534 



BOrGAIXVILLEA 



BOUQUET 



brxisiliensis, B. broctcaUi and />*. peruHann. Xtir. later- 

 ftia, Loiii. {li. lattTttui, Hoit.). has brick-rrd l>r;u'ts. 1. 11. 

 13:4i>i». Moro showy than the last wlieii in full bloom; 

 perhaps disthu't; said to hv more ilitlicult to start from 

 outtinjrs than the type, at least without bottom lieat. 



H. aurxintiaca, Hort.=B. Lindloyuna. 

 — B. formiisti. Bull. Semi-scaiuicnt, frt'e- 

 flowpriiiK: purplifih mauve: iintler ct>ni- 

 paralivoly cot>l treatment said to be well 

 fuiaptotl for decoration of warm Kreen- 

 house,s and eonservutories. Brazil. — B. 

 LiuiUry-'ina, Horl. Hairy, elinibinR, with 

 :$trong curved spines; Ivs. obovate- 

 rounded, acute, sln;thtli* undulate, verj* 

 hirsute: bn»cts ellip- 

 tic, short - acumi- 

 nate, cin n abar- 

 color. — B. rt-ftitgens. 

 Bull. Lvs. pubes- 

 cent: racemes long 

 at.d droopins. ana 

 bracts purple. 

 Brazil. Apparently 

 a les:^ valuable and 

 shy-flowering form 

 of B. spfdabHis. 



L. H. B. 



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

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

 616, the outline circles represent fiower 

 masses, and the black circles foliage masses. 



BOUQUETS. The aim in flower-arrangement is 



beaut v: (1) 

 plant," or (2) 



•■,r. 



;J- ■'.'. 



A display of the natural beauty of the 

 the creation of a beautiful group of floral 

 material. 



(1) Plant beauty combines two chief ele- 

 ments: color and form. In such plants as 

 the pansy, the peony, and the full-blown 

 rose, color is the dominant element. In 

 such plants as the calla, the Easter lily, 

 and many of the orchids, form is the domi- 

 nant element. In some flowers, as rosebuds, 

 na.sturtiums, and chrysanthemums, the two 

 elements are so nearh- balanced that either 

 one may be selected for special display. 

 In any case, one element, color or form, 

 should predominate in the arrangement. 

 Plate XVn I shows at a, the yellow-centered 

 daisy mas.sed to emphasize its beauty of 

 color; h shows the same flower arranged to 

 display its beauty of fonn. A single clump 

 of the [jlaiit 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 sohd l)lack 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 

 Pig. ()()7 represents the type of arrange- 

 ment. Foliage aiifl flowers should never vie 

 with one another for first place. 

 O)lor flowers may be ma.ssed. The l)igger the bunch 

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

 Form flowers should not be massed. ;\ single stalk of 

 Ea-ster lilies Ls enough. WTien massed, the marvelously 

 graceful lines of leaves and flowers are lost. 



"'•" 







Receptacles should always be less attractive than 

 thatr which thcj- hold. Brilliant colored vases, those 

 with gilding, cut glass, vases decorated with pictures, 

 or with (lowers modeled in high relief or represented in 

 color, arc all to be avoided. They are too obtrusive. 

 They force the flowers to take second i)lace. Recepta- 

 cles of clear glass which take on the color of the stems 

 put into them, of dull .soft colors, of unjiohshed metal, 

 are likely to be most serviceable in displaying the 

 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 confused 

 with other plants. This is the reason for the general 

 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 the whole 

 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 as in the 

 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 h 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 



610, 611. Simple and reversed curves. 







V 



609. Harmony in vase and bouquet. 



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 

 bayberrics; 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 shm, the vase may have 

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

 may repeat that .shapi^ (Fig. 609). In Fig. 610, the sprays 

 have one line in common, a simple forceful curve repeated 

 in the v.Tse. In Fig. 611, the sprays have the reversed 

 curve in common, echoed softly in the vase. 



(h) Rhythm means orderly variety of some kind. Fig. 

 612 exhibits orderly variety in the sizes of leaves, all 

 subordinate to the one flower. Such an effect can always 



612, 613, 614, respectively, show- 

 ing simple rhythm forms. 



