Sources of Color Names. n 



pared it has been found that no two are exactly alike, the 

 difference often being very great. For example : Of five 

 samples of " Vandyke brown" only two are approximate- 

 ly similar, each of the other three being widely different, 

 not only from one another but from the other two, one 

 being a blackish brown, another reddish brown, the 

 third a yellowish orange-brown. Of eleven samples of 

 "olive" no two are closely similar, the color ranging 

 from a shade of dull (grayish) blue-green to orange- 

 brown, dark brownish gray, and light yellowish olive; 

 and the same or nearly the same degree of variation is 

 seen in absolutely every color examined, showing very 

 clearly the utter worthlessness of color names unless 

 fixed or standardized. 



In order to obtain as many color names as possible 

 for standardization it has been necessary to draw from 

 all available sources. Several thousand samples of 

 named colors have therefore been collected, and for con- 

 venience of reference and comparison gummed to card 

 catalogue cards, with the name, source, and other data 

 thereon. These include the colors from many standard 

 works , among them Werner ' s ' ' Nomenclature of Colours' ' 

 (Syme's edition, 1821), Hay's "Nomenclature of Col- 

 ours" (1846), Ridgway's "Nomenclature of Colors" 

 (1886), Saccardo's "Chromataxia" (1891), Mathews' 

 "Chart of Correct Colors of Flowers" (American Flor- 

 ist, 1891), Willson and Calkins' "Familiar Colors," 

 Oberthur and Dauthenay's "Repertoire des Couleurs" 

 (1905), Iyeidel's "Hints on Tints" (1893), '%efevre's 

 Matieres Colorantes Artificiales" (1896), the Standard 

 Dictionary chart of "typical colors," the educational 

 colored papers of Milton Bradley and Prang, and many 

 others; and besides these practically all of the artists' oil, 

 water, and dry colors, manufactured by Winsor and New- 

 ton, F. Schoenfeld and Co., Charles Roberson and Co.> 



