On the Principles of Grouping Colors. 171 



time, due harmony must prevail, so that violence is not done 

 to the principles of unity and symmetry, by making some of 

 the beds very large, and the rest very small ; or by placing 

 tall plants in small beds, and vice versa ; but the size of the 

 beds should decrease in gradation from the largest to the 

 smallest, and the height of the plants must be in proportion 

 to the size of the beds. Their general dimensions, also, 

 should bear a due proportion to the size of the whole, so that 

 we may not produce a large garden composed of a great 

 number of very small beds, or a small garden composed of 

 beds of a large size. And moreover the whole garden should 

 not only be in harmony in all its parts, but should also 

 harmonize with the surrounding scenery ; and as a flower 

 garden is confessedly an artificial object, while no attempt 

 should be made to conceal or disguise its artificial character, 

 but, on the contrary, its distinctiveness or individuality ought 

 to be maintained, it therefore becomes necessary, when placed 

 amid natural scenery, that, in order to make the artificial 

 harmonize with the natural, the transition from the regular 

 lines and forms, and gardenesque appearance of the one, to 

 the irregular lines and forms, and picturesque appearance of 

 the other, should not be sudden or abrupt, but should inter- 

 mix with, or gradually melt into each other, so that no 

 definite mark may exist where the one ends and the other 

 begins. 



To proceed with the arrangement of colors. It is found 

 that in nature there are only three original or primary colors, 

 red, blue, and yellow. From the union or mixture of these 

 three, in pairs, all other colors or tints are produced. Thus, 

 yellow and blue produce green, red and yellow produce 

 orange, red and blue produce purple ; and by varying the 

 mixture and degree of intensity of each, all other colors or 

 tints may be produced at pleasure. 



It being the case that when certain colors are placed in 

 juxtaposition, the brilliancy of each is impaired, and a disa- 

 greeable or discordant effect is produced ; while on the contra- 

 ry, when certain others are brought in contact, the brilliancy 

 of each is heightened, and a pleasurable effect is produced in 



