 8 XSB 68 BG G YG G-TYmYO RO OR R 
 
 I 3/4 \V,b (3/e |3/,6 V4 "/■6 V4 Va % %i4/4%'/6'/.6 Va ^a 
 
 violet. The artificial spectrum becomes a necessity for use in- 
 stead of the "real spectrum" when the consideration of the in- 
 termediate hue is taken up, because, except with a long spec- 
 trum in a dark room, nothing more than a general impression 
 of the color of the six standards can be obtained fi'om a sun 
 spectrum. 
 
 During their early lessons the teacher should ask the children 
 to bring from home samples of the color which they ai-e study- 
 ing. Bits of worsted and silk or of cloth or paper, together 
 with plants, leaves and flowers will answer the purpose. 
 
 Allow the children to grouy the colors that are similar and 
 develop the idea of resemblance and difference of eolprs and 
 bring out the fact that wdiile there are many similar colors there 
 is only one standard of a color, and to the standard colors we 
 give the names red, orange, yellow, green, blue and violet, and 
 by these standards all colors are tested and classified, and 
 hence the importance of training the eye to recognize the spec- 
 trum standards readily. 
 
 Ask for any sample of red that may have been brought. If 
 those are produced which do not match the standard tell the 
 children that they are not pure colors but are mixed with black, 
 white or both or some other color. They may also be told that 
 pure colors are not necessarily the most beautiful in combina- 
 tion. Talk about the colors in nature and tell them there is 
 
36 COLOR IN THE KINDERGABTEN. 
 
 Init little pure color seen there, for the reasou that the spectrum 
 colors are subdued by the gray of the atmosphere. 
 
 With this brief general introduction of the subject, a definite 
 line of work is suggested with the apparatus and material which 
 is recommended for the entire kindergarten course. As this 
 relates exclusively to the color work, no connection with other 
 work is indicated and each teacher must use her own judgment 
 as to place and seasons for making the connections. 
 Value of the Color Wheel. 
 
 Some educators who recognize the value of the color wheel in 
 determining facts regarding color and in establishing a nomen- 
 clature on which the practical analysis of colors may be based 
 are somewhat in doubt as to its value in the kindergarten and 
 lower grades of school, and need a little information on this 
 point in order to be convinced that it has its place here, while 
 there are others who favor its use in these very grades, but are 
 not sure how best to apply it and are also asking for light in 
 the same direction. 
 
 Many teachers who have made the trial are cou^ iuced that 
 this apparatus is fully as useful in the lowest grades, as in the 
 higher, and it is with that belief that the following suggestions 
 are offered. 
 
 The color wheel is of great value in the lowest grades, be- 
 cause with it a large class can be taught as rapidly and as 
 thoroughly as a single pupil, and a great number of color com- 
 binations can be produced with a facility and in a purity of 
 color not possible with any other apparatus or material. 
 
 In the use of pigments in elementary grades the teacher is 
 confined to water colors or colored crayons, both of which are 
 very imperfectly adapted to gain satisfactory results. With 
 water colors in cakes or tubes it is impossible for an expert to 
 evenly cover any consideral)le surface with a color approaching 
 a pure tone, and as commonly used the result is a mere tint of 
 the required color. The same thing is equally true with colored 
 pencils, while pastels are evidently unfit for little children to 
 handle in the kindergarten or the schoolroom. 
 
COLOR IN THE KINDERGARTEN. 37 
 
 As soon as the children have become familiar with the stand- 
 ard colors by the use of colored papers they can be taught to 
 recognize the tints and shades of those standards, although 
 some teachers maintain that the spectrum hues between the 
 standards should be next considered, leaving the tints and 
 shades till later. 
 
 The majority of kiudergartners, however, have thus far pre- 
 ferred to teach the various tones of each standard color be- 
 fore introducing the subject of hues, although many have not 
 thought it wise to at once use the terms tints and shades, ratiier 
 preferring to call them light and dark colors. The children 
 may be asked to bring red objects, and thus make a collection 
 of all sorts of reds. The simplest and first classification will 
 naturally be into light and dark reds. With the wheel many 
 of these colors can be imitated by using red with white or black. 
 
 It will no doubt be found that the reds will also differ in hue. 
 having either orange or violet mixed with them, together with 
 white or black, and probably both. But at first a little care 
 must be used in the selection of such as can be nearly imitated 
 on the wheel with red and white or red and black disks, with- 
 out the use of white and black in one color. The children will 
 then see that the standard modified by the white produces the 
 light red and that the shades are formed In' using the black 
 disks. This fact having been taught in a general way from 
 the samples brought in, may then be shown more systematicidly 
 by the use of a red disk combined with a somewhat smalh-r 
 black or white disk. First show the full red disk in rotation 
 and then add a small amount of black and rotate again. This 
 will give a ring of pure red at the outside and a slightly darker 
 red at the center. By repeatedly adding a little more black a 
 series of shades of red may be seen. 
 
 In the same way the light reds may be indicated by using the 
 white disk instead of the black. For reasons already explained 
 on Page 19 it is not well to show very light tints in red and 
 blue on the wheel, but when the fact is made clear that white 
 mixed with the color results in a light red and black produces 
 
38 COLOR IN THE KIXDEBGARTEN. 
 
 dark red, the papers in tints and shades may be introduced as 
 good examples of these tones. 
 
 In the next lesson when orange is eonsitlered there will be no 
 ditlleulty regarding the truthfulness of the tints made on the 
 wlieel, even when they are very light, but at first the little child 
 will not be able to connect in his mind a very light tint or a 
 very dark shade with the standard. P'.ach standard will perhaps 
 afford suftleient interest for one exercise, as ten minutes is long 
 enough for little children to be occupied with one lesson. No 
 child should be less than ten feet distant from the wheel in 
 order to secure the best effect. 
 
