49 



proper combination with the comple- 

 mentary colours of its neighbours. S'or 

 instance, red by the side of yellow 

 assumes a slight tinge of %'iolet, which 

 is the complementary of yellow; and 

 the yellow a shade of green, which is 

 the complementary of red. 2nd. The 

 colours complementary to one another 

 contrast advantageously. This is suffi- 

 ciently evident by the approximation 

 of yellow and violet — composed of red 

 and blue ; red and green— composed of 

 yellow and blue ; or blue and orange — 

 composed of red and yellow. 3rd. The 

 binary associations of composite colours 

 will sdso produce pleasing results, be- 

 cause in each group all three of the 

 elementary colours will be found re- 

 united. That the contrasts will be 

 strong and effective may be judged by 

 bringing together violet (red and blue), 

 and orange (red and yellow), or the 

 former with green (yellow and blue). 

 4th. But the results are poor or bad 

 when simple colours are associated with 

 mixed colours into whose composition 

 they cinter, as in this case only two of 

 the primary colours are represented. 

 Hence red contrasts badly with orange 

 (yellow and red), and with violet (red 

 and blue) ; blue with viqlet (red and 

 blue), or with green (blue and yellow). 

 Yet if the simple colour form but a 

 B&all proportion of tho mixed colour 

 with which it is associated, the con- 

 trast will be sufficiently strong to 

 please the eye. Thus a lively blue 

 produces a good effect by the side of a 

 bright or yellowish green, and bright 

 yeffow by the side of a deep green 

 in which the blue element predomi- 

 nates. But these two cases, as will be 

 seen, come within the preceding rules, 

 which show that, in a general sense, 

 contrasts are agreeable in the same 

 proportion as they are decided. 5th. 

 All odours, simple or compound, are 

 brightened by the vicinity pf white, 

 and, moreover, contrast with it in a 

 most agreeable manner. White has 

 the additional advantage of improving 

 bad combinations, by being placed 

 between the colours that do not look 

 well together, as, for instance, between 

 red and orange, red and violet, or vio- 

 let and blue, &o. Hence, this colour, so 

 freely lavished in nature, plays an 

 important r61e in decorative culture. 

 6th. With the exception of white, all 

 colours are weakened by the neighbour- 

 hood of Uaok, which deprives them of 

 a certain extent of their brilliancy. 

 Dull or deep tints suffer especially 

 when associated with black— resulting, 

 of course, from the feeblencKs of the 

 contrasts. But as black in but few 

 instances occurs in the Vegetable 

 Kingdom, such contrasts could not be 

 effected, except between plants and the 

 soil, when this latter is very dark, and 

 the dull purple foliage of some plants, 

 ■or the deep purple violet flowers of 

 others. The combinations of colours 

 in the flower-garden are commonly, 



binary or ternary, rarely quarternary, 

 unless the green of the foliage be con- 

 sidered as taking rank in these combi- 

 nations. The most commendable 

 binary combinations are as follows, 

 which we arrange in the order of their 

 respective merits :— (a) All colours, 

 simple and compound, with white, 

 though the brighter and purer the 

 colours the more pleasing the contrasts ; 

 for example, bright or deep blue with 

 white, rose or red with white, bright 

 yellow with white, orange with white, 

 green with white, and violet with 

 white. (6) The simple colours together, 

 or with their oomplementaries, such as 

 red and yellow, red and blue, yellow 

 and blue, yellow and violet) orange 

 and blue, and green and red. Ternary 

 combinations are far less numerous, 

 and in most cases white is.au element ; 

 often, indeed, it is repeated. The 

 following examples will enable one to 

 judge : — White, red, and green ; or 

 white, red, white and green ; blue, 

 orange, blue and white ; or white, 

 orange, white and blue ; white, yellow, 

 violet and white ; or white, yellow, 

 white and violet ; yellow, red, white- 

 and yellow ; white, red, blue and white ; 

 tiT, better, white, red, white and blue ; 

 white, orange, green and white ; or, 

 better still, by interposing white 

 between the orange and green ; white, 

 orange, white and violet ; or, still more 

 effective, white, orange, white and 

 violet ; white, yellow, blue and white ; 

 or the same combinations with the 

 yellow and blue separated by white. 

 PATELLiii'OB'Mis — Dish-shaped ; knee-pan- 



Pa'tent, Pa'tens — Spreading. Pa'thlus— 

 Slightly spreading. (See Salvia patens.) 



Pathogen'ous — Producing disease. 



Pathol'osy or Nosology — That part of 

 botany treating upon plant diseases. 



Pad'cub — Few. Applied relatively,, when 

 certain portions are few in one species 

 compared with similar portions in an 

 allied species. Thus PAUOl-fLOKUS, 

 Pauoi-eowus, and PAUCi-juGATtrs, &,c. 



Pio'ta — ^Painted. (See flowers of Signonia 

 pieta.) 



Pectinate', Peotina-'tus — Where a 



" pinnatifid" incision has the segments 



parallel, narrow, and close, like the 



-teeih of a comb. (See fronds of 



Gleichenia.) 



Pec'toral — Relating to the breast. 



PEda'lis — About a foot in length. 



Pe'datb, Ped.a'tus — Where the subordinate 

 parts have a palmate arrangement, 

 with the addition of further subdivi- 

 sion in the lateral portions. Pedat'- 

 IFID, Pedati'mdus — Where ,the sub- 

 divisions of a simple leaf, arranged 

 pedately, extend abput half-way 

 towards the base. 



Ped'icei,— This is the last branch of an 

 inflorescence, supporting a single flower. 

 Pehicbl'late, PBDiOELiA'TDa— Fur- 

 nished with a pedicel. 



