585. In the general composition of a large landscape garden, it is not enough to have satisfied all these principles, if the different masses subordinated together, which we shall now regard as individuals, as well as the various constructions of wood or of stone, are not combined by some harmonious relation suitable for satisfying the principles of _general_ harmony. The isolated or subordinated masses near or distant from each other must be allied together by the same vegetable form or by analogous forms, or by the same arrangements of several species; or, lastly, by the same colours of flowers or of foliage. By the aid of similar means, we ally the house and other buildings to the different parts of the garden. When the neighbouring masses, especially those formed near buildings, are not sufficiently allied together, or the perspective of their concentric or median lines is not satisfactory, we have recourse to a different line of vegetation, which cuts the first and thus adds to the general harmony. Thus, as I have so strongly insisted, when we decide to plant evergreens in a landscape garden, they must be distributed throughout the composition. SIXTH DIVISION. INTERVENTION OF THE PRECEDING PRINCIPLES IN THE JUDGMENT OF COLOURED OBJECTS, RELATIVELY TO THEIR COLOURS, CONSIDERED INDIVIDUALLY, AND TO THE MANNER IN WHICH THEY ARE ASSOCIATED. 586. In this division my object is purely critical. The positive conclusions at which I have arrived upon certain assortments of colours, so as to derive the best result from them under given circumstances, become rules, adapted to guide those who would judge a work of art in which such assortments occur. The generalizations established in the preceding chapters, with the object of aiding the numerous artists who use colours, now critically considered, will serve as the basis of a conscientious and sound judgment upon the merit of any work in which these generalizations are concerned. They will, I trust, possess the double advantage of all the rules involved in the nature of such things; they guide the workman who does not disdain them, and they direct the critic who judges the work of which these rules govern some element. We cannot then refuse to recognise the utility of such an examination, both for artists and for the public, to whom they are more particularly addressed, in the hope that a clear demonstration of what is laudable or censurable will form such a public taste as, by preventing a reliance on first impressions, will lead to a sound judgment; and that we may not henceforth strive to enlist public suffrages by falling into unsuitable singularity, or by wandering from the truth.