study in the lower grades pigments of some kind must be introduced.
Oil colors, of course, are out of the question and pastels almost equally so, for although full colors may be produced in both these mediums, they are not suited to the use of young children, and at best are neither neat nor convenient, while colored pencils are entirely unsatisfactory in results. Therefore water colors seem to be better adapted to primary work than any other pigmentary material.
Owing to the fact that no water colors have ever been made from which close approximations to the six standard colors established in the educational papers can be selected, it is somewhat difficult for the children to make the transition from papers to pigments.
For example, carmine or vermilion, or both are furnished for red, in boxes of water colors, but as neither is the color the child has been taught to call red, and there is usually no orange, he is in doubt at the very start, and a similar difficulty exists in all the other colors. But for this there seems to be no remedy, unless in clue time water colors shall be manufactured from which colors approximating the standards can be . selected. With water colors corresponding to the standards, and a few dark browns and grays, or possibly only one each of the last two, the transition from papers to pigments will be very greatly simplified and the pigments may then be used with advantage very much earlier in the course. (See note on page 123.)
Of necessity the pupil must later be able to recognize any pigment he may meet and to classify it according to its color value and also to give it a definite name, other than the one by which it is sold.
More than one professional artist has already worked successfully from nature in oil colors with a pallette consisting of only close approximations to the six standard colors with white and a few grays. A person whose color perception has been trained by the use of the color disks in six standard colors with
