1876. ] 
CARNATIONS AND PICOTEES.—CHAPTER IV. 
77 
forms are better suited to set off colours to advantage, as a smooth petal exhibits 
its markings more perfectly than a wrinkled one can.” 
“ Colour is simply for its own sake ; but it produces its effect in two ways— 
by contrasty and by combination.^^ “ These are the few and elementary principles 
on which, with the latitude to be allowed for tastes.depends the effect 
of any flower in pleasing the eye. And it will be found that these principles are 
strictly scientiflc, and reducible to rules capable of application to each species of 
flower, so as to determine in a great and ascertainable measure the value of any 
variety of each species.” 
“ Form or shape is the figure contained by a limiting outline. And it is the 
outline which, for the most part, suggests to the mynd the idea represented by the 
figure.There is, then, always one leading idea suggested by any flower, 
controlled by the general outline of its form, and the disposition of its principal 
parts. This is the characteristic of the flower, to which all its other properties 
must be subservient.And as the general outline takes the lead in the 
impression produced by the flower, a defective form in it cannot be compensated, 
because there is nothing of equal value by a counter-excellence in which it might 
be balanced. .If, therefore, that outline be not full and graceful, the flower must 
needs be faulty.” 
“ Form, considered absolutely.^ possesses a double origin of beauty; its two 
'branches being, as in so many instances, in apparent contrast with each other, 
and these two branches are Unity and Variety .With regard to the 
influences which these two sources of beauty exercise upon our judgments,— 
first, with respect to Unity. If an external outline be broken, one or more of 
these three effects will be produced,—either it will convey an idea of imperfection, 
that something is defective, and needs to be filled up.or, if the parts 
are equal and similar, the flower will not be a whole .or the general 
appearance will be marred by the impression of roughness and harshness, causing 
to the eye a sensation analogous to that communicated to the hand, by its passing 
over a rough, uneven surface. This is exemplified.in the ragged 
edge of some Pinks and Carnations, because in them the defect is in such close 
juxtaposition with the means of its cure—a curve in the outline of the petal, 
and this curve already exists at the base of the serrated point. It always gives 
an idea of harshness. 
“ Next let us consider the effect of Variety. This is even more essential to a 
pleasing form than unity is. It is, as it were, the substance, while unity is the 
form in which that substance should be presented; for without it the ideas 
suggested can be at best but scanty; and it is by a succession of ideas that 
pleasurable emotions are excited; while, at the same time, variety, though ever 
so charming, if not included in one leading impression, will be desultory and un¬ 
connected ; there will be a break in the current of thought, and the result will 
be harsh and disagreeable. 
‘‘ It may consist in forms, or numbers, or colours, or in any combinations of 
