May, 19 2 0 
45 
D—Andre Doria: 
large and full, 
similar to 
Chestnut ... .65 
* D — Marconi: 
immense violet 
purple-maroon, 
lighter in tone 
than the two 
preceding.70 
B—Madras: an 
effect of helio¬ 
trope and gold, 
described as 
golden bronze, 
not so large as 
preceding.1.00 
B — Cardinal 
Manning: rosy 
heliotrope, de¬ 
scribed as dull 
wine red but 
ties in perfect¬ 
ly with this 
group, as would 
not be evident 
from the de¬ 
scription.60 
Combination C 
Another purple and 
gold group 
C— Fidgens lutea 
maxima: deep 
golden yellow.$ .80 
B—T u r e n n e : 
brighter, more 
golden helio¬ 
trope than 
Madras, con¬ 
taining some 
pink; makes 
possible the use 
of a deeper yel¬ 
low in combi¬ 
nation . 1.50 
B—George Maw: dark red-purple. 
D—Philippe de Commines: dark purple, con¬ 
taining still more red.65 
In these three groups the yellows really 
harmonize with the purples chosen. It is easy 
to get too much yellow in such groups. The 
])roportion of yellow to purple should be not 
greater than one to three or one to five. 
Phe bulbs may be distributed in drifts 
along a border, using ten or a dozen of each 
variety. If the garden is small each variety 
may be placed in a clump, or round group. 
In each case the yellow flowers must be 
carefully placed at 
focal points. 
Next in the tran¬ 
sition is a general 
effect of violet and 
heliotrope spark¬ 
ling with gold, an 
entrancing combi¬ 
nation of soft neu¬ 
tral tones but one 
not in the least 
somber. From light 
to dark they are as 
follows: 
Combination D 
B—Queen Alex¬ 
andra : rather 
small, canary 
yellow flushed 
reddish helio¬ 
trope on tips.$ .55 
B — Jaune d’ 
0 e u f : large 
pointed, helio¬ 
trope with yel¬ 
low edge.60 
B — B ronze 
Queen: golden 
buff overlaid 
old rose .85 
*B—P a la din: 
deep old - rose 
lavender, 
edged with 
golden flush.. 4.00 
Clara Butt is one of the Darwin type, a strong-growing sort with large flowers of clear pink tinted 
ivith salmon-rose, and with a blue base and white halo. Here it is well used with pansies scattered 
through the bed 
*D—Remembrance: large satiny heliotrope in¬ 
adequately described as slaty lilac.,‘p0.80 
*D—Zulu: pointed, deep pansy purple, almost 
black . 1.00 
B—Louis XIV: dark violet edged bronze, darker 
than the preceding. 4.25 
The next group is more reddish in its gen¬ 
eral tone, giving the effect of coppery gold, 
yet blending perfectly with Group D and af¬ 
fording a transition between that and Group F. 
Combination E 
B—Golden Bronze: medium sized, gold flushed 
heliotrope, inside mahogany brown.$1.30 
B—P r i n c e of 
Orange: small¬ 
er, redder gold, 
described as 
terra - cotta 
edged orange 
yellow .$ .60 
B—Goldfinch: 
medium sized, 
more neutral 
as to coloring 
but still tawny, 
described as 
golden brown 
with lilac flush 3.40 
B —S a b r i n a : 
medium sized, 
similar in ef¬ 
fect but purp- 
ler and more 
intense, de¬ 
scribed as cof¬ 
fee brown, 
edged light 
brown.65 
B — Chestnut: 
slender, ma¬ 
hogany purple, 
described as 
chestnut 
brown.70 
N ow comes the 
fiery climax of all 
the groups, the 
nearest we have in 
the vari - colored 
tones to a true 
orange. So subtly 
are their colors 
lilended with gold 
and old-rose with 
sometimes a bloom 
of violet that they can be used as a transition 
between the warm brown violets and coppery 
reds of the two preceding groups and the in¬ 
tense rose (so-called reds) of the deepest of 
the Darwins. 'I'hey should, however, if placed 
in the same line of vision with the clear cool 
jDinks and lavenders, have some of Groups E 
and G as a transition, or war will result. 
Combination F 
'■'M —Orange King: very warm, glistening deep 
orange shaded old-rose.$ .65 
*B—Lucifer: deep orange with rosy bloom.... 1.60 
B—Mon Tresor: short, warm Indian red with 
coppery 
orange tone at 
edges 
*B—^ Panorama: 
like Mon Tre¬ 
sor, but more 
coppery, de¬ 
scribed deep 
orange shaded 
mahogany; ex¬ 
tra large and 
brilliant . 1.50 
Next come the 
most intense cherry^ 
reds to be found in 
all the Alay-flower- 
ing tulips. These 
need Orange King, 
Lucifer, or Pano¬ 
rama to blend 
them with yellow; 
to tie them to the 
lighter pinks of 
Group L, there 
should be inserted 
Group H. 
{Cant’d on p. 80) 
Tulips against a back¬ 
ground of evergreens 
and lilacs—an elec¬ 
tive setting 
