kam of the Central Museum in Trondhjem, Norway. The substance of this paper was presented to the English Museum Association at one of their annual meetings. Museums Journal, Vol. IV, p. 173. See also introduction to the guide to the Parma Gallery, by Corrado Ricci. Color and its Application, by M. Luckiesch. New York. 1915.
Red is beginning to be used again in some of our galleries. Some twenty years ago when Corrado Ricci was doing over the Brera, in Milan, he used a green which has since become known among museum men as "Ricci green." This was so much in vogue at one time and it was considered so perfect as a background that almost all of the older museums became imbued with the desire to tear off the beef-blood red in fashion fifty years ago and be up-to-date by using what they supposed to be the "Ricci green." The original color in the Brera has faded to such an extent now that almost any shade of green may be called "Ricci green" with impunity. Undoubtedly certain shades of green are more becoming to paintings than almost any shade of red, but it is impossible to generalize in regard to color. A very important point, however, that should be taken into consideration is the fact that to the average museum visitor a series of gal-
