THE FLORIST. 31 I 



and if the constituents do not harmonise the result will be flat and 

 dull. 



3. The last form of combination is when they lose their separate 

 existence, and produce an uniform new tint ; in which case what has 

 been said under the article of colour in general is applicable. Every 

 existing colour may be considered as compound, because every known, 

 or, indeed, conceivable one, may be made up of two others. And it 

 is evident that the number of such must be unlimited ; so that variety 

 produced by colour must be unlimited likewise. And in nature we 

 find it so. The various shades of colour in a self- Verbena give it as 

 much variety as a party-coloured one has. 



It seems hardly determinable with precision beforehand what 

 colours will combine and what will not, or even what will contrast : 

 except that, as might be expected, every colour will contrast with 

 white or grey ; and therefore it may be taken as a rule, that a small 

 white or grey interval will reconcile any two colours. Their position 

 on the solar spectrum conducts but a very little way, and is not to 

 be implicitly trusted even so far as that. It is a deficiency, however, 

 of no consequence ; for even if it were otherwise, our only appeal 

 w T ould be to experience, and that is our guide now. 



Yet thus far is plain, that in contrasts the most dissimilar ele- 

 ments, as those from opposite ends of the spectrum, or dark and 

 light, or any other contraries, produce the greatest effect. And fur- 

 ther, that colours which will not combine into one idea, will often 

 readily harmonise without an interval, if by their position a contrast 

 be excited. Thus the green-edged Auricula is considered the most 

 perfect form of the flower, because the refractory green is made to 

 contrast with the ring of colour by the rings being separated into 

 parts of co-ordinate value by being concentric. 



To conclude, then, if it be asked which is the higher origin of 

 beauty, I would say, Contrast possesses the far greater range of 

 effects, and has all the boldness, energy, and pungency on its side ; 

 but Combination presents all the smoothness, elegance, and high- 

 toned richness of colouring, and, as far as I can analyse my own 

 perceptions, excites the livelier emotions of pleasure. Contrast 

 makes far more out of unpromising materials, and brings out their 

 hidden and unsuspected powers, like pitting them in a contest of 

 skill ; to combination appertains refinement, and the grace peculiar 

 to high breeding. Contrast, in short (to use a quaint similitude), 

 has the virtues of democracy, combination those which may be called 

 aristocratic. 



It is by contrast that the margin of a large-blotched Pelargonium 

 becomes so striking and effective, even when the beauty is enhanced, 

 as it often is, by its being between colours that combine. There 

 should, therefore, be no pencillings, nor any processes of the blotch 

 breaking into it to mar its distinctness. It is by contrast that the 

 white eye of others adds so much to their beauty. Neither of these 

 properties has any positive value; it is relative, and depends on 

 the contrast ; and that in the throat is often formed entirely by the 

 abruptness with which the colour terminates. Hence it is that a 



