4G6 THE GARDENER. [Oct. 



of Cherries, Pears, and Maples ; these usually die off bright red. Of yellow shades 

 may be instanced the Lombardy and Ontario Poplars (P. fastigiata and P. candi- 

 cans), the Norway Maple (Acer platandides), the Horse-chestnut {JE. Hippo- 

 castanum), the Salisburia adiantifolia, the Lime (Tilia Europcoa), the Tulip-tree 

 (Liriodendron tulipiferum), the "White Mulberry (Morus alba), the Gleditschia 

 triacanthos, the Magnolia tripetala, the Juglans amara, the Acer Negundo, the 

 Kolreuteria paniculata, the Birch (Betula alba), and certain varieties of Cherries, 

 Pears, Thorns, and Maples. 



As examples of planting for pictorial effect, nothing can be more beautiful in 

 the flower-garden than pillars or columns of Ivy, provided that they be appropri- 

 ately placed. Here we have dark green, light green, green blotched with gold, and 

 green edged with silver, all calculated to form permanent pictures. Standard 

 and pyramidal golden Yews and golden Hollies also form beautiful permanent 

 pictures in the garden. All permanent pictures are of course also winter pic- 

 tures ; but the common Beech (Fagus sylvatica) deserves special notice : it holds 

 its reddish-brown leaves throughout the winter, and this colour stands in warm 

 and beautiful contrast with the Pines and other Evergreens at that season. The 

 white bark of the Birch, the white, purple, and yellow bark of certain species of 

 "Willows, the red and yellow berries of the Holly, and the yellow and black ber- 

 ries of the Privet, are also invaluable for winter decoration. I have often admired 

 the effect of three large trees placed in juxtaposition in a garden in my neighbour- 

 hood, whether by accident or design I have no means of ascertaining. Near the 

 bend of a river is a Weeping Willow, the pale-green drooping branches appearing 

 in the distance almost to sweep over the stream. Behind rises a mass of the dark 

 feathery Yew, the plumes of foliage waving in beautiful contrast of motion, form, 

 and colour. Still further behind there appear in spring rigid masses of Apple- 

 blossom, the snow-white crimson-tinted flowers blending in beautiful contrast 

 with the dark and pale green of the Yew and Willow. Here we have the ever- 

 green and deciduous forms in combination, but they are most effective as a spring 

 or summer picture. Of all the errors to be avoided in the association of colours, 

 I would caution the planter against an arrangement that should present a "spotty" 

 appearance. Broken lines or irregular shapes of colour appear to me more 

 desirable in forming plantations or belts than figures with a more easily definable 

 outline. On the face of belts or woods three or five plants of a kind may be 

 planted in a group, the outline being so broken that there are bays or promon- 

 tories. In parks and gardens, single trees or groups of trees, each group of a dis- 

 tinct colour or shade of colour, would seem most appropriate. In working out 

 these ideas we must never lose sight of harmony, x-emembering, however, that 

 there are harmonies of contrast as well as of analogy. There is another point 

 which should on no account be lost sight of. There are some trees the effect of 

 which is beautiful close to the eye, but which lose their distinctive character in 

 the distance. Such are more appropriate to the garden, where brought in close 

 contact with the eye, than in the distant landscape. But there are others which 

 lose little or nothing from a distant view, and these facts must be taken into 

 account and acted on when planting. As a rule, trees with variegated leaves are 

 best placed near to the eye, and those of one uniform tint are most effective in 

 the distance. I have already instituted a comparison between the colours of 

 flowers and the colours of leaves, but there is an important difference in them 

 which I must not omit to mention. The colours of flowers are often so bright 

 and pronounced that certain of them cannot be judiciously brought into close 

 contact; they require an intervening mass or line of some intermediate or neutral 

 colour to render the effect agreeable and satisfactory. Not so, however, with the 

 colours of trees ; they are so subdued in tone that the association of the strongest 



