IN THE MAKING 19 



liance, this border was yet visualized as a magnificent 

 whole which seemed to reflect the luminosity and glow 

 of the sunset sky, filling one's soul with a sense of ful- 

 ness, strength, and satisfaction. How different was the 

 border seen a few days ago, where a splendid effect was 

 attempted by the use of Delphiniums, Scarlet Lychnis, 

 and Coreopsis. There the colours were no more brilliant, 

 but being so fiercely opposed, the result was one of rest- 

 less motion floral fidgets, one might say and one was 

 forced to see and consider each plant as a separate 

 element. 



Dark, rich colours garnet, purple, very dark blue, 

 and the dark green of Box or other evergreens are 

 more efficient than white in harmonizing crude opposing 

 colours, for they tend to lower their tones instead of 

 heightening them. Note the softening effect of dark 

 garnet velvet Sweet Williams upon the raw colour of 

 Lychnis chalcedonica. Gray foliage, in even greater 

 degree than white, accentuates the colours to which 

 it is contiguous and, like white, is most satisfying 

 when associated with the tender broken tones laven- 

 der, pinky-mauve, heliotrope, blush, rose, pink, salmon, 

 cream, and buff. Gray and the various white tones 

 cream, gray-white, and greenish-white also associate 

 well, and all these soft shades are charming in each other's 

 company and may be used freely with the primary and 

 secondary colours. 



Some people are much more highly sensitive to colour 