 Spectrum Hues. 
 
 Having become fainiliar with the standards the child knows 
 red and also oi'ange, for example, and may now be shown that 
 there are a very large number of colors between the red and the 
 orange. With the red and orange disks combined, all the hues 
 between red and orange may be made familiar to the class. As 
 there are four sizes of disks, we will designate them 1, 2, 3, 4, 
 No. 1 being the smallest. 
 
 A sample lesson may be as follows : Show a red disk No. 3 
 and ask what color it is ; also an orange disk No. 2 with the 
 same question. Combine the two disks on the spindle with the 
 edge of the orange disk merely caught on to the red, but not 
 projecting far enough to be noticed by the children, and rotate, 
 showing them that it is red. Then stop and add a little orange, 
 calling attention to the addition. Rotate and ask if the}' see 
 any difference between the outer and inner part of the disk. By 
 short steps add more orange so as to show a succession of 
 colors between red and orange, calling these orange reds, until 
 the amount of orange nearly equals the red. 
 
 Before reaching equal parts of orange and red, remove the 
 disks and substitute orange disk. No. 3 and red disk. No. 2. 
 Begin at full orange and work back through several steps nearly 
 to one-half red, teaching that these are red orange hues. As 
 there is no defiuitel^'-established line of division between the 
 class of colors called "orange red"' and "red orange" which 
 
COLOR IN THE KINDERGARTEN. 39 
 
 cau be explained to the childreu the changiug of the disks and 
 reversing of the relative sizes serves to separate in their minds 
 the colors as indicated by the change of name from "orange 
 red" to "red orange." 
 
 The hnes between two standards is sufficient for one lesson, 
 and with each lesson the corresponding samples of papers 
 should be shown. 
 
 Tints and Shades of Hues. 
 
 The tints and shades of hues cau be shown by using a white 
 or black disk with the two combined color disks. In this casci 
 however, all the disks should be of one size. The No. 2 disks 
 are very convenient for a small class, as they give suflicient sur- 
 face and whirl with less effort than a larger size. 
 
 In showing tints and shades of an orange red, for example, 
 it is desirable to keep the relative proportions of orange to red 
 approximately constant, while the amount of white or black is 
 increased at each step. For example, if at the beginning the 
 red was twice as much as the orange the same proportion of 
 two to one should be continued as white or black is added. In 
 presenting these experiments to the children it is unnecessary 
 to accurately measure the quantities of the color each time, but 
 by starting with approximately equal parts or a proportion of 
 one to two or one to three, for example, it is not dillicult to re- 
 tain nearly the same proportions throughout a series of tones. 
 
 Experiments will demonstrate that the color sense of even 
 young children can be developed to a wonderful degree by these 
 simple experiments, and they will very soon learn to speak of 
 colors in terms as definite as those now used by the kindergar- 
 ten children concerning form. 
 
 A few years ago it would have been a circumstance worthy 
 of notice if a child should have used the tei-ms sphere, cube, 
 cylinder, hexagon or pentagon, but in families where there are 
 kindergarten children these terms are now iiousehold woixls. 
 Largely owing to the kindergarten thedavs of "babv talk" have 
 passed away and there is no reason why definite terms in color 
 nomenclature may not be as common in the next decade as are 
 
40 COLOR IN THE KINDERGARTEN. 
 
 mathematical terms to-day. In nature study this reform is mnk- 
 ing rapid progress, and it has been demonstrated that the cbiid 
 can as easily learn a scientific name of a part of a plant or an an- 
 imal as some other word relating" to it that really means nothing. 
 
 A little child who had become somewhat familiar with the 
 color wheel one day said to the teacher, "What color do you 
 think that dress is?" referring to a suit of the so-called "ma- 
 hogany color." Wishing to test the judgment of the child the 
 reply was, "What do you think it is?" The child replied, "Well, 
 1 rather think it is a shade of red orange," which was a very 
 close description of the color. And why is it not better to say 
 a dark red orange than "mahogany color," if any definite color 
 exiiression is required? 
 
 The children may be allowed to bring samples of cloths, or 
 flowers for analysis and after they have had some practice may 
 be asked, before the experiment is made, what colors they 
 think should be coml)ined to produce the same effect on the 
 wheel. The colors of fabrics will very generally be broken 
 colors, requiring the use of both black and white disks, and 
 very fre<piently will be broken intermediate hues rather than 
 standards. All this need not be told the children, but they 
 may bt> shown the disks which by rotation form an imitation of 
 the color and their attention called to the colors and the rela- 
 tive pro[)ortions in which they appear. They thus see an actual 
 chart of the color expressed in standards. 
 
 In analyzing the colors of flowers they will generally prove 
 to come near to tha spectrum colors or their tints and can be 
 quite re:idily imitated, especially those of the wild flowers. 
 
 In pansies and a few other flowers the colors may be too in- 
 tense to be imitated with the disks, because the natural color is 
 purer than any corresponding pigments yet discovered, from 
 which to make the paper disks. If such a case occurs the same 
 kind of color can be made and thus a name given, even though 
 an exact match in purity cannot be produced. 
 
 It is reasonable to expect that in due time such an advance 
 in practical chemistry may be gained that much purer and 
 
COLOR m THE KINDERGARTEN. 41 
 
 stronger color effects can be obtained iu pigiueuts aud thus 
 the scope of color anal3'ses enlarged. 
 
 The following exercise in color may be introduced as a recre- 
 ation, after a class has made considerable progress. Make a 
 combination of two or more disks, holding them meanwhile so 
 that the pupils cannot see them, aud have an assistant hold a 
 ?heet of cardboard or other screen in front of the wheel while 
 the disks are being adjusted on the spindle and until a good 
 speed has been secured in the rotation. Then ask the class 
 what colors are mixed to produce the effect. Having secured 
 some guesses from the pupils, let the rotation cease aud the 
 children will see exactly the disks which have been combined 
 to make the color and also will learn objectively the relative 
 proportions of the several colors used, as measured by the sur- 
 faces exposed in the several disks. 
 
