TULIPS 
from shoal to shoal and bed to bed is merely the 
application of the principle of repetition that is 
found in all good art. 
Balance and Focal Colors 
The strong tones—the reds, oranges and yel¬ 
lows—are more penetrating than the blues, pur¬ 
ples and mauves, and consequently should be 
used as focal colors to attract the eye when color 
accent is desired. From these color heights the 
tones can be scaled down on each side in adja¬ 
cent shoals. 
• 
Remember also to give at least the semblance 
of balance in your color paintings lest the 
border appear restless. Thus the dark, rich red 
of "Eclipse" and the cardinal red of "City of 
Haarlem" might be combined for a focal mass, 
with descending balanced shoals on each side 
of a rosy red tinged salmon to meet a shoal of the 
rose, orange and salmon of "Afterglow" or 
"Dido." 
But for all these subtleties, there are some 
tulips that in our opinion can stand alone with¬ 
out any supporting tints save from the imme¬ 
diate greenery of other plants. The superb 
purple of "Bishop," the ardor of "Refulgence," 
the maidenly blushing of "Rosabella," the regal 
hauteur of "Roi Soleil"—such tulips may pass 
unaccompanied. 
Colors of Far and Near 
Blue is the color of distance and its affinities 
lend a far air of expanse to a garden. The blue 
of the sky and the white of clouds give the same 
effect of distance to the eye. If the garden is 
small, it can be lent distance by planting these 
in blended masses—the lilacs of "Anton Mauve," 
"Duchess of Hohenberg" and "King Mauve"; the 
purples of "Cardinal Manning," "Mrs. Beecher 
Stowe" and "Velvet King," and the brown-violet 
of "Marechal Victor." If the garden is to be given 
a close and intimate air, then use the colors that 
advance—the reds, oranges and yellows such as 
"Rayon d'Or," "Mrs. Harold Brown," “Dido," 
"Avis Kennicott" and "Jane Aldred." 
The Lily whispered to the rose: 
“The Tulip's fearfully stuck-up 
You'd think to see the creature's pose, 
She was a golden altar-cup. 
There's method in her boldness, too ; 
She catches twice her share of dew." 
The rose into the Tulip's ear 
Murmured: “The Lily is a sight; 
Don't you believe she POWDERS, dear, 
To make herself so saintly white? 
She takes some trouble, it is plain. 
Said the Tulip to the Lily White: 
“About the rose—what do you think?— 
Her color? Should you say it's quite— 
Well quite a natural shade of pink?" 
"Natural," the Lily cried. “Good saints] 
Why EVERYBODY knows she paints." 
—Herford. 
[ 23 ] 
