128 COLOUR SCHEMES 



with the green of leaves. In the case of tubs especially, 

 it is the plant that is to be considered first — not the 

 tub. The bright, harsh green on the woodwork makes 

 the colour of the foliage look dull and ineffective. It 

 would be desirable, in the case of soUtary tub plants, 

 to study the exact colour that would be most becoming 

 to the flower and foliage ; but as it is needful, to avoid 

 a patchy appearance, to paint the whole of the tubs in 

 any one garden scheme the same colour, a tint should 

 be chosen that is quiet in itself and that is lower in tone 

 than the dullest of the fohage in any of the examples- 

 Moreover, there is no reason for painting the hoops 

 black ; it is much better to paint the whole out of 

 one pot. 



A good quiet green can be made with black, chrome 

 No. I and white lead, enough white being mixed to 

 give the depth or lightness desired. A pretty colour of 

 paint is much used in France that approximates to the 

 colourman's malachite green. This is not the bright 

 colour of malachite as we know the polished stone, 

 but a pale, opaque bluish green approaching the tur- 

 quoise tints. In the bright, clear climate of France, 

 and in connection with the higher type of French 

 architecture, also in more southern countries, the 

 colour looks very well, though it is not becoming to 

 some fohage ; but something quieter and more sober 

 is better suited for England. 



Elsewhere I have written of the deplorable effect in 

 the garden landscape of the glaring white paint^till 

 worse when tinted blue — that emphasises the ugliness 

 of the usual greenhouse or conservatory. This may 



