534 



BOUCiAINVILLEA 



BOUQUET 



ilicitsis, B. bracteah and B. perumana. Var. later- 

 itia, Lem. (B. lateritia, Hort.), has brick-red bracts. I.H. 

 13:466. More showy than the last when in full bloom; 

 perhaps distinct; said to be more difficult to start from 

 cuttings than the type, at least without bottom heat. 



B. auranllam. Hort.=B. Lindleyana. 

 B. formdsa. Bull. Semi-scandent, free- 

 flowering: purplish mauve: under com- 

 paratively cool treatment said to be well 

 adapted for decoration of warm green- 

 houses and conservatories. Brazil. B. 

 Lindley&na. Hort. Hairy, climbing, with 

 strong curved spinea: Ivs. obovate- 

 rounded. acute, slightly undulate, very 

 hirsute: bracts ellip- 

 tic, short - acumi- ^ '^"*\ ./'*' l 

 nate, cinnabar- f V"> / \ ),- ., 

 color. B. refulgms, f >..i' Y }-'-. i \ 

 Bull. Lvs. pubes- ^. >-'. < Jrfa-*''" 

 cent: racemes long <-jJii*3K ,jS<?^Si* v - ' 

 :IT.(! drooping, and 

 bracts purple. 

 Brazil. Apparently 

 a less valuable and 

 .shy-flowering form 

 of B. spectabilis. 



L. H. B. 



606, 607. Flower theme (at the left) and 

 foliage theme (at the right). In Figs. 606- 

 616, the outline circles represent flower 

 masses, and the black circles foliage masses. 



BOUQUETS. The aim in flower-arrangement is 

 beauty: (1) A display of the natural beauty of the 

 plant, or (2) the creation of a beautiful group of floral 



material. 



C'i (1) Plant beauty combines two chief ele- 



,'-)* ments: color and form. In such plants as 

 ;,*O the pansy, the peony, and the full-blown 

 <l -1/,- x rose, color is the dominant element. In 

 *JlA ) such plants as the calla, the Easter lily, 

 and many of the orchids, form is the domi- 

 nant element. In some flowers, as rosebuds, 

 nasturtiums, and chrysanthemums, the two 

 elements are so nearly balanced that either 

 one may be selected for special display. 

 In any case, one element, color or form, 

 should predominate in the arrangement. 

 Plate XVIII shows at a, the yellow-centered 

 daisy massed to emphasize its beauty of 

 color; 6 shows the same flower arranged to 

 display its beauty of form. A single clump 

 of the plant has been transplanted to a 

 bowl, that its wayward natural growth in 

 the midst of the grasses may be enjoyed. 



In some cases the flowers may be the 

 theme. The arrangement then becomes 

 similar to Fig. 606. (In all the figures the 

 dotted circles indicate flower masses, and 

 the solid black circles, leaf masses.) In 

 others the foliage may be worthy to become 

 the theme, or may be used as a foil to 

 bring out more clearly the exquisite grace 

 or hue of a few flowers. In such a case 

 Fig. 607 represents the type of arrange- 

 ment. Foliage and flowers should never vie 

 with one another for first place. 

 Color flowers may be massed. The bigger the bunch 

 of peonies, the more impressive and splendid is the color. 

 Form flowers should not be massed. A single stalk of 

 Easter lilies is enough. When massed, the marvelously 

 graceful lines of leaves and flowers are lost. 



L '^._l-.^.^r 



60S. Har- 

 mony in vase 

 and bouquet. 



610, 611. Simple and reversed curves. 



609. Harmony in vase and bouquet. 



Receptacles should always be less attractive than 

 that which they hold. Brilliant colored 

 with gilding, cut glass, vases decorated with p 

 or with flowers modeled in high relief or rcprcs- 

 color, are all to be avoided. They are too ol. 

 They force the flowers to take second place. ]; 

 cles of clear glass which take on (he color of tin 

 put into them, of dull soft colors, of unpolished 

 are likely to be most serviceable in displaying " 

 natural beauties of 

 flowers. 



The receptacle 

 should be of the 

 shape best adapted , :; "' 

 to holding the flow- 

 ers as nearly as pos- 

 sible in the position 

 in which they grew. 

 In Plate XVII at d, 

 the broad bowl (full 

 of pebbles to steady 

 the stems) makes 

 possible such an ar- 

 rangement for the 

 apple blossoms. The 

 tall vase with the 

 narrow neck, at c, 

 insures the right 

 position for the 

 spray of bayberry. 



Of course the na- 

 tural beauty of a 

 plant cannot be displayed to advantage when <; 

 with other plants. This is the reason for the ( 

 rule: Use in a bouquet only flowers of one kind, with 

 their own foliage. 



(2) Beautiful groups of plant forms present, (a) 

 unity, (6) rhythm, and (c) balance. 



(a) An arrangement has unity when all the parts of 

 which it is composed are so related that tin 

 makes its appeal to the eye first. All the parts must have 

 something at least in common to bind them together. 

 In nature the common element may be texture, as in 

 the snakeroot; color as in the mullein; line a* 

 goldenrod. In flower-arrangement the receptacle must 

 have some element in common with the plant; in a 

 (Plate XVIII) the color of the jar echoes the color of the 

 flowers; in 6 both the color 

 and the ornament of the 

 bowl echo the character 

 of the sod; in d, the shape 

 of the bowl echoes the 

 shape of the apple blos- 

 som and its color echoes 

 their color. In c, the shape 

 of the vase echoes the 

 shape of a bayberry leaf; 

 its contours echo the lines 

 of the stems; its pattern 

 echoes the speckle of the 

 bayberries; and the dark 

 stand gives the receptacle 

 a color repeating the dark 

 color of the leaves. The 

 receptacle must have 

 something at least in com- 

 mon with the plant, but must never vie with it in any 

 way. If the bouquet is tall and slim, the vase may have 

 similar form (Fig. 608) ; if it is short and broad, the vase 

 may repeat that shape (Fig. 609). In Fig. 610, th 

 have one line in common, a simple forceful curve 

 in the vase. In Fig. 611, the sprays have the i 

 curve in common, echoed softly in the vase. 



(6) Rhythm means orderly variety of some kind. I' iff- 

 612 exhibits orderly variety in the sizes of li 

 subordinate to the one flower. Such an effect r.-i 



612, 613, 614, respectively, show- 

 ing simple rhythm forms. 



