variety; and I suspect, if it were possible to unweave their gorgeous texture, we should find that the assemblage was resolvable into groups of complementary colours. I think,” continued Mr. Seymour, "it must be admitted that colours bearing too close an analogy with each other, unless judiciously relieved, will suffer by juxtaposition. I am also disposed to think you will admit, that the different shades of the same colour disparage each other. Only look at yonder bed of Dahlias, and say whether they would not be much heightened in beauty by the intermixture of others of somewhat of a complementary character: and so it is with the golden Jonquil, when placed side by side with the pale Narcissus, the white light of the latter dimming the lustre of the former by its complementary sable, while the complementary green of the former imparts an injurious hue to the delicacy of the latter. Let me now, by way of further illustration, direct your attention to yonder Roses: those in the bed on the right have far too much yellow to please my eye; they almost assume a faded appearance; while those on the left are too much inclined to blue: now, I would propose, with the major's consent, to bring some strong yellow flowers in contact with the former, and some purple ones in contact with the latter, and I believe these defects would disappear."

"I do not think that your critical eye can find any fault with those blue flowers next to the orange ones," observed the vicar.

"No, indeed-nor with the violet contiguous to the yellow; they appear most cheerful in each other's company; in fact, there are few flowers in the garden in better accord with each other, unless you disturb their harmony by some unwelcome intrusion: but just look at that dull bed of green, near the yellow flowers; on the right of which, near the sun-dial, you will see a similar bed, but then it is in conjunction with a cluster of the vivid red Verbena, which lights it up, as it were, with a borrowed splendour, and at once redeems it from the sombre appearance which characterises the former one. You have another good instance of what may be called an ill-matched alliance

in yonder beds of Nasturtium and Purple Poppies: instead of the natural lively scarlet, the former assumes a dull orange tint, in consequence of a greenish-orange complement cast upon them; while the latter, oppressed by the greenish-purple complement of the Nasturtium, exhibit a tint almost as dull as wine-lees."

"You have not yet said one word about white flowers,' observed Miss Villers.

"True, madam-generally speaking, a clump of white flowers seen apart will produce but little effect; when, however, they are suitably distributed amongst those whose colours have been judiciously contrasted, they will occasion a favourable impression; as, for instance, when dispersed among red and pink flowers, surrounded by verdure, or amongst groups of blue and orange, and of violet and yellow flowers; you will readily perceive that their optical influence will have the effect of extinguishing any excessive or undue reflection of white rays emanating from the neighbouring bright flowers, and would thereby purify and heighten their tone. M. Chevreul also observes that white flowers are the only ones that possess the advantage of heightening the tone of those which have but a light tint of any colour. They have, moreover, the advantage of separating all such flowers as are mutually injured by discordant colours. White exalts all colours by raising their tone,* while black produces the very opposite effect."

Miss Villers here begged to ask a question respecting the influence of predominating green.

Mr. Seymour replied "that the green leaves of flowers did not interfere to the extent generally supposed, since, as soon as the eye distinctly and simultaneously sees two colours in a rich flower-bed, the attention is so riveted upon

* A reviewer in the Quarterly' has observed that the façade of the Renaissance Court in the Crystal Palace, owes its beauty to the preponderance of white, against which the tenderest colouring tells with a brilliancy otherwise unattainable. This was the secret spell of that extraordinary magician, Turner. White was his prevailing element, and every colour told with a magical intensity against it. In this also consists the secret charm of old painted glass, in which white light will be found predominant. If an example be required, we can refer to the marvellous windows of King's College Chapel in Cambridge.

them, that it passes without notice the contiguous objects which lie in a receding plane, and are of a sombre colour; besides which, it is a fact that green, in juxtaposition with a mass of bright yellow and blue, so nearly loses its colour as to be scarcely recognised, and will certainly not intrude with any optical impertinence."

"After the valuable lesson we have received," said the major, "I think we shall be able to improve greatly the arrangement of my garden. You will be pleased, my dear sir, to accept my best thanks-and what says Miss Villers ?"

"That Madam Flora holds a most punctilious court; and expects her flaunting subjects to adopt their costume in strict accordance with the coloured dresses with which they may be brought into contact," answered the lady.

To whom Mr. Seymour replied, "That Flora was not the only sovereign distinguished by such exactions."

"I understand your allusion," said Miss Villers: "you would intimate that the optical principles you have explained might admit of a wider range of application than that which comprehends the domain of Flora: that they might, for instance, suggest to my sex a more harmonious mixture in their coloured ribands and dresses."

"No doubt-Count Rumford long ago made a similar observation; but, strange to say, it has passed unheeded. I fully hope, however, that the exertions of the new 'School of Design,' aided by the admirable instructions of M. Chevreul, will introduce a purer taste as regards the harmony and disposition of colours, not only in dress, but in furniture, and every species of decoration-but what thinks the vicar ?"

"That you have well performed the part of the Sibyl, and safely conducted us through Elysian fields, wherein you have introduced us to phantoms and spectral forms of the highest interest for our instruction, no less than for our amusement; and, as truth alone has been the object we have sought, it only remains for you to dismiss us safely through the appropriate portal."

"I quite understand your meaning," said Mr. Seymour, "though artfully concealed under the shadow of the Muses'

wing. You admit the truth of the optical theory I have expounded, but would, at the same time, caution us against the danger of being led by the fascinations of fancy to an exaggerated estimate of the importance of its applications; a caution which I can assure you I very sincerely appreciate."

A NEW OPTICAL TOY INVENTED BY THE AUTHOR, AND TERMED THE THAUMATROPE. THE VICAR'S LUDICROUS ALARM AT ITS ANNOUNCEMENT. IT IS MADE THE MEANS OF EPIGRAMMATIC AMUSEMENT, AND CLASSICAL INSTRUCTION.-EXPLANATION OF ITS PRINCIPLE.-RETENTIVE POWER OF THE RETINA.-SPECTRAL OR ACCIDENTAL COLOURS.THE CROSS OF CONSTANTINE. OPTICAL ILLUSIONS. THE NIMBUS.SUGGESTIONS FOR IMPROVING THE THAUMATROPE.-OTHER TOYS UPON THE SAME OPTICAL PRINCIPLE.-PHANTASMASCOPE.-PHÆNAKISTISCOPE. -IMPORTANT CONCLUSION OF THE CHAPTER.

Tom's holidays were now drawing to a close, and the children were summoned into the library to receive their last lesson in philosophy.

"You have lately witnessed an experiment," said Mr. Seymour, "which must have convinced you how liable the ear is to be deluded with respect to the nature and direction of sound; I shall now show you that the eye has also its sources of fallacy."

"If you proceed in this manner, you will make us Cartesians!"* exclaimed the vicar.

"I shall illustrate my subject by means of a new toy which I have lately invented," said Mr. Seymour: "and unless I am much mistaken, it will afford as much amusement to the elder as to the younger members of our party,

The Cartesians maintained that the senses were the great sources of deception; that everything with which they present us ought to be suspected as false, or at least dubious, until our reason has confirmed the report.