xlii 
AMERICAN PREFACE. 
certain arrangements of colors, whicli can be acquired in the same 
way. The scientific study of color shows that all the observable 
facts are subject to rigid laws, which can be explained with peda- 
gogical precision, and a knowledge of wliich contributes greatly to 
one’s success in the use of color, or to his enjoyment of its effects. 
Simply by repeated experiment one may learn, for example, that, 
if he desires 'to make an exact copy of a colored pattem, he 
must not use just the colors he thinks he sees, but other colors, 
which, placed side by side, will produce the general effect of the 
given pattem; but a scientific study of the subject enables him to 
understand the reciprocal influence of juxtaposed colors, and so 
to produce at will any elfect that may be required. Thus some- 
thing more than the mere faculty of sight is demanded for the in 
telligent handling of color. It is true that a person who has a 
quick perception of color, and a very retentive memory, may 
learn, without attending at all to the science of color, a great deal 
about its proper artistic use; but w r hat he learns slowly in this 
empirical way, he would learn rapidly by the scientific study of 
his subject, and, when once master of the Science, he would be 
prepared to “ mix his colors with brains.” An historic study of 
color shows how color has been used. This is sure ground, too, 
especially so far as the use of flat tints for decorative purposes. 
Of course there is much essential to the proper handling of color 
that cannot be formulated with scientific precision. Especially is 
this true in the case of chiaroscuro; yet a prior knowledge of 
what can be taught with scientific precision is essential to a com- 
plete mastery of what cannot be thus taught. And so it is not 
merely a blind ‘-feeling for color ” that the artist should possess, 
but also positive knowledge. 
DECOEATIVE AET. 
Decorative art employs both form and color; and, so far as 
these can be taught with precision, so far decorative art has a 
teachable basis. But other things there are which can be taught 
with precision,—things to imitate, things to shun ; things, if 
one does imitate, he is certain to go right, and things, if he does 
not shun, he is certain to go wrong. Among the things to 
imitate is the rhythmical construction and the rhytkmical arrange-