 In the the theory of color presented in this manual the com- 
 plementary aud perfected harmonies are based on the com- 
 plementary colors as determined by the use of the color wheel, 
 but it is doubtful if those experiments should be shown kinder- 
 garten children, aud possibly the contrasted aud dominant har- 
 monies are as many definite divisions of the subject as can be 
 profitably named to them. But combinations of the papers iu 
 analogous aud complementary harmonies may be used with the 
 little children. 
 
 The analogous combinations may be derived from the chart 
 of spectrum scales. In the training class the wheel should be 
 used to show how the exact complementary colors are deter- 
 miued, but with the children those combiuations may be ap- 
 proximated with the papers. For red the olue green is a good 
 complementary and for orange the green blue. Theoretically 
 the complementary of yellow is a very slight violet blue, aud 
 of blue an orange yellow, but iu the papers, as the iuteriiiediate 
 hues are limited to two between each two standards, the yellow 
 aud blue are more nearly complementary to each other than 
 any other pairs. The complemeutary of green is violet red and 
 of violet the yellow greens or green yellows of the papers. 
 
42 COLOR IN THE KINDEBGARTEN. 
 
 If eoinpleinentiirv liannonies are attempted with the papers 
 they imist be produced with ,<>reat care, and the tints and shades 
 are far safer to use than full standards. If full standards are 
 intioduced the amount of that color in any design must be very 
 small in proportion to the whole surface of the design. 
 
 Any teacher having the use of a color wheel will find profit- 
 able recieatiou in matching various natural colors and obtaining 
 tiieir analyses, because in this way such training of the color 
 sense is secured as will insiu'e accurate judgment in the selec- 
 tion of colors for experiments and facility in their analyses be- 
 fore a class. 
 
 Nothing wuU so rapidly train the color perception as this per- 
 sonal practice, and the experience gained will enable a teacher 
 to do excellent expert work in matching colors presented by the 
 children and thus avoid some unpleasant delays when the wheel 
 is being operated before their critical eyes. 
 
 Ability to use the color wdieel is only acquired by practice, 
 both in the mechanical manipulation of the mactiine and in the 
 combinations of the disks to imitate natural or pigmentary 
 colors. No audience is more critical or more appreciative than 
 a company of children and very much of the good effect is lost 
 if they detect a failure to successfully produce a color, eveu 
 though a reason may be given which would be entirely satisfac- 
 tory to an adult audience. 
 
 For this woik a small mirror may be arranged in front of the 
 wheel at perhaj)S a distance of five or six feet, so as to show the 
 disks at the same tinie the wheel is being rotated. Possibly the 
 closest matches may not be secured in this way, but the con- 
 venience is so great as to reconnnend this device to Avhoever 
 wishes to make experiments. 
 
 The First Gift. 
 
 The lialls of tlie First (Jift sliould be eovei'ed with wools cor- 
 resj)onding as nearly as possible to the six spectrum standards, 
 as this is the first expression of color that occurs in the kinder- 
 garten material and first impressions are very important to the 
 child. For many years, possibly ever since their inception by 
 
COLOR IN THE KlNDERGAIiTEX. 43 
 
 Frcjebel, the colors of the First (iift \\:\\v l)een iiiueh nearer the 
 standards now adopted than the colors found in tlie Occupa- 
 tions. But the mistake has been made of using a dark i)uri)le 
 instead of the beautiful violet of the spectrum which is one of 
 the most attractive colors to tlie child, although the least ag- 
 gressive. The First Gift balls should be compared with the 
 sun spectrum, and in this comparison the green and violet of 
 the balls should be as truly representations of the spectrum 
 colors as the other four. 
 
 Sewing. 
 
 "While the colored thread, worsted or silk used in the card 
 sewing or emliroidery affords a connecting link between recog- 
 nition of color and color combination, the sewed line shows but 
 a small surface of color. Nevertheless it is well to work what- 
 ever school of sewing is used in accordance with the theory of 
 color. The application nui&t be made to the school of sewing 
 in its entirety. Any kiudergartuer, however, will be at liberty 
 to modify our suggestions to suit the needs of lier pupils as 
 dictated by her own judgment. 
 
 It seems desirable to use the six standards in the spectrum 
 order, incidentally thereby making the work serve to teach this 
 order. "After each of the six standards have l>een taught and 
 used, let eacli child make a choice of color and then give a gen- 
 eral review. 
 
 In connection with this review -allow the use of the tint and 
 shade of each standard, paynig n<» attention to them as tints 
 and shades, but allowing the cliildren ti» use tlieir own natural 
 expressions for these terms, as light red, dark red, etc. The 
 unconscious expression of the standard with its tint and sliade 
 seems to help fix the standard color in mind, while it also gives 
 n pleasing variety to tlie work. One card, a circle for instance. 
 Laving been sewed in a standard color, the next card may con- 
 sist of three smaller circles and the sewing be done in tlie tint 
 and shade of the standard, this being followed by two circles 
 on one card sewed with the tint and shade only. 
 
 Close up this review by allowing the little folks to ch(K>se a 
 
44 
 
 CO LOB IN THE KINDEBGABTEN. 
 
 color, vequiriug them to tell as they make the choice whether 
 they have a standard orange, or a light or dark orange, as the 
 case may be. 
 
 The circular school of sewing here used is intended merely 
 as a medium for illustrating the order and sequence in which 
 the colors may be employed in any school of sewing. The one 
 idea intended to be expressed is that in this Occupation the spec- 
 trum colors should be used in their order and given their proper 
 names, rather than a miscellaneous lot of colors having no 
 value as standards and no definite names. 
 
