50 THE FLORIST AND 
flower garden, but even in this case tliere is a possibility of error. It may 
be so situated as to give a glare of varied color over the whole place, and 
hence become obnoxious by subduing the effect of everything else ; while 
good arrangement would have located it in a spot by itself, ready of access, 
and seen to the greatest advantage from the most suitable positions. 
Whatever is attempted in these matters, ought never to disturb the general 
harmony of individual details, or destroy the effect of other parts, and if a 
place be small, it is much better to have one grand feature, than to be 
dabbling with a list of each, producing nothing, and cramping up every 
thing. 
In making preparation for improvement, some attention ought to be given 
to the arrangement of flowering plants. Those of large and coarse habits, 
never look v^ell in small, or lightly formed beds, while if the same be trans- 
ferred to the shrubbery, or formed into heavy masses, away from the near 
vicinity of the promenade paths, they are seen to advantage, and often 
present a noble appearance. On the other hand, finelj^ colored and delicate 
flowers are better seen, and their peculiar characteristics displayed, when 
more immediately near the eye ; the more humble growers too, ought to be 
the nearest to the edges, and those of higher dimensions in the centre, thus, 
each is allowed to show itself in the best manner, and contribute its individu- 
al portion to the aggregate assemblage, and collective splendor of the whole. 
The various colors also ought not to be lost sight of, for however perfect all 
other parts may be, there is a deficiency in the general effect when this is 
neglected. I do not wish to dictate in such things, as everybody has his 
or her own likings, and according to the individual notion of each, may and 
often do think, that such trifles are of no import, and that all ought to be 
left to their own fancy ; but apart from such considerations, and allowing 
for the full control of individual taste, we must take higher views, and look 
from artistic eminence. There are some landscape painters who excel 
others, in their more beautiful light and shade ; in the striking and pleasing 
contrast, or the soft and complementary blending of the various parts, 
which collectively form a whole. The comparative perfection is here 
acknowledged, and receives popular praise or censure, according as the 
subject is more or less forcibly depicted, and shows its excellence or defi- 
ciency to the inherent principle of discernment possessed by the human 
mind. Now if such is generally accepted, when landscape is only repre- 
sented on canvas, it is surely as important, to say the least of it, that the 
same should be allowed when we work with nature's material. It is a 
great part of our study, to bring together a multiplicity of her greatest 
