s color groups. When sufficient of these records have been
obtained, they furnish definite material for a contrast of the color
combinations which please, with those that cause disgust. Such a
contrast should discover some broad law of color harmony. It will then
be in measured terms which can be clearly given; not a vague personal
statement, conveying different meanings to each one who hears it.

+Constant exercise needed to train the color sense.+

(175) Appreciation of beautiful color grows by exercise and
discrimination, just as naturally as fine perception of music or
literature. Each is an outlet for the expression of taste,--a language
which may be used clumsily or with skill.

(176) As color perception becomes finer, it discards the more crude and
violent contrasts. A child revels in strong chromas, but the mark of a
colorist is ability to employ low chroma without impoverishing the color
effect. As a boy's shrieks and groans can be tempered to musical
utterance, so his debauches in violent red, green, and purple must be
replaced by tempered hues.

(177) Raphael, Titian, Velasquez, Corot, Chavannes, and Whistler are
masters in the use of gray. Personal bias may lead one colorist a little
more toward warm colors, and another slightly toward the cool field, in
each case attaining a sense of harmonious balance by tempered degrees of
value and chroma.[33]

[Footnote 33: "Nature's most lively hues are bathed in lilac
grays. Spread all about us, yet visible only to the fine
perception of the colorist, is this gray quality by which he
appeals. Not he whose pictures abound in '_couleurs voyantes_,'
but he who preserves in his work all the '_gris colores_' is the
good colorist."

Translation from J. F. Rafaelli, in _Annales Politiques &
Litteraires_.]

(178) It is not claimed that discipline in the use of subtle colors will
make another Corot or Velasquez, but it will make for comprehension of
their skill. It is grotesque to watch gaudily dressed persons going into
ecstasies over the delicate coloring of a Botticelli, when the internal
as well as the external evidence is against them.

(179) The colors which we choose, not only in personal apparel, but in
our rooms and decorations, are mute witnesses to a stage of color
perception.

If that perception is trained to finer distinctions, the mind can no
longer be content with coarse expression. It begins to feel an
incongruity b