 The accompanying designs will be readily understood with" 
 out extended explanation. 
 
 Fig. 1 represents a card pricked for a single circle. Six of 
 these may be sewed, one in each of the standards. 
 
 ^ T :; Srd ;; 5 : 
 
 Rg.Z, rig.5 
 
 Fig .2 represents a First Gift ball, and should, of course, be 
 in one of the standards. A thread from the circle to the dot at 
 the right indicates the string to the ball. 
 
 Fig ."5 introduces the tint, standard and shade in three equal 
 circles. 
 
 Fig. 4 a tint and shade. 
 
 Fig. 5 another arrangement of standard, tint and shatle on 
 one card. 
 
COLOR IN THE KINDERGARTEN. 
 
 45 
 
 Fig. 6 shows the tint, standard and shade iu three concentric 
 circles. 
 
 Fig. 7 another arrangement of circles for tint and shade. 
 
 : 5 •: T :::5ld: 
 
 Fig.4 Fig.5. 
 
 Fig. 8 a very effective arrangement of three equal circles in 
 standard, tint and shade. 
 
 Fig. consists of six concentric circles in the standards, with 
 red at the outside and violet at the center. 
 
 This design can be modified in many ways. The order may 
 be reversed by placing violet at the outside and red at the cen- 
 ter. Also the same design and arrangement may be used iu 
 tints and shades. 
 
 Rg.8. Fig.9. 
 
 The use of sewing iu color instruction is rendered practicable 
 only by the receut introduction iu kindergarten material of cot- 
 
40 COLOR IN THE KINDERGARTEN. 
 
 ton and silk threads in the standard colors and a tint and shade 
 
 of each. 
 
 Weaving. 
 
 The Occupation of weaving affords a greater opportnnit}' for 
 the practical application of color than almost any of the others, 
 partly because the combinations of colors are oftentimes so im- 
 portant a part in developing the design, a good design being 
 not uufrequeutly spoiled by the wrong selection of color. 
 
 Determine before connneucing to weave just how much of this 
 school of work will be given and then study to adapt the true 
 theory of color and harmony to the work as a whole. When 
 beginning the weaving, select the simplest combinations of 
 colors but choose such as will help to fix in the mind the par- 
 ticular color being taught at the time. For instance, if standard 
 red is l)eing studied, use red in combination in the weaving. 
 
 Contrasted harmony is the one best suited to carry out this 
 thought, and the following suggestions are given as an aid : — 
 
 It is always safe to combine a standard with a gray, remem- 
 bering, however, that the effect of a given gray is better with 
 some colors than with others. 
 
 Neutral grays are composed only of black and white and 
 should theoretically combine agreeably with all active colors but 
 with some colors the effect is more pleasing than with others. 
 
 Warm grays contain some red, orange and yellow in addi- 
 tion to the black and white, and the w^arm colors, red, orange 
 and yellow or their complementaries are considered most satis- 
 factory with warm grays, while the cool colors, green, blue, 
 violet and their complementaries combine better with the cool 
 gi-ays. The cool grays are made by adding some blue to the 
 black and white. 
 
 In the Bradley colored papers the warm and cool grays 
 ^marked No. 1 contain but a small proportion of color and usu- 
 ally combine well with any of the spectrum stanchirds or hues. 
 But sometimes the dark grays are more desirable. If limited 
 to the use of one passive color, either white or a light neutral 
 grav IS the best one to use. 
 
COLOR IN THE KINDERGABTEN. 47 
 
 It is also recommeudod that the mat be of the standard color 
 aud the fringe of the passive color. One reason for this ar- 
 rangement, is that the mat furnishes a larger surface of color 
 and this is desirable when a definite color is being taught. 
 Moreover, many teachers consider this manner of combination 
 more pleasing, and if, for example, a red mat and grey strips 
 lu'.ve been used the finished design may be mounted on a white 
 ground and thus a new effect produce'd in three colors. 
 
 Use the six standards in the order they are found in the spec- 
 trum and when they are Avell fixed in mind, review each and in 
 place of the gray combine it with its own tint or shade, calling 
 the latter light and dark colors until the terms tint aud shade 
 are taught in connection with the use of the color wheel. 
 
 This combination of the tint and shade with its standard pro- 
 duces dominant harmony. AVheu considering dominant har- 
 mony the following suggestions may be found helpful. 
 
 Two tints of the same scale combine well, or two shades to- 
 gether produce a pleasing effect and probably in some instances 
 a tint aud a shade will give the better combination ; or a stand- 
 ard may be used with either its tints or shades if desind, though 
 usually the full colors do not produce as good effects as the 
 modified colors. The addition of a passive color is admissable 
 and often improves the effect. 
 
 It is left to the individual taste as to whether the mat shall 
 be of the tint or the shade. When the completed work is to 
 be mounted in a book as with training classes, a pleasing efl'ect 
 is produced by so arranging the work that opposite pages when 
 considered in combination will produce a harmou}'. Jf inter- 
 mediate hues are selected for some of the mats and fringes two 
 adjacent pages may form in combination, either analogous or 
 complementary harmony. 
 
 For example, one page may be in yellow green and the oppo- 
 site in blue green thus producing an analogous harmony or a 
 red page with the opposite in blue green will furnish a com- 
 plementary effect. Thus while each page taken by itself jnay 
 be an example of a dominant harmony, the pages by combiua- 
 
48 COLOR IN THE KIXDER GARTEN. 
 
 tions in pairs facing each other may produce analogous or com- 
 plenientary harmonies. 
 
 Intertwining. 
 
 The relation of color to intertwining is similar to that of 
 color to paper cutting or papei' folding. Much color effect may 
 be developed in the mounting. 
 
 Parquetry. 
 
