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 apparatus. The results may be tested by any one who comes to the problem with “a clear mind, a good eye, and a fair supply of patience.”

(4) The child gathers flowers, hoards colored beads, chases butterflies, and begs for the gaudiest painted toys. At first his strong color sensations are sufficiently described by the simple terms of red, yellow, green, blue, and purple. But he soon sees that some are light, while others are dark, and later comes to perceive that each hue has many grayer degrees. Now, if he wants to describe a particular red,—such as that of his faded cap,—he is not content to merely call it red, since he is aware of other red objects which are very unlike it. So he gropes for means to define this particular red; and, having no standard of comparison,—no scale by which to estimate,—he hesitatingly says it is a “sort of dull red.”

(5) Thus early is he cramped by the poverty of color language. He has never been given an appropriate word for this color quality, and has to borrow one signifying the opposite of sharp, which belongs to edge tools rather than to colors.

(6) When his older sister refers to the “tone” of her green dress, or speaks of the “key of color” in a picture, he is naturally confused, because tone and key are terms associated in his mind with music. It may not be long before he will hear that “a color note has been pitched too high,” or that a certain artist “paints in a minor key.” All these terms lead to mixed and indefinite ideas, and leave him unequipped for the clear expression of color qualities.

(7) Musical art is not so handicapped. It has an established