14 MASSACHUSETTS HORTICULTURAL SOCIETY 



ered as one of the most successful. It was simple, attractive, and 

 most effective. 



Mr. Hunnewell's magnificent group of the Miss Louisa Hunne- 

 well azalea was very effectively placed in the center of the large hall. 

 It was arranged with an abundance of green foliaged plants in an 

 irregular form of grouping and, on the whole, could not have been 

 improved. 



Nearby, Mrs. C. G. Weld's exhibit filled a corner with a mass of 

 color that was carefully studied and harmoniously arranged. A 

 touch of blue on the top gave a key-note that attracted the atten- 

 tion of everyone. Blue is a rare and precious color among flowers 

 and this note of pure blue was the only one in the whole exhibition. 

 It was criticized as being too conspicuous, but its rarity emphasized 

 it and to most observers it seemed remarkably well placed. 



One of the most charming features of the exhibition was Thomas 

 Roland's beautifully arranged collection of acacias with its tracery 

 of exquisite foliage and flowers. 



In the center of this section, surrounded by Mr. Roland's acacias, 

 was placed upon a slightly raised platform an exhibit such as one 

 may see, possibly, once in a lifetime, the Kurume azaleas. The 

 entry into the floral world of such a novelty, in such profusion, 

 perfectly grown and flowered, was an event of first importance. 

 The exquisite delicacy of form and color in these flowers is beyond 

 words to describe. 



From time to time criticisms have been made on the installation 

 of some of the exhibitions of the Society. The question that arises 

 is Why is not the grower often a good exhibitor? or, Why does he not 

 install his exhibits to better advantage? One would naturally 

 infer that a person who can produce the exquisite things that are 

 shown in the halls would know what to do with them after he has 

 produced them, and how to exhibit them to best advantage. 



The answer to the question is a seeming paradox. The grower 

 does not install his exhibit to best advantage because he loves his 

 flowers, his creations, so well. He loves them all so well that he 

 does not wish to give any one preeminence over another, and so, 

 treating them all without prejudice, he tries to make each one 

 occupy a dominant position in his exhibit. The result is a monoto- 

 nous repetition of form and color ^'alues which ine\itably sacrifices 