 Next in irportauce to weaving as regards color is parquetry. 
 This Occupation is valuable alike to the teacher of color and to 
 the drawing teacher in teaching design. 
 
 It embodies the forms of the Seventh (xift and increases the 
 interest in that Gift by bringing in the element of color and by 
 making permanent the forms of life and beauty. 
 
 Begin by arranging simple borders and rosettes. This must 
 be done in accordance with the first principles of design in order 
 that no wrong habits may be acquired which will have to be cor- 
 rected when design is studied in connection with drawing. 
 
 Ju the following borders the use of colors is suggested. 
 
 Figs. 1 to G show the repetition of the same form and color. 
 In Figs. 7 to lo alternation of both form and color are shown. 
 The two colors are indicated by single and double nding in the 
 engraved designs. 
 
 The same principles regarding colors may be modified to ap- 
 ply to rosettes and other designs. 
 
 Fig. 1. Fi(i. 2. 
 
 First repeat the form in a straight line with the same space 
 between each two forms as in Fi"s 1 and 2 
 
 Fio. 3. Fig. 4. 
 
 Next repeat one form in one color, letting the forms just 
 touch as in Fios 3 and 4. 
 
COLOR IN THE KIND EE GAB TEN. 
 
 40 
 
 The same form uud color are used iu each Fig, 5 and Fig. 6, 
 but tlie forms overlap. This is more difficult to do. The forms 
 may overlap from center to center, or only a quarter, but the 
 overlapping should be uniformly the same. 
 
 Fig. 5. Fig. 6. 
 
 When beginning with young children let them paste the forms 
 on a background of any neutral paper or even common mauilla 
 may be used. The parallel line n^ay be shown by a pencil line 
 and dots may be placed to indicate the spaces. If gummed 
 parquetry is used do not allow the child to wet the papers in 
 his mouth. A moist camel's hair brush is a very neat way of 
 doing it. When the ungummed parquetry is used supply each 
 child with a drop of mucilage, a wooden tooth-pick, with which 
 to apply the mucilage and a piece of old cotton cloth. There will 
 be a tendency to use too much mucilage, but very little is needed 
 to fasten the form. Use the cloth to press the form in place, 
 pressing directly down upon it so as not to let it slip from its 
 correct position. Great care must be taken to teach the child 
 to do this work neatly. While these ways have been suggested 
 there is no objection to any other ways wliich may be devised. 
 
 When simple repetition is well understood begin to teach al- 
 ternation. This may be done iu each of the Figures from 1 to (I 
 inclusive by using the same form and alternating two colors. 
 Tlie same form may be placed in groups of two or three ell her 
 touching or overlapping and alternating two colors as in Fig. 7. 
 
 Fig. 7. 
 
 Alternation may be still further illustrated by alternating two 
 forms in either one or two colors and with a space between the 
 forms, as in Figs. 8 and 9. 
 
 Fig. 10 makes use of the same form and altci-UMles tlie i)Osi- 
 
50 
 
 COLOR IN THE KINDERGARTEN. 
 
 tion, these may be spaced or may touch, and the colors can be 
 alternated or not just as the teacher prefers. 
 
 Fig. 11 alternates the position and color and the forms over- 
 lap. The darker squares touch at their corners before the 
 lighter squares are pasted over them. 
 
 Fig. «. Fkt. 9. 
 
 Figs. 12 and 13 are suggestions for producing an alternation 
 in both form and color and overlapping the forms. 
 
 Fk;. 10. 
 
 Fi(i. 11. 
 
 Fig. 12. Fk;. 1;>. 
 
 When sufficiently skilled it will add to the interest of the 
 children if they are allowed to add a narrow margin of the same 
 color as the units. 
 
 The skill which is acquired in handling the parquetry papers 
 will prepare the children for the paper cutting in which they will 
 learn to cut the units to be repeated, and ultimately of cotu'se 
 they will design the unit. 
 
 As it is tlie object of tiiis niaiuial to treat of color tlie subject 
 of form and arrangement cainiot be enlarged upon, and the 
 hints given regMrdiug color nrnmgenient in these few examples 
 of borders are equally applicable to other elementary combina- 
 tions of forms. 
 
COLOR /A' THE KINDERGARTEN. 51 
 
 Paper Cutting. 
 
 While the paper cutting provides a means for making pleas- 
 ing designs and using beautiful colors, the average kindergart- 
 ner has usuall}' confined herself to the use of few colors. This 
 is sure!}' a better course to pursue than to introduce such a con- 
 glomeration of color as is sometimes done. 
 
 Elementary work in color includes recognition of the six spec- 
 trum standards and with young children does not advance be- 
 yond contrasted and dominant harmon}' during the first year. 
 And Avhile the following suggestions are given for carrying out 
 this thought, much must be left to the individual taste and 
 judgment of the teacher in deciding the needs of her own pu- 
 pils. Study how to apply color to the Occupations as a whole 
 as far as is possible. With the children the color used should 
 be such as would aid in the teaching of recognition of color, and 
 with training classes the effect when mounted nuist be consid- 
 ered. During the first year many will doubtless prefer to use 
 but one or two colors for the entire school of Avork, and again 
 some will prefer to employ one color for one sequence or series 
 of cutting, another color for the next and so on. Either way is 
 allowable. The color of the mounting sheets will aid in making 
 the harmony. 
 
 It also makes a pleasing arrangement to use a tint and a 
 shade of the same color in the one series. Training class pupils 
 may mount a design in the tint ou the left-hand page of the 
 mounting book, and a design in the shade ou the right-hand 
 page, or the tint and shade may be combined in the same de- 
 sign, using either of the colors for a background. 
 
 The entire work may be carried out after this plan. It will 
 be fouud that children may also do very good work if allowed to 
 mount their work on a background, and it adds to their interest. 
 Any of the suggestions for sewing, weaving or parquetry apply 
 to this Occupation as well. 
 
