the other at the "orange" and the two reflected on to the same spot on a white surface, the result is a color between the red and the orange. So also if we mix red and orange pigments together we may produce colors between the two which may be termed orange-red or red-orange; but unfortunately there is no means known by which we can measure the proportion of the red and orange color-effect which is produced by any given mixture of these two pigments, because color-effect cannot be measured by the pint of mixed paint or the ounce of dry pigment.

The Color Wheel and Maxwell Disks.

We, however, have another means for measuring color effect which just in this emergency seems providential. It is a fact well known to every boy that if he rapidly whirls a lighted stick the fire at the end produces the effect of a circle of light, which phenomenon is explained by a quality of the eye called retention of vision, by which the impression made by the point of light remains on the retina of the eye during an entire rotation. It is a fact, based on the same quality of vision, that if one color is presented to the eye, and instantly replaced by another the effect is a combination of the two colors. Therefore if one-quarter of the surface of a disk of cardboard is covered with orange paper and three-quarters with red paper, and then the disk placed on a rapidly rotating spindle, the color effect is a mixture of red and orange, and the effect is exactly in proportion to the angular measurements of the two sectors, so that if the circumference is divided into 100 equal parts the resultant color will be definitely represented by the formula "Red, 75; Orange, 25."

Less than forty years ago an English scientist named J. Clerk Maxwell while making experiments with such painted disks happily conceived the idea of cutting a radial slit in each of two disks from the circumference to the center so that by joining the disks they could be made to show any desired proportion of each and hence they are called Maxwell disks. With such disks made in the six pigmentary standards red, orange, yellow, green, blue and violet, the intermediate pigmentary spectrum colors may be very accurately determined by combination and rotation. If we give to each of these standards a symbol as R. for red, O. for orange, Y. for yellow, G. for green, B. for blue, V. for violet, we then have the basis for a definite nomenclature of colors in imitation of the pure spectrum colors. As all pigmentary or material colors are modified by light and shade thus producing in high light tints and in shadow shades of the colors, we must seek for some means of imitating these effects, and fortunately find them in white and black disks. If with a standard color disk we combine a white disk we may have a line of tints of that color, and with a black disk, shades. Giving this white disk a symbol of W. and the black disk N. we complete our nomenclature. We cannot use B for black because B has already been used for blue, and therefore we use N. for niger, the Latin word for black.

The Bradley System of Color Instruction.

Briefly stated then this system of color instruction is comprised under the six general heads: Spectrum Standards; Pigmentary Standards based on the spectrum standards; Maxwell Rotating Disks in the pigmentary standards and Black and White; a Color Nomenclature based on the accepted standards and their disk combinations; and Colored Papers and Water Colors made in accordance with these standards.

For spectrum standards, six definite locations expressing the natural æsthetic or psychological impressions of red, orange, yellow, green, blue and violet are selected. Six standards are chosen instead of a larger number as for example twelve, because for the purpose of a nomenclature the smaller number is more convenient than a greater number. The six are selected rather than three, four or five, because while in the consideration of colored light alone the smaller number would possibly suffice to form by combinations imitations of all other colors, any number smaller than six is entirely inadequate to form by pigmentary or disk combinations fairly good expressions of the corresponding spectrum color combinations.

In selecting the spectrum standards special prominence has been given to the psychological color perceptions of experts in determining those locations in the spectrum best expressing the color feeling of red, orange, yellow, green, blue and violet, while the purely scientific consideration of these several questions has not been ignored or lightly treated.

For pigmentary standards the best possible pigmentary imitations of the six spectrum standards are secured and to these are added the nearest approach to white and black that can be produced in pigments.

Pigmentary standards on which to base a nomenclature are valueless without some means by which measurements of standards embraced in a given compound color can be expressed.

The Maxwell color disks are the only known means by which we may measure the relative proportions of color effect embodied in a given color, and therefore the eight color disks are the foundation of the original color nomenclature herein advocated.

Colored papers are chosen for primary color instruction because paper is a valuable medium for simple schoolroom manual training and because no other pigmentary medium is at once so economical and affords such pure colors as may be secured in specially prepared colored papers, without a glazed surface.

Before leaving this part of the subject we do well to remember that in the present conditions of chemistry as applied to the preparation of pigments it is not possible to establish any absolutely definite science of such color combinations. Nor is it possible to establish permanent pigmentary standards without great expense, but if the locations of the standard colors in the spectrum are established by wave lengths the pigmentary standards may be re-determined at any time and produced, in the purest pigments available at the time. In art or harmony effects, the purity of the pigmentary standard is not so important as its hue, i.e. its location in the spectrum, which may always be determined by the established wave length. This last statement may be illustrated by the investigations regarding complementary harmonies. Scientifically one color is not considered complementary to another unless when combined in equal quantities they produce white light, or in other words when combined by the rotation of disks each color must occupy a half circle and the result must be a neutral gray. But this is not essential in considering a complementary harmony, as harmonies in different tones and in various proportions are pleasing and as yet the proportions and tones which produce the best combinations have not been determined.

The entire question of harmonies or pleasing color effects is dependent on individual color perception, and the establishment of rules and laws on these points can result only from a comparison of the opinions of many experts in various localities and at different times. This cannot occur without some means for recording these opinions in generally accepted terms. It is too late for any individual opinion to be accepted as authority regarding the relative values of two different harmonies in color and this will be still less possible as we become better educated in color and able to sense finer distinctions in color combinations.