and, moreover, if during the horticultural year we ourselves seek to put in practice the precepts we inculcate, we shall perceive that there are periods when white flowers are not, in general, sufficiently numerous to give us the best result in the cultivation of our gardens: for in fact, if these flowers do not produce as good an effect with pale yellow and violet flowers as with the red and blue flowers, still their association is never objectionable. White flowers are the only ones that possess the advantage of heightening the tone of flowers which have only a light tint of any colour whatever. They are also the only ones that possess the advantage of separating all flowers whose colours mutually injure each other. (738.) After the associations of flowers the colours of which are mutually complementary, we must arrange the following: Yellow flowers, especially those which incline to have a Deep-Red flowers accord well with deep-Blue flowers. Orange flowers are not misplaced near Violet flowers. It is, doubtless, superfluous to remark that white allies itself tolerably well with all these arrangements. B. Associations where Plants are mixed pell-mell. (739.) There is a method of arranging the varieties of the same species of annuals or biennials productive of a good effect, which is, to sow their seeds thickly in beds or borders. I will cite, as an example, the seeds of larkspur, china-aster, and, in a word, those which have short stalks, bearing a multitude of white, pink, red, blue, violet flowers, &c. We can obtain an analogous effect by planting thickly anemones. (740.) I prescribe the pell-mell grouping only for beds or borders, and not for plat-bands. When we wish that the latter should offer flowers only to our notice, we must make the associations conform to the law of contrast, and the plants must be at such intervals from each other as to afford greater room for development than in the preceding case, while at the same time their stalks can spread and conceal the earth under the flowers. ARTICLE 2. Associations of Flowers which may be classed in relation to the Harmonies of Contrast of Scale. (741.) Among the harmonies of Contrast of Scale which can be made successfully, I shall only cite the associations of the varieties of the Bengal rose, which present red, pink, and white. I consider the flower of the blood-red Bengal rose as the type of Red, and the pink variety as being a low gradation of the preceding colour; it is for this reason that I associate them, in order to form an effective harmony of contrast of tone. ARTICLE 3. Associations of Flowers which relate to the Harmonies of Contrast of Hues. A. Associations where the Plants are apart. (742.) It is so difficult to succeed in making associations of hues which will have a satisfactory effect, that I proscribe in general the mutual association of flowers the colours of which belong to neighbouring scales. We must then separate Pink flowers from those that are either Scarlet or Orange flowers from Orange-yellow flowers; Yellow flowers from Greenish-yellow flowers; I shall even go further, in advising the separation of Red flowers from Orange flowers; I say that I proscribe them in general, because I leave to the taste of the enlightened amateur the appreciation of associations of this kind, which may have a good effect, but which it would be difficult to define in writing. B. Associations where the Plants are pell-mell. (743.) Flowers which only present contrasts of hues, and which spring from seeds sown thickly in borders or in beds, will not have the same objection as when the roots are planted at a distance from each other. (744.) Finally, there is yet one circumstance where flowers, presenting a disagreeable contrast of hues, may still produce a good effect. It is when their assortment makes part of an arrangement of contrasts of colours strongly opposed; in this case, being no longer seen isolated, it becomes, in a manner, the element of a picture. I shall return to this circumstance (815.). § 2. ASSOCIATIONS OF FLOWERS WHICH RELATE TO THE HARMONIES OF ANALOGY. ARTICLE 1. Associations of Flowers which relate to the Harmonies of Scale. (745.) It is not impossible to make associations of analogy of scale, especially among the varieties of the same species of plants; yet I only reckon shrubs susceptible of taking it, because it will be found that only perennial plants afford to the horticulturist a guarantee that the flowers of one year will be identical in tone of colour with those of the preceding; consequently, if we plant woody shrubs in such manner as to secure a gradation, in commencing by the variety which presents the highest tone, and finishing with the variety that presents the lightest tone, the successive annual flowerings will be constantly according to that order. I believe that we may apply this kind of arrangement to standard roses. (746.) But I shall not advise any one to attempt submitting annuals to this arrangement, because of the uncertainty that exists, I do not say in the colour of individual flowers planted, but in the tone of this colour. For example, although it would be easy to establish an harmonious series with dahlias of different tones of the same scale of red, I do not advise the taking of tubers which have given these flowers, for planting the following year, with the object of again realising this series with the living individuals produced from these tubers, because the colours of the new flowers may not only vary in tone, but also go out of the scale of the preceding year. ARTICLE 2. Associations of Flowers which relate to the Harmonies of Analogy of Hues. (747.) If I have spoken against the associations of contrast of hues (742.), I am the more inclined to speak against the associations of analogy of hue, always considering the restrictions I have enounced above (742., 744.). It must not be forgotten that my intention is to prescribe associations, of which the good effects are certain; now, the more the colours contrast conformably to our law, the more latitude there will be without the associations ceasing to be agreeable, although the colours of individual flowers associated vary in tone and in hue through circumstances unknown to us. Remark. (748.) I shall conclude this Chapter by replying to an objection which might be addressed to me, that the green of the leaves which serves as a ground to the flowers, destroys the effect of contrast of these latter. But it is not so; and to be convinced of it, it is sufficient to fix upon a frame of green silk, two kinds of flowers, in conformity with the arrangement of the coloured bands (Pl. 1, fig. 1), and to look at them from a distance of about ten paces. And this is very simple; when the eye sees distinctly and simultaneously two colours well defined upon a ground, the attention being fixed by them, the surrounding objects producing but feeble impressions, especially those of a sombre colour, which, being upon a distant plane, present themselves confusedly to the sight. This observation relates also to that which I have made with respect to the modification that the green leaves of a garland of roses on stained paper experienced on a black ground (483.). CHAPTER II. ON THE ART OF ASSORTING LIGNEOUS PLANTS IN GARDENS SO AS TO DERIVE THE BEST POSSIBLE ADVANTAGE FROM THE COLOUR OF THEIR FOLIAGE. (749.) If we consider trees and shrubs no longer under the relation of the colour of their flowers, but under that of the manner in which we may employ their foliage in the decoration of gardens by assorting them suitably, we shall perceive that there is only a very small number of contrasts of scale and of hues which it is possible to realise, at least at those periods when vegetation is active; for, in autumn, when plants lose their leaves, the latter, before falling, may assume various colours, such as red, rose, scarlet, orange, and yellow, which by their brilliancy frequently appear to recal the season of flowers. The greater part of trees and shrubs present in the summer season only the green of their leaves; and if this green varies in tone and hue according to the species and its varieties, the differences are always very trifling. There is only a small number of ligneous plants, such as the Bohemian olive, of which the foliage is quite silvery, that is to say, on both sides of the leaves; there is but very little purple foliage, like that of the purple beech. Let us consider this state of things, in order to establish the harmonies of contrast and of analogy. A. Harmonies of Contrast. (750. a.) The most decided contrast of colour we can esta blish between the leaves of ligneous plants is that of green of the highest number with foliage nearest to red; we say |