632 



The Weekly Florists' Review. 



•TKMI1KU 111. lilO.'l. 



a result of natural causes, such 

 as the change in climatic conditions, or 

 mi of delays of the transporta- 

 tion company, the purchaser must stand 

 :i n. I 1 1 i he transportation com- 

 pany is liable for damages, he (the pui 

 chaser) must make claim against the 

 transportation company for damages, and 

 not the seller. 



' ' This principle applies to goods that 

 are of a perishable nature, such as your 

 line, to-wit: flowers. It necessarily, 

 therefore, follows in your case that your 

 customer in each instance cannot refuse 

 to accept and pay for your goods where 

 there is nothing in the contract of sale 

 to show that you warrant the condition 

 of the goods at their destination, or 

 where you use ordinary, reasonable care 

 and caution in packing and preparing the 

 goods for shipment. 



"This doctrine is fully supported by 

 a long line of authorities, among which 

 the following are the more prominent 

 •cases: Mobile Fruit & Trading Co. vs. 

 McGuire, S3 N. W. E., 833; Leggat vs. 



Brewing Co., 60 111. I58j .Mobile Fruit 

 & Trading Co. vs. Judy, 9] 111. A.pp. 82; 

 Bridge Company \ s. Hamilton, 110 U. S. 

 113: Knglish vs! Spokane Commission Co., 

 53 Fed.' R. 451; Mee vs. McNider, 109 

 X. V. 500, 



"As a matter of policy it is, of course, 

 a good idea to call this fact to the at- 

 tention of your customers, by referring 

 to it in your business terms, printing it 

 in your advertising matter and on your 

 stationery, etc. We desire to say, how- 

 ever, that yom use of this disclaimer on 

 your stationery will not give you any 

 greater legal rights, strictly speaking, al- 

 though it places you in a much better po- 

 sition in case you get into controversy 

 with any of your customers, as a matter 

 of argument if for no other reasou. 



"While we have not examined the law 

 in other states than those above referred 

 to, we feel reasonably safe in saying that 

 the law as above stated is universal in 

 this country, although we would not give 

 an absolute opinion without referring to 

 the authorities." 



i 



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FLORAL ART AND VALUES. 



The following is a paper by H. G. 

 Dillemuth, of Toronto, read before the 

 Canadian Horticultural Association, Sep- 

 tember 2, 1903: 



In the making of vases such as are 

 used in the stores every day, care should 

 be taken that the flowers are always 

 placed so as to make them most present- 

 able, not only from an artistic, but from 

 a practical view also. Many of our cus- 

 tomers shop considerably and they do 

 not always get the best stock, but that 

 which has been properly arranged so as 

 to appeal to them. The goods we handle 

 are perishable and should be handled ac- 

 cordingly, which is quite necessary if 

 flowers are to retain their fresh appear- 

 ance. 



The professional artist is usually a 

 good colorist, for he will scarcely be 

 able to reach that position without hav- 

 ing a good eye for color. This is one 

 of the main essentials in our business, 

 for many an otherwise artistic arrange- 

 ment has been spoiled by colors which 

 did not harmonize. Another essential is 

 confidence and the quick grasp of an idea 

 which a patron will often convey. Try 

 to keep in harmony with any feasible 

 suggestion and have confidence enough 

 in yourself to describe the way in which 

 details may be carried out. There are 

 many who remain in the business year 

 after year, and who are in the best of 

 positions to learn the technicalities con- 

 nected with it but who, after years of 

 struggle, are not much better qualified 

 than when beginning. Although anyone 

 with an artistic temperament and some 

 practice can arrange a design after a 

 fashion, there are too many who never 

 take into consideration that an infinitude 

 of small details always exists. 



