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September 1, 1904. 



ThcWccfcly Florists' Review* 



703 



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BEGINNINGS 



IN DESIGN... 



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VASE ARRANGEMENTS- II. 



Gladioli. 



"Why a stone jar should be considered 

 the best receptacle for this particular 

 style of flowers is not apparent at first 

 thought. Why not a rose bowl, a deli- 

 cately tinted china dish, or a slender 

 crystal vase? In the first place the in- 

 florescence of the gladioli necessarily 

 means weight where any number of the 

 flowers are used. Therefore we must 

 have something which not only has the 

 appearance of weight, but actually is 

 heavy enough to counterbalance the top- 

 heavy stalks. Never put any arrange- 

 ment of flowers and vase before people 

 which will make them uncomfortable or 

 nervous, as a delicate vase might do if 

 filled with long, heavy flower stalks, 

 tempting a destructive breeze. 



Such flowers as gladioli, hydrangeas, 

 hollyhocks, dahlias ,or chrysanthemums 

 and other large, robust flowers, nat- 

 urally adapt themselves to a rustic set- 

 ting, as is at least suggested my this 

 use of a stone pitcher as a receptacle. 

 Then, too, the color of this particular 

 jar is a dark brown, which is a good 

 setting for the pinkish creams and yel- 

 lows of the gladiolus flowers. A per- 

 fect gladiolus stalk hasn't a very de- 

 cided curve; neither has our stone jar. 

 The lines of the flower stalks can grow 

 from the lines of the dish without any 

 very abrupt change, so we find harmony 

 of form. 



The ease with which this union of lines 

 between the flower stalks and the recep- 

 tacle can take place, depends upen the 

 quantity put into the vase. Too many 

 crowded in would make the lines unnat- 

 urally straight, while too few would play 

 at right angles with each other. Two 

 dozen was the number used in this pitch- 

 er of about five inches in diameter, with 

 the grass and extra foliage, the latter 

 feature with the shadow effect around the 

 top of the vase making a — well, some- 

 thing otherwise than so many stalks in 

 a dish, soda fountain straws-in-a-glass 

 fashion. By the few over-hanging flower 

 stalks, and the extra foliage, deep shad- 

 ows are cast over the rim of the pitcher, 

 thus blending the lines of the pitcher 

 ■with the lines of the flower stalks, and 

 making them one, which is the secret of 

 correct vase arrangements. 



Find the receptacle, the lines and form 

 of which can be continued into the 

 lines of the flower stalks most easily, 

 and you have found the proper recep- 

 tacle. If you find this a somewhat diffi- 

 cult task, make shadows, as is done 

 here. If then you cannot accomplish 

 your purpose, they do not properly be- 

 long together. After a little practice in 

 this line, your eye will do the work of 

 hands and eyes too, and you will be able 

 to accept or reject a receptacle on sight. 

 Ahe shadow softens the hard look of the 

 8ton& and helps the harmony with the 

 flowers, half of the beauty and depth of 



which are in the effect of light and 

 shade. 



It will be observed that the central 

 part of the bunch is carried to a greater 

 height by pulling a stalk or two out 

 above the bouquet. Fill in the space 

 left vacant with extra foliage or stems. 

 Use broken or hanging stalks like those 

 on the left of t)ie vase sparingly; other- 

 wise it will become a disagreeable man- 

 nerism. Other devices of relief can be 

 invented, like a simple spray lying flat 

 at the base of the vase or a creeping bit 

 of foliage around or off from the vase. 

 But let none of them be everyday in- 

 dulgences. Have a wandering line or 

 two in all of your vase arrangements, 

 but don't use the same material repeat- 

 edly. 



Here are introduced the soft grasses 

 as relief. Other means to the same end 

 would be the use of other endogenous 



except in the heart of the cities. Edu- 

 cate taste by an occasional display ' of 

 this kind in your window. As a matter 

 of fact the artistic points of a corn stalk 

 are seldom excelled. There is nothing 

 that grows but has its beauty, but thei 

 difficult part for us is to become able to 

 find the proper place for it in our por- 

 tion of the decorative world. 



Gertrude Blair. 



ROSES. 



Cutting and Packing. 



The cutting of blooms, their care and. 

 treatment previous to shipment, and the 

 method of packing them carefully so 

 that they may reach their destination in 

 good shape, is a matter which nearly 

 concerns every grower and which should 

 ba made a special study by the youn^i' 

 brethren. 



In taking the cut special care should 

 be given to leave the most suitable eyes, 

 so that a future crop of robust stems 

 may be assured. To take off the cut 

 neatly, so that a ragged, long-sliced, un- 

 sightly stump may not be left, it is 

 necessary to have a well sharpened 

 knife or pair of scissors. Personally I 

 prefer the scissors, as if they are kept 

 in good order and properly handled they 

 leave a neater and smaller wound. 



I hav^ often wondered why some 



Gladioli in a Stone Jar. 



foliage, or grain stalks with the gladioli. 

 As far as a fine effect is concerned, noth- 

 ing could be more beautiful than the ad- 

 dition of some corn tassels and silk with 

 such a bunch. But feel your customers' 

 breadth of art instinct first. Purely 

 rustic beauty seems to go unappreciated 



growers, who are careful in most other 

 respects, run the risk of injuring the 

 prospects of a future crop by compelling 

 their help to take off the morning cut 

 by the light of a lantern when it is im- 

 possible for even the keenest sighted 

 to select the proper eye at which to cut. 



