February 15, 1908 



HORTICULTURE 



199 



poleon III, most certainly takes the lead and should 

 have special mention. The double form of Spiroea fili- 

 pendula is not planted enough; it always look= well, 

 with its fern-like foliage and graceful cream wliite 

 flowers; is good for cutting, although the petals drop 

 somewhat. 



Delphinums and aconitums of the napellus section are 

 July favorites; not to forget Japanese iris, hollyhocks, 

 sweet Williams, lupins and gaillardias. Tritoma has 

 graceful foliage and distinctive flower heads. The 

 double Babies' breath is becoming as popular as the 

 single form. Clematis mongolica is a decided improve- 

 ment on C. recta, Clirysanthemum maximum "King 

 Edward" has flowers from three to four inches in diam- 

 eter and is a continual bloomer from July till frost. 

 Phlox decussata starts blooming the latter half of 

 July but the full beauty is not seen till August. 



Aster amellus elegans, rudbeckias, helianthus, stokesia 

 and veronicas, now take their turn in helping to make 

 the garden beautiful. Cephalaria is not very generally 

 known, but is very handsome with its tall branching 

 spikes of lemon yellow flowers, similar in shape to an 

 annual scabiosa. Helenium autumnalis superbum is a 

 very handsome plant, growing about six feet_ high, with 

 flowers of a showy terra-cotta red. 



Asters help to make September glorious. Aconitum 

 autumnale, and A. Fisheri, Japanese anemones, Pyreth- 

 rum uliginosum and late blooming sunflowers, all do 

 their part. 



Eulalias make a fine show in October and with the 

 hardy chrysanthemums end the season. And all this 

 interesting succession of flowers will be renewed year 

 after year; old friends will be recognized and new ones 

 added. 



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The Ideal Horticulturist 



It is noteworthy that the practise of Horticulture 

 tends to develop a similarity of character. Local con- 

 ditions give a slight variation, yet the general linea- 

 ments bear unmistakable marks of resemblance to a 

 certain type found the world over, which is clearly seen 

 to be the product of a cultivated environment. A good 

 deal is written on the utilization and arrangement of 

 Nature's material; too little is noted of that silent 

 moulding influence she radiates upon her devotees. 



Man is ever larger than his greatest work. In the 

 production of landscape and floral art both cause and 

 effect are within himself; he is the responsive chord 

 which vibrates the music of Nature's melody back to 

 his soul ; he thus gives a voice to the mute creation. It 

 is this power of gentle ministry to the sense of beauty 

 in man, which is the basal argument for our business; 

 if our products are not beautiful they cease to be use- 

 ful; in the last analysis, it rests not upon utilitarian 

 but upon ffisthetie foundations. It is inevitable that 

 the struggle for existence brings out the commercial as- 



pect; we lose much, however, if we entirely ignore the 

 poetry and beauty of the things we daily handle. 



To the trained eye every plant is a symbol and re- 

 flects an idea. The power to extract the spiritual es- 

 sence, to see the plant soul beneath the appearance, to 

 identify and seize the substantial or evanescent image, 

 may serve as subtle compensations in a none too profit- 

 able business. 



Then, too. Nature challenges thought and gives to the 

 mind that gentle impulse and exercise so helpful to a 

 wise and calm outlook on life. This habit of inductive 

 reasoning, from the simple to the complex, the correla- 

 tion of observed facts, tend naturally to make plant 

 lovers either moralists or philosophers. 

 "Flower in the crannied wall, I pluck thee out of the 



crannies, 

 Could I know thee root and all I should know what God 

 and man is." 



To get the most out of Nature one needs the blending 

 of the scientific with the aesthetic spirit; the arid table- 

 lands of thought need and gain enrichment by the soft 

 warm drapery of color. 



The analytic spirit searches outward. We feel beauty 

 l)y the photographic method of exposure; what is re- 

 corded also will depend on the sensitiveness of the plate ; 

 a certain receptivity of mood is needed which cannot in 

 the rush of life be always commanded, for at different 

 times the same object does not make an equal appeal. 



There are two methods of approach to Nature's 

 treasure trove, namely the microscopic and the tele- 

 scopic. In the former concentration is needed to ex- 

 elude for a time the general view in order to explore 

 "the small proportions in which we Just beauty see." 

 The telescopic seeks a definite impression of the whole 

 line of vision. To adjust one's mental lens easily to 

 both methods is a, mark of the ideal horticulturist, the 

 reward of practical experience. 



The aim of the worlver should be to secure insight 

 into and a broad outlook over all departments; at the 

 same time making himself a specialist in at least one 

 or two branches. An apprentice needs a little wise di- 

 rection with a view to the effect upon his future char- 

 acter. It is a mistake to start a boy inside; give him 

 a chance to build up a sound constitution outside, then, 

 taking his education under glass later, he will come to 

 a full-orbed experience with energy and power to turn 

 it to practical account. There is a species of exotic 

 tenderness about men who have worked solely amongst 

 orchids and high-colored foliage plants, which shows 

 itself in a fastidious contempt for other branches. 

 Possibly a change outside for a time with rougher work 

 might result in a more healthy outlook on every aspect 

 of the great field. Many enter the business lured by 

 the love of the beautiful only to find there is another 

 side, rough and dirty, though not necessarily sordid. 

 One cannot secure Nature's best without sweat of hand 

 and brain. Eternal vigilance is the price paid by every 

 successful plantsman. Necessity is a stern taskmaker, 

 it is true, but glimpses by the way of a world made 

 Jieautiful should lighten the toil and the exacting na- 

 ture of the work should serve to give zest to the pleasure 

 of producing, as clouds give a brighter relief to the 

 rainbow. If a man is made of the right material the 

 luisiness will evoke his best ; the ideal horticulturist has 

 gained by the nature of his tasks, he has grown in 

 "sweetness and moral height." 



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