624 TRANSACTIONS OP THE AMERICAN INSTITUTE 



gent and elevated intei-pretation, and really to mean that the rules of taste 

 are predicated upon principles as fixed and rigorous in their application as 

 t'jose of mathematics or any of the exact sciences. 



While on this occasion I do not intend to go into an elaborate and 

 detailed analysis or examination of all of these rules and principles, for 

 your time would not permit of my doing so, yet I propose to glance at such of ^ 

 them as have a direct bearing upon the subject of this evening's con- 

 sideration. 



To many perhaps the theme may not be thought worthy of much con- 

 sideration, as not being sufficiently practical and utilitarian in its bearings; 

 but it must be borne in mind that whatever tends to elevate our thoughts, 

 to render our homes more elegant and attractive, and exercises a refining 

 influence over us, is as much a matter of utility and has as much practical 

 bearing on our lives and happiness as subjects which have for their object 

 the increase of crops on a given area, or the enhanced values measured by 

 the price currents of the markets. 



I shall more particularly address mj'self to the ladies, as it is a subject 

 which especially commends itself to them, for I have never known a lady, 

 of taste and refinement who was not delighted with, or could not appreciate 

 a tastefully arranged bouquet or floral design. 



One of the greatest faults in the present fashion of arranging floral 

 designs is their stiffness and formality; bouquets are made in the form of 

 a stone-cutter's mallet, and exhibit a ponderosity almost as great; the 

 centre piece for a dinner table exhibits a solidity of form almost if not 

 quite equal to that of a sirloin of beef, or any other " piece de resistance" 

 which the culinary artist may find necessary to introduce. Does a gallant 

 send a basket of flowers to his inimorata, it will often be found arranged 

 in ribbons of color, perhaps with a five or six pointed star in the centre, or 

 may be a spread eagle; do we attend the obsequies of a deceased friend 

 we find the cofiin literally covered with crosses, anchors, harps, crowns and 

 similar designs, as though such things could ever be appropriately made 

 out of anything but wood, iron, or other metal, or precious gems. At our 

 floral exhibitions we find spades or plows made of wood smothered in 

 Dahlias and marygolds; or, as such occasions frequently occur near elec- 

 tion time, we find temples of liberty, suggested by the first political poster, 

 posted on the nearest dead wall, made of verbenas and clnysantliemums, 

 and what is worse we find premiums awarded to their manufacturers as for 

 floral designs. All such things are execrably devoid of taste, and should 

 be kicked out of the exhibition rooms as outrageous impertinences. 



The fundamental principle of taste is creative power, and it must always 

 be exhibited if we would command respect or consideration for our work. 

 It is this which distinguishes genius from talent; genus in works of art 

 imitates nature — talent copies her. The one paints a picture ; the other 

 makes an anatomical or scientific drawing. He who creates or produces^ 

 the greatest eflect from the smallest amount of material has the greater ' 

 genius, as showing the greater creative power, and his works give greater 

 pleasure than do those of him who has to bring in a larger number of acces- 

 sories to produce the same or similar efi*ects. For this reason sculpture 

 always ranks higher than painting, and is of a higher order of genius, and 



