&ngnst 4, 1670. J 



JOURNAL OF HORTICULTURE AND COTTAGE GARDENER. 



S3 



in which I have merely sought to obtain the identical colours existing 

 among trees and shrubs, and must Tefer you to the specimens exhibited 

 to show that these colours really exist. This diagram, hastily exe- 

 cuted, will perhaps also give some idea of the effect of the arrange- 

 ment of the colours which we possess. The light green here is sup- 

 posed to represent the Larch, the dart green the Yew, the reddish 

 purple the purple Beech, the yellow the golden Oak, and the white 

 variegated Acer'Negundo. There is also introduced here the ordinary 

 green of Natnre, which may fairly be taken as the groundwork of our 

 operations. 



Now, I am well aware, and would not ignore the fact, that the 

 colours of the leaves of trees are influenced in some degree by cul- 

 tivation and soil, but this does not affect our argument, as in the 

 majority of cases they still bear the game relation to each other, 



I have now to offer a few general remarks, with brief examples in 

 support of the views which I have advanced. Let us remember that 

 we are working wilh pictorial trees for pictorial effect. We may have 

 spring pictures, summer pictures, autumn pictures, and permanent 

 pictures. Summer and permanent pictures are the most valuable 

 because of their greater durability. Specimens of these are before 

 you, and a list of their names will be given at the end of this paper. 

 The materials for spring and autumn pictures can only be Bhown in 

 spring and autumn. The varying tints of the unfolding leaves of 

 some trees in spring, and the glowing colours of the leaves of other 

 trees in autumn, must be familiar to all observers, and these trees are 

 beautiful in their seasons, whether regarded individually or in com- 

 ibination. But they are transitory. The varied and telling colours of 

 spring, ordinarily, quickly subside into the universal green ; and the 

 bright leaves of autumn fall speedily before the frost and gales of that 

 season. Yet both aTe desirable. The warm red and yellow tints of 

 the unfolding leaves are peculiarly cheering in the cold days of early 

 spring, and should be introduced freely when planting. The splendour 

 of the American forests in autumn is a theme on which many travellers 

 have loved to dwell, and leaves from these forests may be seen in that 

 admirable institution, the South Kensington Museum. The trees we 

 have long had under cultivation, and they are not only available but 

 capable of being wrought up with magnificent effect in this country. 

 Among the most effective of spring trees the Corstorphine Plane (Acer 

 Pseudo-Platanus rlavo-variegatum), yellow ; the Acer colchicum ru- 

 brum (red) ; the purple Horse Chestnut (^Esculus HippocaBtanum 

 purpureum), purple ; and the Silver Poplar (Populus argentea), white, 

 may be instanced. The shades of green at this season are also in- 

 numerable, although for the most part gradually subsiding into one 

 nearly uniform tint. The brightest among the leaves of autumn are, 

 perhaps, the Scarlet Oak (Quercus coccinea), the Liquidambar (L. sty- 

 raciflua),the Stag's-horn Sumach (Rhus typhina), theOstrya virginica, 

 and several varieties 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. candicans), the Norway 

 Maple (Acer platanoides), the Horse Chestnut (M. Hippocastanum), 

 the Salisburia adiantifolia, the Lime (Tilia europssa), the Tulip Tree 

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

 Gleditschia triacanthos, the Magnolia tripetala, the Juglane amara, 

 the Acer Negundo, the Kblreuteria 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 appropriately placed. Here we have dark green, light 

 green, green blotched with gold, and green edged with silver, all cal- 

 culated 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 pictures, 

 but the common Beech (FaguB 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 ever- 

 greens 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 berries 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 

 neighbourhood, 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 appealing in the distance almost to Bweep 

 • oyer the-stusam. Behind rises a mass of the dark feathery Yew, the 

 ■plumes of foliage waving in beautiful contrast of motion, form, and 

 colour. Still farther behind there appear in spring rigid masses of 

 -Apple .blossom, the snow-white crimson -tinted flowers blending in 

 ■beauUfal contrast with the dart and pale green of the Yew and 

 Willow. Here we have the evergreen and deciduous forms in combina- 

 •tion, but they are most effective as a spring or summer picture. Of 

 nil 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 promontories. In parks 

 and gardens, single trees or groups of trees, each group of a distinct 

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

 .oat these ideas we must never lose sight of harmony, remembering, 



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 insti- 

 tuted 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 pro- 

 nounced, that certain of thern 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 

 bo, however, with the colours of trees ; they are bo subdued in tone 

 that the association of the strongest colours does not produce violent 

 contrasts. Again, for this very reason the colours of leaves being less 

 bright than those of flowers, it becomes necessary here to accomplish 

 by breadth of colour that which, with flowers, is effected by brilliancy 

 of tone. Thus it follows that great breadths of scenery may be dealt 

 with most effectively. It is, indeed, a mere question of outlay, and 

 nothing more, whether variety of colour Bhall or shall not be extended 

 from the garden to the outer pleasure ground and shrubberies, the 

 hills of plantations, the outskirts of woods and forests, and the most 

 distant mountains and plains. 