 More advanced work may be profitably done in a training 
 class than in a kindergarten because every teacher should know 
 much more of her subject than she expects to teach and this is 
 
52 COLOR IN THE KINDERGARTEN. 
 
 specially true of work in color. This grade of work cau also 
 be introduced in the lower primary schools es|)ecially if the 
 children have had the advantage of a kindergaiten education. 
 As the number of colors studied is increased there is of course 
 a larger range of colors from which to choose, and while domi- 
 nant harmony will be the safest to employ by careful direction 
 on the part of the teacher somethiug may be done, with analo- 
 gous harmony. With training classes this may be done in the 
 mounting, by placing analogous colors on opposite pages of 
 the mounting book or b}' placing the design on a background 
 of any analogous color before mounting it. The latter may be 
 employed with the children. Complementary harmony may also 
 be developed in the same manner by mounting colors which are 
 complementary on opposite pages, while many times a narrow 
 border line of the complementary color is sufficient to give a 
 pleasing result. 
 
 The colors must be selected to suit the design and the right 
 proportion of each color must be used. Many times when a 
 unit of one color and a background of another does not produce 
 a pleasing effect, the combination reversed will be an improve- 
 ment. Experiments and the study of historic art will be very 
 valuable aids to teachers in this work. 
 
 In making complementary color effects in a composition great 
 care must be taken to use very little pure color, and it is rarely 
 that anything approaching a full color can be introduced. The 
 broken colors are far safer and often as beautiful as the pure 
 colors and their tints and shades. 
 
 In this manual no attempt is made to treat of any other sub- 
 ject than color as applied to the several Gifts and Occupations, 
 otherwise much might be said in criticism of the school of cut- 
 ting as very generally adopted in the kindergarten work as iu 
 this Occupation more than in any other there seems to be a 
 demand for advance in the direction of art education. In a 
 school of cutting where an attempt is made to use all the waste 
 pieces of paper in forming a design, the results are in many 
 cases most disastrous to artistic advancement and growth. 
 
COLOR IN THE KINDERGABTEX. 53 
 
 Paper Folding. 
 
 An interesting feature of this instructive Occui)atiou is tlie 
 color thought which may be developed. Here as iu paper cut- 
 ting a few well chosen colors are better than many. In order to 
 be sure that the result will be desirable the teacher nnist first 
 consider the work as a whole and then study the details. The 
 mounting, with training classes, is an inii)ortant item when se- 
 lecting the colors. 
 
 The several folded forms which ai-e to be on one page mav 
 all be of one color if desired, and the coated papers are found 
 to be very effec ive in this Occupation, as the white side when 
 it is folded over produces with the color a contrasted harmonv 
 which is pleasing in itself. This is of course the simplest ar- 
 rangement possible. 
 
 Contrasted harmon}' ma}' also be carried out with the engine 
 colored papers by choosing an active and a passive co'or which 
 harmonize well and folding a part of the forms in each, con- 
 sidering how to bring out the color to the best advantage in the 
 arrangement which must be followed in every sequence or series 
 of folding. 
 
 A good result in dominant harmou}' may be secured by using 
 two or three tones fi'om one color scale, selecting the tone for 
 each folded form with reference to its position on the page 
 when mounted, using the same color scale for the entire school 
 or if desired the effect is good if the teacher wishes to select a 
 different color scale for each series or for each page. 
 
 Heretofore when little attention has been given to the harmo- 
 nies of color it has been popular because safe to execute an en- 
 tire school of folding iu one color. But in this practice much 
 of beauty in the result and of education in the process has been 
 lost. With a well graded line of colors in the engine colored 
 papers very beautiful and effective results can be secured iu 
 the grouping of forms in the mounting, and some of the most 
 valuable instruction in color combinations imparted. While it 
 is imposible to produce iu the eugine colored, or [julp colored 
 papers, the pure standard colors which are necessary for the 
 
54 COLOR IN THE KINDEBGARTEN. 
 
 earliest color instruction, still the Bradley line of these papers 
 is so classified and graded that they ai-e as educational in their 
 way and often more beautiful in combination than the purer 
 colors of the better graded coated papers. 
 
 Concerning Water Colors. 
 
 In a full discussion of the subject of color teaching, the use 
 of water colors naturally calls for consideration, because in the 
 past this material has been the only source from which it has 
 been possible to derive any systematic expression of color in 
 the elementary grades of study. The introduction of properly- 
 graded colored papers has removed this restriction in the lowest 
 grade of work, and the color wheel supplements the papers in 
 the higher grades. 
 
 Water colors when skillfully used produce beautifully soft 
 and delicate artistic results, but even in the hands of an artist 
 this material is not best adapted to strong effects and full color. 
 When a child is old enough to neatly draw any outline and to 
 apply water colors approximately within the confines of these 
 lines the use of the pencil and brush may afford an innocent 
 and valuable occupation under the proper dir ction of a teacher. 
 But for a logical system of elementary color instruction it is 
 almost valueless, because only light tints can be evenly and 
 smoothly spread in this medium and the observation and classi- 
 fication of these faint expressions of color effects require the 
 most expert judgment and best color education. P^lementaiy 
 color instruction must be based on standards, affording the 
 fullest and purest expressions of color which can be obtained, 
 and these cannot be produced by children, nor even by experts, 
 witli the water colors put on the market in cakes and tubes. 
 
 In this statement no disparagement is intended of the beau- 
 tiful color effects produced by our artists in the delicate aqua- 
 relles which adorn our drawing-rooms and are intelligently ad- 
 mired by those who are best educated in color effects. Eut 
 these have the same place in primary color instruction that 
 the purest examples of poetry and prose have in elementary 
 literary education — merely as examples of best expressions. 
 
