If I have wandered to the moral side of the subject, it is because in the kindergarten we have mastered the soul of the child. We know the tremendous import of the emotional nature and the danger of playing upon it. In music and rhythm, we have tremendous instrumentalities for good and evil. Kindergartens, in a way, stand responsible for the emotional element in education and we must see the problem to the end. While the vibration which we have started has passed beyond our reach and control, can we not aid in the larger work of moral reform by taking fresh hold on our ideals, making a vigorous campaign against immoral music? We have censored moving pictures and the theater; why not the most subtle of all the art stimuli, the living art of music, which is an accessory to all recreation? Armed with a Tolstoian righteousness, we may help banish the Apache dances and the grisly melodies from respectable social occasions. Let us enlist our mothers' and parents' clubs anew in a new crusade for the moral salvation.

THE DEVELOPMENT OF THE COLOR SENSE

KATHERINE M. BALL, SUPERVISOR OF DRAWING IN THE PUBLIC SCHOOLS, SAN FRANCISCO, CAL.

The keenest perception of color and the finest appreciation of its beauty is only the result of training, either by means of an æsthetic environment, or thru the process of direct and specific education. Taste counts for naught, unless it is educated.

The degree of growth which a pupil may acquire is dependent upon his inherent qualification and his opportunities for study. Intelligence regarding color is the same as that pertaining to other subjects. Some individuals reach their limit very early, while others are capable of rising to great heights, but all except those who are color blind-of which there are but few-may acquire some knowledge and power, which will be of profit and pleasure during an entire life.

Color training must be eye training. Too frequently, not only has the subject been treated scientifically, instead of æsthetically, but devices have been substituted for principles.

In reviewing the history of pedagogy, it may be seen how the true order of developing the child's mind and faculties has been reversed, by working from the logical to the psychological, from the scientific to the æsthetic, from the technical to the educational.

The teaching of color shared the common fate, and in many localities this method still prevails.

It is very difficult to realize that the small child cares naught for the logical schemes so dear to the adult mind, but the disintegration of white light, the recognition of spectrum colors, and a knowledge of their names, however reasonable the scheme may seem, will never unlock the door of the world's color wonders.

What the children need is the opportunity of seeing and using in combinations, not the six normals, but many colors, so tempered that a discord is impossible.

Their first notions should be derived from color mosaics, in which grayed colors are so juxtaposed that they enhance each other's intensities. The quality of a single color is not absolute, but variable according to its associated colors and to the area which it covers.

A hand placed alternately on a pink and a yellow surface will change its complexion in a surprising manner, while squares of the same neutral gray paper, mounted on different colored backgrounds, will reflect varying qualities of hue.

Again, what appears to be a very subdued color in a small sample, will become most intense when used in large quantities. Most students of chromatics have had the unpleasant experience-when papering a room, or painting a house of seeing a startling spectacle of color intensity, after having carefully selected what appeared in the sample to be very unobtrusive.

Study the scale of normals as it is commonly presented, and compare it with the solar spectrum or even the "bow of promise." How different are the two effects. One is a thing of beauty, while the other is its crude symbol. One appeals to the eye, the other to the intellect. One is an ocular appearance, the effect of visual sensation; the other a scientific formula, derived from the experiments of the laboratory; each a very distinctly different category.

It is such a beautiful device of pedagogy, to begin instruction with the normals, and then advance to their modifications. The child is expected to outgrow the taste for this nourishment, after he has had his fill and assimilated the food. But does he? Alas! his color ideals are derived from his first lessons. After playing with colored balls, working with colored papers, drawing with wax crayons, always using the same fixed hues-color comes to mean the unvarying qualities of the given normals.

What wonder that the sky is thought to be normal blue, and the trees normal green, and that every thing of chromatic beauty is seen thru a false mental color screen?

Seeing color is experiencing a sensation which acts upon the emotions, affecting the individual pleasantly or otherwise. The qualities of the normals, by their very nature, must jar upon the sensibilities of the child; and when all color expression, by means of pigments or with stuffs, is limited to these particular hues thru a period of early school life, the effect cannot help being disastrous.

That the child appears to enjoy his work and that the product seems to justify the instruction, is no proof that the method is not objectionable. While some supervisors have departed from the old way, the great army of teachers thruout the country are still unacquainted with color in its true sense, and color instruction is apt to be more of a detriment than of an advantage to the pupils.

Visit the schools where the old order prevails. It will be difficult to determine the grade where the transition from the study of the normals to the study of their modifications occurs.

See the desecration of our beautiful California poppy, done in normal hues. Observe the normal red apple, the normal yellow banana, the normal green cucumber, the applied design, the maps, the flags, the blackboard drawings-not to speak of the characteristic wall decorations that accompany this scheme of instruction-all warring with each other, causing a riot of contending vibrations, that make us writhe, as they bombard our helpless eyes.

To cultivate the function of seeing the appearance of color, the eye must be constantly exercised, both in perceiving the qualities of single colors and in discerning their conduct in their various relationships. It is not so much knowledge that is desired as power; and for this power constant practice is necessary.

Not only should the children work with well-chosen color in all kinds of materials, but they should live in an atmosphere of refined color where they may unconsciously imbibe its beauty and early acquire true standards of color qualities and values. No one will dispute this statement, but as to what constitutes beautiful color and true standards is an open question to many.

