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 sary to the musical training of the ear? Like the blazing bill-board and the circus wagon, they may be suffered out-of-doors; but such boisterous sounds and color sprees are unfit for the school-room.

Quiet Color is the Mark of Good Taste. Refinement in dress and the furnishings of the home is attractive, but we shrink from those who are “loud” in their speech or their clothing. If we wish our children to become well-bred, is it logical to begin by encouraging barbarous tastes? ‘Their young minds are very open to suggestion. They quickly adopt our standards, and the blame must fall upon us if they acquire crude color habits. Yellow journalism and rag-time tunes will not help their taste in speech or song, nor will violent hues improve their taste in matters of color.

Balance of Color 1s to be sought. Artists and decorators are well aware of a fact that slowly dawns upon the student; namely, that color harmony is due to the preservation of a subtle balance and impossible by the use of extremes. This balance of color resides more within the spherical surface of this system than in the excessive chromas which project beyond. It is futile to encourage children in efforts to rival the poppy or buttercup, even with the strongest pigments obtainable. Their sunlit points give pleasure because they are surrounded and balanced by blue ether and wide green fields. Were these conditions reversed, so that the flowers appeared as little spots of blue or green in great fields of blazing red, orange, and yellow, our pained eyes would be shut in disgust.

The painter knows that pigments cannot rival the brilliancy of the buttercup and poppy, enhanced by their surroundings. What is more, he does not care to attempt it. Nor does the musician wish to imitate the screech of a siren or the explosion of a gun. These are not subjects for art. Harmonious sounds are the study of the musician, and tuned colors are the materials of the colorist. Corot