April  i,  1896.]  THE  TROPICAL  AGRICULTURIST. 
661 
modulations  from  one  key  to  another,  so  does  the 
gardener,  both  in  refereiue  to  the  landscape  and 
the  flower-garden.  Of  late,  indeed,  tlie  principle  of 
discoid  has  luled  in  tbe  flower-garden;  and  this  it 
ever  must  do  when  t'  o object  is  lo  till  ihe  eye  w.th 
a great  sliow  of  ct  lour,  li’or  the  harmony  i.l  colours 
imparts  transparency;  and  though  harmony  bo  iiecer.- 
sary,  if  every  colcur  is  to  be  seen  in  itspiuity,  yet 
when  the  impression  of  all  thi  colours  is  received 
s.multaueoiisly.  they  fill  the  eye  mucli  more  completely 
whtii  they  are  not  in  harmonious  ju.Kioposition. 
{Suppose  for  instance,  three  varieties  of  pansy,  one 
of  which  consists  of  violet  and  yellow  (Doth  pure 
and  finely  modelled  forms),  so  that  they  just  ba'ance 
each  ether,  another  which  is  wholly  violet,  and  the 
third  wholly  yellow,  then  a bed  composed  wholly  of 
the  first,  even  at  a very  shoit  distance  from  i , 
would  soon  cease  to  have  any  effect  at  all.  Yioh  t 
and  yellow'  are  harmonic  or  complementary  colours  : 
when,  through  distance,  they  overlap  each  other,  or  a 
Cel. fused  seu^atiou  of  both  is  received  by  the  eye, 
all  colour  tends  to  vanish,  and  mere  iranspai  enc> , 
or  the  ground  colours  beneath,  tend  lo  icniain. 
,\nd  indeed,  almost  ail  colour,  ev  n at  the  disiauce 
of  distinct  vision,  may  be  made  to  vani.-D  if  the  yellow 
and  violet  be  in  just  proportion  to  each  other  and  i ei- 
fectly  complementary  or  harmoniocs.  By  spinning 
the  flower  round  under  the  eye  with  sufiicient  rapi- 
dity it  will  seem  merely  white  or  giey.  If,  again, 
half  the  flower-btd  be  planted  with  the  pansies  which 
are  wholly  violet,  the  wfiole  h d will  hi  ar  to  be  looked 
at  from  some  distance,  and  will  still,  in  some  mea- 
sure, fill  the  eye.  But  let  the  violet  colour,  which 
is  harmonious  with  the  yellow,  be  removed  and  its 
place  be  takeir  by  some  discordant  colour,  such  as 
bright  red,  and  the  bed,  now  half  scarht  now  half 
yellow,  will  send  on  its  yellow  as  well  as  its  scarlet 
to  the  eye,  and  fill  it  to  a much  greater  distance. 
It  is  to  oe  admitted,  therefore,  that  though  it  s- enrs 
at  first  as  if  there  were  much  that  is  n erely 
in  the  prevailing  fashion  of  flower-beds,  yet  there 
is  principle  for  it  too. 
But  there  must  be  no  such  tampering  with  the 
landscape.  There,  transparency  and  purity  of  tint 
come  to  be  the  primary  object  of  regard  ; for  the 
beauty  of  the  landscape  is  that  of  expression,  and 
almost  everything  depends  upon  form.  Staring 
colours  may,  indeed  sometimes  be  introduced  w.tli 
good  effect,  and  serve  a valuable  purpose,  but  only 
to  draw  awny  the  eye  from  defects,  nevi  r to  en- 
hance beauty.  One  of  the  first  demands  of  the  soul 
in  leference  to  the  landscapte,  is  for  amplitude  ; and 
bright  colours  always  give  the  impression  r-f  little- 
ness. No'doubt  the  idea  ■ f “ sm  p',”  box,”  &e., 
is  not  without  a certain  cluuin;  but  Llie  treatim  nt 
of  such  subjects  lies  out  ide  the  spliere  of  the  lands- 
cape-gardener, except,  perhaps,  as  a discord.  That 
charm,  in  fact,  is  whofly  of  a social  natuie. 