Color judgment should be developed by the study of both nature and art. The creative imagination acquires but little from nature unless fostered by the constant association with art. It is by means of the latter that the subtle beauties of the physical world are revealed to ordinary

eyes.

To advance in art, there must be art examples for study; to learn to see color, there must be plenty of it.

More and more art will be needed in our educational institutions if our children are to be given the kind of education which is to equip them to take their place in the industrial and commercial affairs of the nation's future. Not only should our schools be better equipped with all kinds of examples of art, but our school superintendents and principals should make an effort to learn something of this new education and not leave it entirely to the teachers and art directors. It is the superintendent who creates the conditions of the school department, and when he enjoys the advantages of art culture there will be a corresponding atmosphere in the community over which he presides.

It is not my purpose to discuss "easy methods of teaching color" nor even to define devices and explain systems. Too long have teachers depended upon such resources, while striving to teach a subject which is unknown to them. Instead of resorting to prescriptions of various kinds, they should study the subject. "Educational Art," or "The Formation of Taste" of which color is an important factor-should be included in

every course of instruction, whether it be intended for children or for the preparation of teachers.

But some one says, "Where and how are we to study ?" Seek the expert and take lessons as you do for any cultural subject. Use the museum as you do the public library. "There is none." Then agitate the acquisition of one, for it is a necessity to the community. Haunt the shops where the arts of the Orient may be seen. Strive to grasp the peculiar charm of Persian rugs, Chinese porcelains, and Japanese brocades and prints. If possible, collect a few-even if at a great sacrifice. Place them where they may play upon your eyes, and unconsciously become your impersonal instructors. Follow the lead of the art workers of this decade, who are turning to the East for fresh inspiration. In this field of research may be found high- and low-keyed color schemes, producing rich and vivid as well as subdued and quiet effects, but never a palette of the six normal colors. The wonderful blue described by the Chinese as "the blue of the sky after a summer shower" is never normal. The flame and coral reds of Japan may vie with the hue of the setting sun in its manifold variations, but they never reached the cold crimson of the Occident until the introduction of the kindergarten.

Those of us who attended the Chicago Exposition remember with grief the Japanese exhibit, where, adjoining a wonderful collection of beautiful designs, was placed the kindergarten display. In one case there were inimitable patterns in unexcelled color harmonies; in the other, severe geometric forms garbed in the discordant normals. It did not take much color knowledge to see the difference between the two systems, and the common expression heard was, "What a pity!"

The kindergarten is a noble institution, but, like all human inventions, it will change and adapt its methods of instruction to the more advanced thought of the times. Since it first came into notice, ideas, not only of pedagogy, but of art and of æsthetics, have changed very materially. Its most progressive advocates are beginning to question the original scheme that pertains to color, recommending that it follow the lead of the higher schools, and apply some of the principles expressed in the best. examples of oriental art.

Color is the language of harmony, the ultimate goal of all humanity; but it is so misused and abused that it too frequently is the vehicle of discord. No teacher ever knows this subject until she is able to live it everywhere and in every respect. This means in her attire, in her apartment, in her schoolroom.

It is said, "A man's power is expressed in his greatest achievement but his taste is determined by the smallest violation of its canons." To tolerate an inharmonious color spot anywhere signifies that the observer is not disturbed by it, hence his color sense is as yet in a very elementary state of development, and seriously needs education.

To outline a plan of work for the kindergarten is beyond the province of an art supervisor of the elementary schools, as the conditions governing the two grades of pupils are so different.

The most important question to be considered is that relating to the particular palette which is to be given to the children. When this is answered others will follow, such as: Shall this palette consist of a scale having a definite number of colors, or shall the colors be unlimited? Shall these colors be the standard normals, or a scale of either high- or lowkeyed hues? Shall the same scale be used in the materials of the different gifts, that is, designed for the pigments, or shall they vary? Shall the children use color spontaneously as a means of pictorial language expression, or shall the work be directed, either as dictation or imitation? Shall they use paints, or a pencil of dry color? Shall the colors be used as prepared, or shall the children mix them? Only the kindergartner who not only knows the child but also the subject can answer. By her who is first fitted by nature and then equipped by adequate training must the problem of laying the foundation for a fine color sense in the next generation be solved.

IN MEMORIAM-MILTON BRADLEY

A. L. WEBBER, SPRINGFIELD, MASS.

The measure of a man is his achievements. What he has tried and what he has done, are the blocks with which his monument is builded in the field of posterity. To think, to plan, to accomplish things that are great and good-not for his own reward, but that some part of humanity may find life better and sweeter-these are the qualities that mark man's greatness, that make his name honored and his memory cherished.

Qualities such as these characterized the whole career of Milton Bradley, whose death, Memorial Day of this year, removed a revered and widely known member of this association. His was a life of inspiration and activity for good, which, tho primarily exerted in the world of business, was so closely allied with educational works and progress, that it is meet and fitting that appropriate tribute be paid to his memory at this gathering of educators who, most of all, are familiar with, and appreciative of, his work.

From the narrow environment of a Maine village, Milton Bradley's life developed and reached out into the field of practical education, growing into a power that influenced the teaching of little children thruout the English-speaking world. From the time when, thru his meeting with Elizabeth Peabody, he came under the spell of Froebel's philosophy until his retirement from active business, his whole ambition and energy were spent in the adoption and provision of means for making possible the practicable application of Froebel's teachings to the school system of this