Difference between Mixture and Variety. 3 J 1 



The ultimate object of the art of producing variety is the 

 same as that of the art of producing mixture — applause to 

 the artist: but in this case the means are addressed to a 

 higher class of minds. The object of variety is not, like mix- 

 ture, to puzzle and confound the spectator, but to charm and 

 delight him, by leading the eye a sort of " wanton chase," 

 as Uvedale Price has elegantly expressed it, from one beauty 

 to another, — alike, but yet different, — presenting in the 

 detail novelty at every movement, and all its parts conspiring 

 to form a beautiful and harmonious whole. The extent to 

 which variety may be carried is determinable arithmetically, 

 by the multiplication of the properties which are to enter into 

 the composition of the scene, in the same way as are calcu- 

 lated the number of changes , which may be rung on a peal, 

 of bells. 



In gardening there are three leading kinds of variety, which 

 it may be useful to notice; the first is, where variety is to be 

 produced from one kind of object, by changes in its disposi- 

 tion on the ground, e.g. planting a shrubbery with one kind of 

 tree, where the variety would be produced by grouping and 

 massing the trees in all manner of ways ; the second is, where 

 variety is to be produced from many kinds ; taking as kinds, 

 magnitude, figure, colour, &c, as well as species and varieties, 

 but where the disposition is fixed ; e. g. a tulip-bed where all 

 the plants are in the angles of squares of the same size. The 

 third kind of variety is, where the first and second data are 

 united, e.g. a shrubbery or a flower-border. 



The second kind of variety, or that to be aimed at in dis- 

 posing a great number of kinds, is alone applicable to tulip- 

 beds, or other flowers placed at regular distances on beds or 

 stages, and nothing can be more easy than to produce it in 

 the greatest perfection which it admits of; viz. by placing 

 masses of one kind after another, taking care to place those 

 kinds which most resemble each other close adjoining. For 

 example, in tulips, to place all the Bybloemens in a bed by 

 themselves, and all the bulbs of each variety of Bybloemen 

 together, and again those varieties adjoining each other which 

 are most alike. The only farther requisite in arranging a 

 bed of Tulips or Crysanthemums, is the choice of a succes- 

 sion of leading colours ; that is, supposing all the shades of 

 any one colour disposed of, what colour should be taken 

 next ? A practical answer to this question is, recollect the 

 order of colours in the rainbow, and if at any time you are at 

 a loss, ask an artist of any kind, from a milliner-girl upwards. 



X 4 



