The gardens of our large country estates offer floral displays which cannot be rivaled anywhere. Our temperate zone Roses, Peonies, Hollyhocks, Wistaria, Lilacs, Lilies, Tulips, Hyacinths, Gentians, Asters, Anemonies and Poppies are the most delicate colour creations in existence. For brilliance and alluring charm nothing surpasses the Mountain Laurel and Rhododendrons of the East, or the Trumpet Vine and Yellow Jessamine of the South. The gorgeous Azalias, Camellias, Pelargoniums, Calceolarias and Cinerarias also belong to the regions which have cold periods in their annual weather schemes. Even the humble Gorse is clothed in gold, while the prickly and much-despised Cactus bears little crimson-coloured bells. It is quite evident that man got his original idea of colour from Nature, particularly the plant world. Why is it that we are inclined to wear green in spring, brown in autumn, and all manner of colours in summer? Simply because, consciously or unconsciously, we are imitating Nature. We take pigments and dyes and get a pale similitude of an exquisite flower. If it happens to be a Rose, we name the colour after it. Sometimes we name tints after the sky or an animal or a bird, but in these cases, we might just as well have gone to the flowers for our nomenclature. Every tint and hue which we can ever hope to reproduce is present in the plant world. The flowers by no means monopolize them. On close examination, a single stalk and leaf exhibit a wonderful variety of colour. In the Begonia and the Sea Holly, the stalks are exactly the same colours as the flowers. The wild Cranesbill sports a crimson stem. The stalks of Poplar leaves are a vivid yellow. To speak of “green leaves” is to speak in the most general of terms. What is more exquisite than the silver gray to be seen on the backs of many tree-leaves, notably the Alders, Willows, and Poplars? Many leaves join the Wild Lettuce in having purple backs. The reverse sides of Magnolias and Rhododendrons are red-brown. In the autumn, nearly all leaves show brilliant patches of colour. In borrowing Nature’s colours to set forth our ideas, we have become possessors of a mighty vehicle of expression. With yellow, we can speak of life, light, cheer and vitality. Red tells of fire, heat, blood, excitement and passion. Blue indicates coolness, quiet and restraint. In choosing green for its most universal colour, Nature harmonizes life and restraint, warmth and coolness, as represented by the component blue and yellow. In the same way, when she wants to concentrate the maximum colour power in a single fruit or flower, she uses orange, a combination of light and heat, vitality and excitement. Purple represents a neutralized idea. Red vitality is tempered with blue restraint, which results in mysticism. Nature clothes the Poppy in red to suggest power and strength. The royal purple of the Aster and the Violet is purposely calculated to arouse a feeling of mystery and awe.