310 THE FLORIST. 



ON THE PHILOSOPHY OP FLORISTS' PLOWERS. 



To the Superintendent of The Florist. 



No. VIII. 



[Concluded from p. 291.] 



With respect to the case in which more colours than one are asso- 

 ciated in the same petal or blossom, the difference of effect is extreme 

 between a tasteful arrangement, or the reverse ; and taste in this 

 sense, that is, as far as it is subject to certain and invariable rules, 

 comes properly within the scope of this essay. These rules, as before 

 observed, may be classed under the heads of Combination and Contrast; 

 for though the difference between these two modes of harmony may 

 not seem so obvious as is implied in the opposition of the words, yet 

 there is a real and essential opposition both in the principle of asso- 

 ciation and in the effect produced on the beholder. In either case 

 there must be a mutual adaptation between the colours ; but in the 

 one, it is to form a single compound idea ; in the other, two separate 

 and rival ones. 



Whether for combination or contrast, the colours must be in 

 juxtaposition, but not necessarily in contact. Colours that do not 

 readily combine may be seen to do so when there is an interval ; 

 and a contrast is often more striking when it is not only between 

 the colours themselves, but between them as displayed in opposite 

 parts of a flower. It is only requisite that the eye be able to take 

 them in together. 



1. The first mode of combination is that in which the two join 

 and yet are completely distinct, as in two parallel stripes of the 

 African Marigold ; or in which one colour is laid on another, as in 

 the spotted or blotched Calceolaria. For the effect of such an arrange- 

 ment to be pleasing, there must be a positive agreement or a positive 

 diversity between the colours : if the former, they will combine ; if 

 the latter, they will contrast. And the peculiar power of combina- 

 tion is seen in this, that whereas the strongest diversity produces 

 the most striking contrast, in harmonious colours the most striking 

 effect is sometimes when the diversity is least. Thus, in a collection 

 of Pelargoniums, amongst the strong contrasts afforded by the maroon 

 and other dark- coloured spots, a crimson, or still more a scarlet spot 

 on a pink or orange ground, in which there is no contrast, and but 

 little diversity, will be the surest to arrest and retain the eye. Some 

 varieties of Iris, Ixia, and Gladiolus, are remarkable for blending har- 

 monious tints ; indeed the whole tribe of Irids and Amaryllids is as 

 rich in every example of colour as the Orchids are in form. 



2. Another mode of combination is that in which they become 

 partially blended, and form a cloudy mass ; which, if the constituents 

 harmonise, gives the idea of richness, and is usually a mark of high 

 quality. But if the cloudiness be only partial, it will run the risk of 

 an appearance of mere unevenness of colour, which is a great fault; 