Larii curopaea. 

 Taxodium distichum. 

 Gleditschia triaoantnos, 

 Juglana laciniata. 

 Acer Negundo. 



Fraxinus crispa. 



H monophylla. 

 Alnug glutinoBa. 

 Cytiaus Laburnum. 

 Pyrua Auiiuparia. 



A. — Summer Pictures. 

 1. Light Green. 



Tilia europrea. 



Catalpa syriUH&folia. 

 Robinia Paeud-Acacia. 

 Platanua occidentals. 



2. Dark Green. 



iEaculns Hippocaatanum. 

 Betula nigra. 

 Fagns aylvatica. 

 Ulmus, various kinds. 

 Quereua Cerris. 



3. Reddish Purple. 



Fagus sylvatica purpurea. 

 TJlinus campeHtrm fol. purp. 

 Acer Paeudo- Piatanua fol. purp. 

 Acer japonicum atropurpureum. 



Corylas Avellana purpurea. 

 Qaercua pedunculata purpurea. 

 Quercus nigra. 

 Berberis vulgaris fol. purp. 



4. Yellow or Golden. 



QuercuB Cerris variegata. 



„ Eobur var. Concordia 

 Fraxinna aucubrcfolia, 

 CasLanca veBca variegata. 



Sambucus nigra aureo-variegata. 

 Symphoricarpos vulg. fol. auxeis 

 Spiraea opulifolia lutea. 

 : -'iPflr J 



PopuluB argentea. 

 Acer Negtmds variegalom. 

 Tilia argentea. 

 Pyrua vestita. 



Robinia Pseud-Acacia aurea. 

 5. White or Silvery. 



Pyrus salicif olia. 



Salix argyrea. 

 hhepherdia argentea. 

 Hippophiie rhamnoides. 



Pinus pyrenaica. 



Cedrus Deodara (the green variety). 

 Abies orientalis 

 „ rubra. 



Pinna insignis. 



„ austriaca. 

 Pi«ea Nordmanniana. 

 Araucaria imbricata. 

 Cupreaaus Lambertiana. 



B. — Permanent Pichires. 



1. Light Grzen. 



Bex balearica. 

 Juniperua thurifera. 



„ virginiana. 



,, cbinensis. 



2. Darh Green. 



Quer«us Hex. 



CerasuB lusitanica. 



Phillyrea. 



Garrya elliptica. 



Hollies and Yews, various. 



3. Purple. 

 There are no suitable purple evergreens, consequently this colour 13 

 restricted to summer pictures. 



4. Yellow or Goldenl 



Abies excelsa nnedunensist 

 Cupressua tbyoid^s variegata 

 Hex Aquiiolium aurea. 

 Thuja aurea. 



5. White or Silvery. 



Cedrus Deodara (the glaucous Abies alba glauca. 



variety). Ilex Aquifolium argentea. 



Pinus excelsa. Juniperua virginiana glauca. 



,i monticola 



„ nivea. 



Thuja eldgantissima. 

 Taxus feaccata aurea. 

 Euonymus japonica flavescens. 



Ketinospora pisifera aurea. 



.luniperua virginiana glauca. 

 Rhamnua Alaternus fol. argeuteis 



— W. Paul, Paul's Nurseries, Waltham Cross. 



Mr. Barron, of Barrowash, remarked that all delight to see a pictorial 

 landscape if the picture is a pleasing one, but unfortunately this had 

 not been so prominently brought forward in practice as it should be. 

 If we considered the varied acquisitions which had come into our 

 possession through recent introductions, every pigment necessary to 

 form the finest landscape would be found. We had within reach a 

 great variety of trees both for pictorial effect and for profit, and he was 

 glad to see that arboriculture had engaged special attention. It was a 

 subject that should occupy the attention of all. 



Mr. D. T. Fish complained that the ruin of our landscapes had 



