78 
THE FLOEIST AND POMOLOGIST. 
[ April, 
these.In the general or primar}^ outline, variety arising from form can 
only be considered an element of beauty when it is easy and flowing. To ex¬ 
plain which it is necessary first to make clear the difference in the effects of 
straight lines and curves ; for outlines can only be formed by straight lines and 
curves, and the characteristic effects of these are diametrically opposite to each 
other.” 
“ A straight line is one the direction of which is always the same, whence 
its effect is to accumulate force upon a point; and the impression produced by it 
will be asperity, brilliance, and power.A curve is a line the direction 
of which is deflected at every point, according to a fixed law, whence its effect is 
to disperse instead of concentrating force, and the impression produced by it will 
be that of gracefulness, gentleness.To sum up the difference in the 
impressions produced by straight lines and curves, a straight line concentrates 
its force in one direction, and produces the idea of pungency and sharpness. In 
following a curve, the direction of the eye is in a constant state of change, and 
therefore no accumulation takes place ; and as the change can never be abrupt, 
the perception arising from it is one of smoothness, softness, and elegance. Hence, 
curves alone are suited to the general outline, because the general notion of beauty 
must be one of softness; while a moderate amount of straight lines, and of 
angles produced by them, are effective in contained figures.On Variety, 
I would observe that by this term I do not mean exactly that quality which 
gives value to a new seedling plant by reason of its being different from others 
already in cultivation, but a quality to be looked for in any single given specimen, 
irrespective of others—that is, not comparative, but absolute, not as differing 
from its fellows, but as containing differences in itself. 
“ This quality, as observed before, may arise^ from either of the three sources of 
form, number, or colour, or from any two, or all united. The Passion-flower, 
and still more the Water-lily, strike the eye as much from their varied forms as 
colours; and the Hyacinth derives its principal and constant value, irrespective of 
colour, from the same source. The petals of the Eanunculus are alike in form 
and markings, but their numbers contribute as much to an appearance of variety 
as to fullness of outline. And a bizarre Carnation, one which has two colours be¬ 
sides the ground, is considered to belong to a higher class than the simpler flaked 
kinds. From whatever source, however, arising, it is essential that the florists’ 
flower which would claim a high position should not be deficient in this. 
Nor does it signify whether the variety of form be in the substance or in the 
markings of flowers. The Carnation owes much, though not all, of its superi¬ 
ority to the Picotee or the Pink, to the fact that, without violence to its general 
unity, it has no two petals, and no two stripes on the same petal, alike in the 
form of their colours.” 
“To conclude the subject of form or shape, we come lastly to treat of it as 
subservient to an ulterior purpose, to set off to a greater advantage some other 
means of beautv. 
