1878 .] 
THE PHILOSOPHY OF FLORISTS FLOWERS —VIII. 
1G7 
THE REV. G. JEANS ON THE PHILOSOPHY OF FLORISTS’FLOWERS, 
No. VIII. 
)ITII respect to the case in which 
more colours than one are associated 
in the same petal or blossom, the 
difference of effect is extreme between a tasteful 
arrangement, and the reverse ; and taste in this 
sense, that is, as far as it is subject to certain 
and invariable rules, comes properly within the 
scope of this essay. These rules, as before 
observed, may be classed under the heads of 
Combination and Contrast; for though the 
difference between these two modes of harmony 
may not seem so obvious as is implied in the 
opposition of the words, yet there is a real and 
essential opposition, both in the principle of 
association and in the effect produced on the 
beholder. In either case, there must be a 
mutual adaptation between the colours ; but in 
the one, it is to form a single compound idea; 
in the other, two separate and rival ones. 
“ Whether for combination or contrast, the 
colours must be in juxtaposition, but not 
necessarily in contact. Colours that do not 
readily combine, may be seen to do so when 
there is an interval ; and a contrast is often 
more striking when it is not only between the 
colours themselves, but between them as dis¬ 
played in opposite parts of a flower. It is only 
requisite that the eye be able to take them in 
together. 
u 1. The first mode of combination is that 
in which the two join and yet are completely 
distinct, as in two parallel stripes of the 
African Marigold ; or in which one colour is 
laid on another, as in the spotted or blotched 
Calceolaria. For the effect of such an ar¬ 
rangement to be pleasing, there must be a 
positive agreement or a positive diversity 
between the colours ; if the former, they will 
combine ; if the latter, they will contrast. And 
the peculiar power of combination is seen in 
this, that whereas the strongest diversity pro¬ 
duces the most striking contrast, in harmonious 
colours the most striking effect is sometimes 
when the diversity is least. Thus, in a collec¬ 
tion of Pelargoniums, amongst the strong con¬ 
trasts afforded by the maroon and other dark- 
coloured spots, a crimson, or still more, a scarlet 
spot on a pink or orange ground, in which 
there is no contrast, and but little diversity, 
will be the surest to arrest and retain the eye. 
Some varieties of Iris, Ixia, and Gladiolus are 
remarkable for blending harmonious tints; 
indeed, the whole tribe of Irids and Amaryllids 
is as rich in every example of colour as the 
Orchids are in form. 
“ 2. Another mode of combination is that in 
which they become partially blended, and form 
a cloudy mass ; which, if the constituents har¬ 
monise, gives the idea of richness, and is 
usually a mark of high quality. But if the 
cloudiness be only partial, it will run the risk 
of an appearance of mere unevenness of colour, 
which is a great fault; and if the constituents 
do not harmonise, the result will be flat and 
dull. 
“ 3. The last form of combination is when 
they lose their separate existence, and produce 
an uniform new tint, in which case what has 
been said under the article of Colour in general 
is applicable. Every existing colour may be 
considered as compound, because every known, 
or indeed, conceivable one, may be made up of 
two others. And it is evident that the number 
of such must be unlimited, so that variety pro¬ 
duced by colour must be unlimited likewise. 
And in Nature we find it so. The various 
shades of colour in a self-Verbena give it as 
much variety as a party-coloured one has. 
“ It seems hardly determinable with precision 
beforehand what colours will combine and 
what will not, or even what will contrast, 
except that, as might be expected, every colour 
will contrast with white or grey; and therefore 
it may be taken as a rule, that a small white 
or grey interval will reconcile any two colours. 
Their position on the solar spectrum conducts 
but a very little way, and is not to be im¬ 
plicitly trusted even so far as that. It is a 
deficiency, however, of no consequence; for 
even if it were otherwise, our only appeal 
would be to experience, and that is our guide 
now. 
“ Yet thus far is plain, that in contrasts the 
most dissimilar elements, as those from oppo¬ 
site ends of the spectrum, or dark and light, 
or any other contraries, produce the greatest 
effect. And further, that colours which will 
not combine into one idea, will often readily 
harmonise without an interval, if by their 
position a contrast be excited. Thus the 
green-edged Auricula is considered the most 
perfect form of the flower, because the refrac¬ 
tory green is made to contrast with the ring of 
colour by the rings being separated into parts 
of co-ordinate value by being concentric. 
“ To conclude, then, if it be asked which is 
the higher origin of beauty, I would say, 
contrast possesses the far greater range of 
effects, and has all the boldness, energy, and 
pungency on its side ; but combination presents 
all the smoothness, elegance, and high-toned 
richness of colouring, and as far as I can 
analyse my own perceptions, excites the livelier 
emotions of pleasure. Contrast makes far 
more out of unpromising materials, and brings 
out their hidden and unsuspected powers, like 
