Page:A color notation (Munsell).djvu/30

 longs this through 6, 7, 8, and 9. The branch ends carry colored balls, representing the most powerful red, yellow, green, blue, and purple pigments which we now possess, and could be lengthened, should stronger chromas be discovered.

(35) Such models set up a permanent image of color relations. Every point is self-described by its place in the united scales of hue, value, and chroma. These scales fix each new perception of color in the child’s mind by its situation in the color solid. The importance of such a definite image can hardly be overestimated, for without it one color sensation tends to efface another. When the child looks at a color, and has no basis of comparison, it soon leaves a vague memory that cannot be described. These models, on the contrary, lead to an intelligent estimate of each color in terms of its hue, its value, and its chroma; while the permanent enamels correct any personal bias by a definite standard.

(36) Thus defined, a color falls into logical relation with all other colors in the system, and is easily memorized, so that its image may be recalled at any distance of time or place by the notation:

(37) These solid models help to memorize and assemble colors and the memory is further strengthened by a simple , which records each color so that it cannot be mistaken for any other. By these written scales a child gains an instinctive estimate of relations, so that, when he is delighted with a new color combination, its proportions are noted and understood.

(38) Musical art has long enjoyed the advantages of a definite scale and notation. Should not the art of coloring gain by similar definition? The musical scale is not left to per-