an expert artist shall know anything of the science of color, still if he is to communicate his knowledge of art to any others except his personal pupils, he must have some language in which to make known his ideas, and on the same grounds if any psychological tests are to be made regarding color, it is evident that there must be some accepted terms in which to record the results, which has not hitherto been the case.

When the well known Newton and Brewster theory of three primary colors red, yellow and blue, was advocated by those scientists there appeared to be something of interest and value in it for the artists also, because with the three pigments red, yellow and blue, they seemed to be able to confirm the truth of the scientific theories regarding the spectrum colors. But the scientists have long been convinced that there is no truth in this theory and have quite generally accepted the Young-Helmholtz idea of three other color perceptions red, green and violet, from which they claim all color vision is produced, and which they call fundamental colors.

This more modern theory has seemed so far removed from the realm of the artists and the colorists that they have not been able to see anything in it of truth or value to them, and so have continued to repeat the old, old story of the three primaries red, yellow and blue, from which the secondaries orange, green and purple are made etc., etc., all of which is the more pernicious when accepted as a correct theory because of its seeming approximation to the facts. And yet there is not in it all any scientific truth on which to build a logical system of color education, and some of the effects which are considered prominent arguments for the system are directly opposed to well known facts in the science of color. Consequently, the artist has failed to gain from the investigations of the scientists anything to aid him in his pigmentary work, and the scientist has not been interested in the æsthetic ideas of the artists which in fact he has generally been unable to fully appreciate, from lack of training and associations.

The system of color instruction here presented for primary grades is based on the results of careful study and experiment for many years in which the attempt has been made to bring the scientist and the artist on to common ground, where they may work in sympathy with each other instead of at cross purposes as has been the case heretofore, and the results with children have already been such as to testify fully to the efficiency of this line of work.

Thus the feeling for color which every true artist has, may be to a certain extent analyzed so that it can be understood by the scientist and recorded for the benefit of fellow artists one hundred or a thousand miles away and in time an aggregation of facts regarding the psychological effects of color collected which will form the beginning of a valuable fund of color knowledge to be increased from age to age.

The Speculations of the Past.

Ever since Newton produced the prismatic solar spectrum, the so-called science of color as applied to pigments and coloring, has been a most curious mixture of truth, error and speculation. It was supposed by Newton and Brewster that in the solar spectrum the colors were produced by the over-lapping of three sets of colored rays red, yellow and blue. The red rays at one end were supposed to overlap or mix with the yellow rays to make the orange, and on the other side of the yellow the blue rays were supposed to combine with the yellow to produce green.

Following the same theory in pigmentary colors, it has been claimed that all colors in nature may be produced by the combination of pigments in these three colors red, yellow and blue, and hence they have been called primary colors. It is still claimed by the advocates of this theory that from the three primaries red, yellow and blue the so-called secondaries orange, green and purple can be made, and that the secondaries are complementary to the primaries in pairs; the orange to the blue, the green to the red and the purple to the yellow.

By similar combinations of the secondaries it is claimed that three other colors, in themselves peculiar, and different from the first six, may be made, the orange and green forming citrines, orange and violet russets, and green and violet olives and these are called tertiaries. After having accepted this fiction as a scientific theory for so many years, it is very difficult to convince the artists and colorists that in it all there is nothing of value to any one, but such is practically a fact, because from no three pigmentary effects in red, yellow and blue can the three colors orange, green and purple of corresponding purity be produced, neither are the primary colors complementary to the secondaries as claimed nor are the so-called tertiaries new and distinct colors but simply gray spectrum colors.

Because the red, yellow and blue theory would not stand the test of scientific investigation the Young-Helmholtz theory of three other primaries red, green and violet, has been quite generally adopted by the scientists of the past generation.

What the Primary Teacher Needs to Consider.

All these discussions of the scientists are intensely interesting and no doubt of great importance in the line to which they pertain, but practically neither the artists nor the primary school teachers care for all these theories and discussions and because the scientists have closely confined themselves to these lines, the artists and teachers have seen nothing of value to them in their theories.

In going to the solar spectrum for standards on which to base pigmentary standards, we have given little attention to these various theories in their details, but the one fact of science has received careful attention, namely, that all color effects in nature and art are produced by light reflected from material surfaces. Therefore, inasmuch as the light reflected from any surface must be affected by both the material color of the surface and the color of the light which illuminates the surface, it is necessary that every one having to do with this subject be informed as to what color must be expected to result from given conditions.

In order that this phase of the subject be discussed and thus more fully understood, there must be a terminology or nomenclature in which to express the results produced by given conditions, and also standards by which to analyze, measure and record these results. In selecting these standards more regard must be given to the æsthetic or psychical effect of the pigmentary standards than to the purely scientific or physical properties of colored light. This selection is of great interest to the physiological psychologist because it is only by the comparison and averaging of thousands of experiments made on different people that valuable theories can be formulated.

With standards and a nomenclature, color will be placed on an equal footing with other subjects, so that perceptions of color effects may be recorded and discussed with much of the definiteness with which we treat form and tone. Because this has not heretofore been possible, comparatively little advance has been made during the last two decades in the æsthetic consideration of material color which is the only practical phase of the subject, and if any greater progress is to be achieved in the future it evidently must be along new lines.

From the nursery to the university we are constantly asking two questions, "What is it?" and "Why is it?" and this is what the educator from the Kindergarten to the College is called upon to answer. In his laboratory the psychologist is collecting physical facts by tests regarding the powers of the eye and the ear, the