44 MASSACHUSETTS HORTICULTURAL SOCIETY. 



with the balls of creani}^ white glowing against the rich green of 

 their foliage is highly effective. In the arrangement of flowers 

 of beautiful form, we have much to learn from the Japanese. 



The " Studio " for October and December, 1896, has suggestive 

 articles, with more suggestive illustrations, of the fine art of 

 flower arrangement as practised by the floral artists of the Sun- 

 rise Kingdom. Mr. Conder's book, " The Flowers of Japan and 

 the Art of Moral Arrangement," to be found in the Library of 

 this Society, will repay thoughtful study. Even the suggestions 

 from Japanese prints, now so easily obtainable, are not to be 

 despised by the wide-awake florist. 



The chief element in beauty of form is curvature. Ruskin 

 says there are two kinds of curves, the mortal and the immortal. 

 We love immortal curves — the simple curve of force, the reversed 

 curve of grace, and the spiral. The curve of force is shown in 

 the sky-rocket. Water shot out of a fountain takes the same 

 curve ; so also does the stem of the golden-rod. E-eversed curves 

 and spirals are seen in the unfolding of a fern frond. [These 

 were further illustrated by charts and blackboard sketches.] 



Another element of beauty is radiation ; either from a centre, 

 as in a snowflake, or from some point outside the centre, as in a 

 palm-leaf fan. The effect may be bi-symmetrical, as in a scallop 

 shell, or balanced, as in a begonia leaf. 



Our fathers preferred the bi-symmetrical arrangement. It 

 appeared in the little tight headed bouquets brought to church, 

 and in all manner of decoration. It was even supposed that 

 houses must be bi-symmetrical — that is, that the two sides must 

 not only balance each other, but must be uniform in shape ; and 

 inside the same bi-symmetrical arrangement was thought neces- 

 sary, even to the placing of photographs and vases on the mantel. 



The arrangement evidently preferred by nature is that of bal- 

 ance. This is illustrated by a leaf where the portion on one side 

 of the mid-rib is smaller than the other, and perfect balance is 

 secured by the curvature of the mid-rib and stem to the needy 

 side. The Arethusa poised on its stem is another fine illustra- 

 tion. Balance may be seen illustrated in the lines of the hand. It 

 controls the position of the leaflets of the rose and sumach. The 

 Maine woodsmen know that trees are so balanced that if but an 

 inch of wood is left under the centre the tree will stand. A 

 stem of grass shows the balance of parts which make it self-sup- 