What,  then  let  us  ask,  arc  the  forms  which  impart 
beauty  to  the  landscape’  and  which  the  landscape- 
gardener  and  a' horiculturii  t has  to  oh.-eiva  and 
develope  in  oiderto  perceive  and  to  exalt  the  beauty 
of  a domain  or  country  side?  To  most  pers(  ns  this 
question  will  sei  ni  a very  bold  one,  perhaps  a n>-ed- 
Uss  one,  since  the  general  impression  is  that  no  such 
forms  are  disco'crable  in  scicTilific  way,  hut  only 
c n Icsecu,  or  rather,  indeed,  felt,  wlien  tlio  he-auti- 
ful  objects  are  under  the  eye.  It  is  certain,  li-  \vcvor, 
that  the  artist, — when  fully  entitled  to  tlie  name, 
whether  he  he  a musical  cemposer,  an  arcliitect,  a 
sculptor,  a painter,  or  a landscape  gardener,— knows 
perlectly  well  that  a certain  expressi  ii  niiitormly 
attaches  to  certain  modes  of  composition,  and  the 
development  of  certain  forms  on  hi.s  part.  He  may 
not  be,  and,  indeed,  seldom  is  altle  to  give  an 
acco  nt,  either  to  himself  or  to  others,  of  the  parti- 
cular areas,  forms  or  lines  on  which^  that  effect  de- 
pends Bat  never  dcubts  that  the  pleasing  effect 
has  its  cause  in  the  visible  features  wliich  his  f.it 
enables  him  to  introduce  in  his  composi.ious.  Ho 
never  doubts  that  there  are  prim-iplcs  of  b auty 
which  never  fail  to  strike  and  to  plea-e  good  taste. 
Kay,  he  knows  and  lie  shows  that  he  is  himse'f  in 
possession  of  these  principles,  though  he  cannot 
disentangle  them  from  their  accessories  or  say  pre- 
cisely what  they  are. 
Nevertheless,  they  have  been  disentangled  to  a 
^leat  ext  nt,  and  here  let  us  shortly  bring  them 
forward-  It  wi.l  at  least,  be  a pleasing  exercise  of 
mind  fur  tiiose  whose  calling  is  to  converse  with 
natuie,  to  observe  nature  in  relation  to  the  princi- 
ples of  beauty  in  the  landscape,  and  in  its  several 
(-Icments  now  to  be  unfolded,  with  a view  to  verily 
tlicse  principle-',  and,  if  found  true,  to  apply  them 
in  art. 
What,  then  let  us  ask,  is  the  secret  of  the  be.aaty 
of  the  landscape,  and  how,  in  any  given  case,  may 
that  beauty  be  enhanced  by  the  lanclscape-gardene' , 
the  architec*,  or  other  artist  ? Now,  to  this  tlife  answer 
undoubtedly  is,  that  secret  of  tlie  I eaiUy  of  nature 
is  one  and  the  same  thing  with  the  seer  ta)f  n ituie 
herself.  It  is  tlie  same  economy  which  imike-i  i alure 
to  ba  wliat  she  is  which  alsj  makes  her  lo  bebehu- 
tifu’,  In  other  word-',  tlie  laws  of  iia’ure  are  tlie 
sonrcei  (f  beauty.  And  any  landscape  or  scene 
which  is  eminently  lx  amifiil,  is  so  beautiful  jurt 
because  their  nature  is  moving  acot.rdiug  toher(-wu 
laws  in  triumphal  procissiou  from  the  point  of  view 
of  the  !)•  h,  Ider. 
But  this  theory’ it  may  be  justly  said,  is  toogeneral 
to  be  of  any  pract  cal  use.  It  is  not  disputed,  but 
it  ca' not  be  applied.  Now,  this  criticism  is  jus(. 
