the children can hardly be expected to recognize and name them when seen separately. If a pupil is able to correctly arrange them in connection with the other tones of the chart, his accomplishment will show a high grade of color perception. But these extreme tones are introduced because their use in the more advanced work of paper cutting and pasting produces stronger and more beautiful harmonies and a higher degree of color training than would result were the tints and shades nearer the standards in tone.
No detailed rehearsal of the lessons for this work is necessary to enable a teacher who has pursued the course of instruction thus far to complete it in a logical way, and relatively little time will be required by the pupils to become sufficiently familiar with these tones for practical purposes, because of their more acute color perception which will be developed at this period.
In the study of color the work of cutting and pasting designs in educational colored papers affords the earliest and best practical expression of the color feeling which has been acquired and stimulates the further development of color perception. The order in which the use of these papers can be most profitably taken up in the occupations of cutting and pasting may be determined by a careful consideration of the subject of harmonies as explained quite fully in the foregoing section entitled "Practical Experiments," Pages 67 to 73.
The first in order is Contrasted Harmony, in which cut papers in one color may be mounted on a ground of some passive color as white or gray. In selecting the gray, analogy is usually preferable to contrast, while neutral gray is fairly safe for all colors. According to this suggestion the warm grays may be used with the warm colors and the cool grays with the cool colors, and in a majority of the cases the lightest tone of gray is preferable.
Without question Dominant Harmonies or the arrangement