Design making is probably the most 

 important part of the retail storeman's 

 trade, for there is more money made in 

 this than in any other branch. In plan- 



ning or making up a design the artist 

 should ever keep in mind the effect of 

 the picture as a whole when viewed from 

 different points. I have had many op- 

 portunities of seeing designs made up 

 by different firms, and have often noticed 

 that what looked like an artistic piece 

 of work from a distance, did not appear 

 so under closer scrutiny. In these days 

 when galas leaves and hardy ferns are so 

 cheap there is no reason why standing 

 designs should be sent out which, when 

 seen from the opposite side, should con- 

 front one with patches of moss, tinfoil 

 and toothpicks all exposed, and not the 

 faintest pretence made at covering the 

 back. I have also seen designs that were 

 filled with moss so water-soaked that 

 there was a constant drip of water fall- 

 ing over the sides of the casket and onto 

 the floor. Although a certain amount 

 of moisture is required to keep flowers, 

 yet it is not good to have your designs 

 in this latter condition. In the arranging 

 of your designs do not try to use up all 

 the old available material' in your estab- 

 lishment ; use two or three kinds of flow- 

 ers and keep the varieties separate and 

 a more striking effect will be obtained, 

 for in grouping your varieties you are 

 again only copying nature and care 

 should be taken that all toothpicks and 

 wire are hidden from view. Avoid over- 

 crowding; density is not desired. Rather 

 have your flowers on the spare side and 

 use plenty of good foliage, the same as 

 grew with the flowers you are using, 

 though often some good fern or aspara- 

 gus adds beauty to the arrangement. So- 

 ciety emblems, as a rule, are not a credit 

 to the designer who made them and 

 many of these designs which are sent 

 out would be much easier recognized if 

 a label accompanied them, announcing 

 what they are. Whatever it is about a 

 design that is expected to appeal to the 

 public most forcibly should be arranged 

 with the details brought out most promi- 

 nently. The study of ornamental design 



trains the eye to recognize and the hand 

 to execute that beauty of line and pro- 

 portion necessary in designs of this kind. 



Under this same heading of floral art 

 comes window and store deeorating. How 

 much better the stores look today with 

 a few nice baskets or palm leaves dee- 

 orating the ceiling and walls than they 

 used to look when covered with a num- 

 ber of rusty frames of the different de- 

 signs. The importance of a well dec- 

 orated store can not be overestimated, 

 as a particularly well arranged displav 

 of stock will always attract some atten- 

 tion and a lasting impression is made 

 on those a\1io see it. Idle curiosity may 

 be the feeling with which they view it, 

 but later on some flowers may be re- 

 quired and your nicely kept window and 

 well arranged store will be remembered. 



The window display is gradually work- 

 ing its way to the front and many flor- 

 ists are today taking advantage of this 

 method to aid in promoting sales. Many 

 dollars are expended on worthless adver- 

 tising in programs, etc., which would be 

 much better expended on handsome vases 

 or jardinieres for the window, and if 

 the possible results are realized you 

 would not grudingly figure on the ex- 

 penditure of this money. The chief de- 

 fect in the decoration of many of the 

 windows today is overcrowding. A sim- 

 pler and broader treatment in your dis- 

 play will give much better results. The 

 fault of over-decoration comes from 

 viewing from too close range and not 

 considering that the public view from 

 the sidewalk or the other side of the 

 street. 



To decorate the window properly much 

 depends on the window itself. Width, 

 height and depth must be taken into 

 consideration. One pretty effect is tg 

 take shades of the same color and begin 

 with the lightest and work back to the 

 darkest. Large vases or pieces look bet- 

 ter in the center or background, and 

 often a vase or large basket of some real 

 good flower with some nice ferns is 

 enough for the window. Crape papers 

 are not as much in demand as 

 formerly, and though sometimes desir- 

 able, as a rule have a cheap look. Good, 

 clean stock, good vases and clean win- 

 dows are absolutely essential, and it may 

 be a good plan to try various clerks to see 

 which can make the best display. Fre- 

 quent changes are necessary, even though 

 the next arrangement will not be as good 

 as the one displaced. 



Decorations also demand artistic abil- 

 ity and some of the commonest forms 

 such as arches, pillars, scrolls, etc., are 

 often so badly proportioned as to be 

 grotesque rather than adding beauty to 

 the residence or church. Detail is as nec- 

 essary here as in funeral work, and all 

 decorations should be carried out with 

 a view toward lightness instead of try- 

 ing to get rid of a large quantity of 

 stock. Harmony of color and concen- 

 trating your ideas to certain points which 

 will prove conspicuous will be more ef- 

 fective than having a few flowers or 

 plants scattered over a wide space. Try 

 to have your decorations appear to ad- 

 vantage when first seen, for it is the 

 first impression which is usually lasting. 



Sometimes a clear space or wall can 

 be made to look very pretty with fes- 

 toons of flowers and ribbon, or empire 

 wreaths. See that all flowers used are 

 fresh and put as many of the flowers — 

 possible into vases, for they will retain 

 their freshness much longer. The most 

 expensive flowers are not always neces- 

 sary, for very fine work can be arranged 