COLOR IN THE KINDERGARTEN. 55 
 
 In pastel cra^'ons pure aud full color expressions may be pro- 
 duced, and various colors can be beautifully mingled together, 
 but the material is not suited to the use of young children aud at 
 the best is neither neat nor couveuieut for schoolroom practice. 
 Color Blindness. 
 
 The fact that states and cities employ experts to examine the 
 school children to determine whether they are atHicted with color 
 blindness is proof that the ordinary teacher is not considered 
 competent to do the work At the same time if that definite 
 instruction were given in color which is considered essential in 
 other subjects of no more importance, every teachei' would be 
 able to determine definitely if a child under her care has normal 
 color perception and if not, whether the defect is due to genuine 
 color blindness or to a lack of knowledge how to recognize or 
 analyze colors and to give them correct names. 
 
 The importance of such training can hardly be overestimated 
 when one stops to consider the fact that the business mtercsts 
 of many individuals is at stake and that their life work may be 
 a failure for want of proper instruction in this very subject. 
 
 It is of momentous importance to the locouiotive engineer 
 and to the marine pilot, not only as individuals, but also because 
 travelers throughout the world intrust their lives to them for 
 safety. And this class of applicants for positions is but one of 
 a considerable number who may find a good or a bad color sense 
 the turning point in determining what occupation to choose. 
 
 There are varieties and degrees of the defect or disease gen- 
 erally known as color blindness, but recorded experiments ex- 
 tending over a period of several years have determined that 
 only about six per cent of the population can really be called 
 color blind. Genuine color Itlindness has thus far been consid- 
 ered incurable and not in all cases can experts tell whether 
 the ditliculty is with the eye or with the brain. This uncer- 
 tainty is not a matter of i)ractical importance to the teacher. 
 It is only important for her to determine whether defects exist 
 which are equivalent to either partial or total color blindness. 
 
 The only way to ascertain the condition of any one with re- 
 
56 COLOR IN THE KINDERGARTEN. 
 
 ference to his color perception is by having him compare colors, 
 aud not by naming them. Formerly color charts were used 
 for testing color blindness in children, the teacher showing the 
 colors to the pupils and asking the names But a child soon 
 learned, from hearing the others recite, which spot was red, 
 which green, etc., so that the amount of information which the 
 teacher was able to obtain proved quite restricted and the natu- 
 ral desire of the child to show that he possessed as mucli knowl- 
 edge as his mates stimulated him to unintentionally deceive the 
 teacher. The better way of detecting color blindness is through 
 selections made by each pupil. 
 
 Moreover, it is not a matter of indifference what colors should 
 be selected for the pupil to match. Theory and experience 
 combine to show that certain colors afford a more satisfactory 
 criterion of color blindness than any others. Let the teacher 
 give to the suspected pupil a sample of a rather light tint of 
 bluish green, and direct him to select other samples approach- 
 ing this color. If his color vision is normal he will, of course, 
 select only the various hues of green, ranging between the ex- 
 tremes of greenish yellow and greenish blue. If, however, he 
 is either red or green color blind, he will select, in addition to a 
 luunber of green samples, some of the neutral tints — such as 
 gray, buff and drab. The fact of color blindness being indi- 
 cated by the selection of more or less of these neutral tints as 
 matches for the green sample, the teacher may then proceed 
 to test whether the case is one of red or green color blindness. 
 For this purpose the best criterion is afforded by asking the 
 pupil to match a sample of a rather light tint of reddish purple. 
 If he is red color blind, dark l)lues, and violets will be among 
 the colors which he will select to match the light reddish purple. 
 If, on the other hand, he is green color blind, light grays and 
 other neutral tints will be among his selections. If the selec- 
 tion of dark blues as matches for the light reddish purple indi- 
 cates red color blindness, an interesting confirmatory test may 
 be made by asking the pupil to match a sample of the most 
 brilliant red. If he is red color blind, there will appear among 
 
COLOB IN THE KINDERGARTEN. hl 
 
 the reds which he selects to match the sample more or less of 
 the dark shades of greens and browns. While a teacher only 
 versed in the theory of color blindness and inexperienced in 
 the use of tests might reasonably hesitate to take the responsi- 
 bility of pronouncing the pupil color blind, these tests would 
 at least warrant her in I'ecommeudiug the parents of the pupil 
 to submit the child to the eiraminatiou of an expert. 
 
 It is supposed that many more men than women are color 
 blind, but there may be a doubt whether this opinion is not due 
 to the fact that girls are brought so nmch more closely into re- 
 lation with colored material than boys. This problem may be 
 more satisfactorily solved when both boys and girls shall re- 
 ceive a systematic color instruction. 
 
 It must be evident to any kindergartuer who carefully reads 
 the foregoing pages that the brief suggestious regarding color 
 instruction in the use of the kindergarten material might have 
 been indefinitely increased by a multiplication of examples and 
 illustrations. Hut it has been the purpose of the author to 
 merely offer to competent kindergartuers some general sugges- 
 tious regarding the application of tne true theory of color to 
 their work, so that it shall not be necessary for kindergarten 
 children to unlearn iu the high school or university anything of 
 color which they may have been taught iu the kindergarten. 
 
BOOKS FOR TEACHERS. 
 
 PUBLISHED BY MILTON BRADLEY CO. 
 
 KNIFE WORK IN THE SCHOOLROOM. 
 
 PROBLEMS FOR PURILS UNDER FOURTEEN. — BY GEORGE B. KILBON. 
 
 This book aims to furnish the average teacher witli a course in 
 Elenientar}- Manual Training that can be carried on ia any ordinarj- 
 sclioolrooni with tlie least possible expense for tools antl material. 
 Tlie prol)lenis can all be worked out with the pocket knife, com- 
 pass, pencil, gauge and try-square, and they are arrangeil iu logical 
 sequence. The book has 200 pages and 450 illustrations. 
 