We  must,  therefore,  ask  in  detail  what  are  tlio  e 
I'eatn'ies  which  the  fiee  and  unimpeded  operation  cf 
the  laws  of  natuie  tend  to  induce  in  tlm  landscape  ? 
And,  as  a first,  step  in  this  direction,  we  must  ask 
w’hat  it  is  that  makes  any  poitioii  of  count  y to  be 
entitled  to  the  name  of  a landscape?  Now,  to  this 
the  answer  is,  that  a portion  of  country  becomes  lo 
the  observer  a landscape  as  soon  as  he  regards  it 
as  a unity,  that  is,  as  soon  as  he  can  look  upon  it 
or  fix  his  g.rze  upon  it,  without  his  thoughts  or  hia 
eye  wandering  t j other  quarters.  This  will  not  be 
disputed.  But,  in  making  this  step,  we  have  also' 
made  a step  in  the  disco  ery  of  the  secret  of  beauty. 
The  mind  can  never  be  happy  except  when  it  is 
moving  in  harmony  with  the  laws  of  its  own  activity, 
that  is  the  laws  of  intelligence.  The  Beautiful, 
therefore,  which  makes  the  mind  happy,  must  be 
something  which  draws  out  the  mind,  and  invitts 
it  to  move  in  harmony  with  tiie  laws  of  intelligence. 
Now  of  all  these  la.vs,  one  of  the  most  imperative 
is,  that  the  unity  of  consciousness,  which  is  the 
very  centre  and  characteristic  of  intelligence,  shall 
not  he  disturbed,  hut,  on  the  contrar}',  shall  be 
supplied  with  some  unity  in  the  outward  which  ,t 
may  fix  upon,  fleiice  the  eye,  in  limiting  for  itsel  , 
and  electing  a portion  of  country  as  a landscapi , 
has  already  disclosed  what  is  the  first  principle  ot 
the  beautiful  in  every  department.  And  it  is  thi'', 
that  the  beautiful  onject,  however  vast,  must  siill 
possess  a certain  unify.  'This,  in  the  nios'  general 
point  of  view,  is  the  first  principle  of  beauty,  whether 
in  the  landscape  or  any  other  beautiful  composiiior. 
The  object  must  admit  of  being  construed  as  a uiiit^ . 
The  mind  must  be  able,  which  elfort,  to  embrace 
it  as  one. 
But  ihe  mind  such  an  agent,  that  while  it  wi'l 
not  and  cannot  give  itself  lo  more  than  one  object 
at  a lime,  it  is  so  inliinsically  active,  that  itweaiie-i 
almost  immediate'y  if  ihc  unity  whicli  engages  it  1 e 
a unity  or  uniformity  merely.  Along  wi  h iiiiily  in 
t e object,  wliich  is  ihe  fil■^t  eomlilioii  cal  ed  fo  , 
because  it  is  the  coiiditi  ni  of  uiulis  urhed  a tenti  n 
or  contemplation,  the  meiual  activity  calls  forvaii-.  ly 
ill  that  objee',  so  that  the  mind,  wi  bout  losing  ho.d 
of  it  as  a unity,  may  he  fite  lo  ramble  over  it  and 
discourse  freely  upon  it. 
fTo  he  coHcladul. ) 
A BIBLIOGUAPHY  OF  TEA,  COFFEE,  AND 
CACAO. 
(7'c»  the  Eifitor,  “ Tropivnl  Afp'ieulturi'it.”) 
Hampstead,  London. 
Deak  Sir,— I herewith  send  you  the  sketch  of  a 
work  which  I hope  soon  to  extend  into  book  form,  and 
which  ha-i  occupied  me  olT  and  on  for  the  last 
three  years.  It  is  a “ Bibliography  of  the  liitorature 
of  Tea,  Coffee,  and  Cacao’  ; and  I thought  it  only 