 Price, iu cloth and gilt, $1.00 
 COLOR IN THE SCHOOLROOM. 
 
 A MANUAL FOR TEACHERS. — BY MILTON BRADLEY. 
 
 This book sets forth the peculiarities of the Bradley Scheme for 
 Teaching Color to tlie pupils of our common schools and exphiins the 
 use of the Maxwell Disks and Color Wheel. "Color in the Si-hool- 
 room," also indicates what can be done along the various lines of 
 color instruction by the use of the Bradley Educational Colored 
 Ptipers, which consists of standards, hues, shades, tints, grays, black 
 and white, comprising over 100 colors. 
 
 Price, in cloth and gilt, $1.00 
 
 CLAY MODELING IN THE SCHOOLROOM. 
 
 BY ELLEN STEPHENS HILDRETH. 
 
 This book is a manual of instruction in Clay Modeling for the 
 Kinilergiirten and School, based on the curved solids. There has long 
 been a\leni:ind among kindeigartners and primary school teachers 
 for just such a book. The system of modeling outlined bj' Mrs. 
 Ilildreth has the undoubted sanction of use and experience. With it 
 any one can learn to model and any child can learn to see form. 
 Tlie directions are so plain that they can be followed with little 
 ditliculty. The book has numerous illustrations and 75 pjiges. 
 
 Price, paper covers, $0.25 
 HELPS FOR UNGRADED SCHOOLS. 
 
 A MANUAL FOR THE USE OF EDUCATIONAL MATERIAL. 
 
 This book pays special attention to Langunge Work, Form Study, 
 Teaching of Color and Number Work, and takes up the various other 
 branches which are liable to be pursued in the ungraded school. The 
 directions for using the material employed in connection with these 
 studies are very plain and easily understood. The book contains 
 19 chapters and"l30 pages. Price, in paper covers, $0.25 
 
 PARADISE OF CHILDHOOD. 
 
 REVISED EDITION.— BY EDWARD WIEBE. 
 
 This work is an exponent of pure Fi-oebeliau Kindergartning, and 
 forms the best possible foundations for the building of a complete 
 Kindergarten education. The revised edition contains all the matter 
 formerly used in "A Hand Book for the Kindei-garten,'* without any 
 inci 
 yei 
 lithographic plates. 
 
 irmerly used in "'A nana isooK lor tne i\mueigarieu, wiinout any 
 ci-ease in price, and a \>a])(^v on Kindergarten Cultui-e, added some 
 sirs since, making altogether 100 pages of text and 7G pages of 
 thographic plates. Price, paper covers, $1 50; cloth, $2 00 
 
BOOKS FOR TEACHERS. 
 
 PUBLISHED BY MILTON BRADLEY CO. 
 
 IN THE CHILD-S WORLD. 
 
 BY EMILIE POULSSON.— ILLUSTRATED BY L. J. BRIDGMAN. 
 
 This isacliarming book of Moruinj; Talks and Stories for the Kin- 
 dergarten and Primary School, by the well-known author of "Finger 
 Plays for Nursery and Kindergarten," with numerous illustrations by 
 the same artist. There are nearly fifty talks, covering a full y^ear's 
 course, and the book is handsomely bound and printed, with 'over 
 400 pages. Price, in cloth and gilt, #2.00 
 
 COLOR IN THE KINDERGARTEN. 
 
 BY MILTON BRADLEY. 
 
 This little book is intended to be a Manual of the Theory of Color 
 and the Practical Use of Color Material in the Kindergarten. It con- 
 tains the latest information to be obtained on this subject and is 
 illustrated in a way that cannot fail to be helpful to all who are in- 
 terested in color teaching. Price, paper covers, $0.25 
 
 PAPER AND SCISSORS IN THE SCHOOLROOM. 
 
 BY EMILY A. WEAVER. 
 
 This book is planned to give a practical and systematic course in 
 paper folding and cutting for all grades in the public and private 
 schools. The work begins with the simple foldings adapted to the 
 first year in school and enlarges its scope to give cutting suited to 
 higher-grade work. With over 200 illustrations. 
 
 Price, paper covers, .fO.25 
 
 A CHRISTMAS FESTIVAL SEEVICE. 
 
 ARRANGED BY NORA A. SMITH. 
 
 This book is for the Home, Kindergarten and Sunday School and is 
 made up of such songs and carols as have been found popular with 
 little children. The melodies are simple and easily learned, although 
 bv o-ood composers. Most of the songs are intended to be accompa- 
 nied by natural gestures, such as will readily suggest themselves to 
 the little ones. The book is printed with red marginal lines and topi'.'S. 
 
 Price, paper, $0.25 
 
 THE KINDERGARTEN AND THE SCHOOL. ' 
 
 BY FOUR ACTIVE WORKERS. 
 
 This book comprises five papers, as follows : Froebel— The Man and 
 His Work, bv Anne L. Page ; The Theory of Frocbel's Kindergarten 
 Svstem by "ino-eline Brooks; The Gifts and Occupations of the 
 kinder<^arten, bv Angeline Brooks; The Use of Kindergarten Material 
 in the Primary School, by Mrs. A. H. Putnam ; The Connection of the 
 I Kindergarten with the School, by Mrs.TVfary H. Peabody. l-'iO page^ 
 I* " Price, paper covers. .f0..50; cloth, .$0.7» 
 
THE KINDERGARTEN NEWS. 
 
 A Monthly Magazine Devoted to Elementary Education. 
 
 PUBLISHED BY 
 
 MILTON BRADLEY CO., Springfield, Mass. 
 
 FIFTY CENTS A YEAR. 
 
 SEND FOR A SAMPLE COPY. 
 
LIBRARY OF CONGRESS 
 
 019 822 617 8 «