t096 



The Weekly Florists^ Review* 



October 5, 1905. 



#^^#^<^^^^^<^^<<JWL<♦^w.'♦%><^><J>^^^;>^^^»♦=>lv♦;>^»^J>^ 



<»iaU^ 



THE RETAIL 



FLORIST 



^•^ "iif^ ^Mf»> -w^s lA^ %<-». ^yf»>>/-^>%<^.ife»>'Wr»> VriK 



Vr»>%fe»»'%«r^'^f»> 



STUDIES IN CLUSTERS.-I. 



By Gertrude Blair. 



In this and the following article we 

 shall discuss two different kinds of clus- 

 ters, the first to be seen almost any day 

 on any florist's counter, and the second 

 too seldom seen, even on paper, as an 

 ideal to be approached in the remote fu- 

 ture, when all so-called practical ques- 

 tions have settled under their tomb- 

 stones, and a happy generation has got 

 the habit of weaving a thought into each 

 product of the shop. 



Since the two accompanying illustra- 

 tions arc excellent types of the average 

 output of the trade, we should at least 

 accord the style a place as one of the 

 many types which should be seen, rather 

 than the only one, to be duplicated a 

 score of times at the same funeral. Sim- 

 ply because the great majority of florists 

 use this style is no reason why it should 

 be rated as a low type of design, but 

 we shall endeavor to prove that it has no 

 claim to being the only one. 



In casting about for a cause for this 

 one style getting such a hold upon the 

 affections of the trade, there appears but 

 one plea in its defense, namely, the ease 

 with which it is put together. Keep in 

 mind that it is not the contents nor the 

 execution of the clusters which is being 

 criticised, but only the style of arrange- 

 ment, which we shall call a panel. In 

 studying the second part of this article 

 in the next issue it will be necesary to 

 have this first part at hand. 



The style of arrangement shown in 

 both of the pictures illustrating today's 

 notes is not properly called a "spray." 

 The term spray reminds one of a light, 

 thin combination of light and water 

 that hovers over a waterfall, or a light 

 branch that dangles from a vine, like the 

 tip of a Clematis paniculata. The de- 

 signs are not of such a nature; they are 

 solid, symmetrical pieces, more resem- 

 bling a panel of wood carving. Their 

 highest claim to a place as designs proper 

 is their conventionality. As far as the 

 design, or idea, is concerned, there is 

 none except for the first person who 

 ever made a panel like this, for it is the 

 kind that every florist 's apprentice learns 

 to do, and keep on doing mechanically. 



"But," somebody will say, 'fit is the 

 kind that people want and will buy." 

 Possibly that is true, but it is the only 

 kind that the majority of people ever 

 see. Give customers something better 

 and they will buy it. As a matter of 

 education have a photograph of this 

 kind and photographs of better styles, 

 and side by side, let the buyer choose 

 his style. You can bank upon the fact 

 that the choice will not always fall upon 

 the panel. 



Compare the carnation piece with the 

 rose piece. The same background of 

 fern loaves is laid in both, the roses and 

 carnations are added in each case in pre- 

 cisely the same way, forming the oval tip 

 and round sides of the piece. Lilies, hya- 

 cinths, violets or any other flowers under 



the sun suitable for flat bunches, each 

 find their way into panels of the same 

 proportions and shape. Each form an el- 

 liptical cluster when complete. Ferns 

 are added to complete the symmetry at 

 the stem end, as is naturally demanded. 



The execution of these two clusters is 

 good. The mechanical skill is evidence 

 of long practice and care. If one could 

 have seen the work in doing he would 

 have praised the ease and dexterity 

 which were exhibited in its execution. 

 The result is a perfect elliptical panel. 



"Well and good so far, but we do not 

 want all of our funeral clusters to be el- 

 liptical panels. This style has its place 

 as one among many, and many of more 

 beauty than it can ever lay claim to. 

 Why should the latest bundh of flowers 

 be made like every other bunch? Make 

 panels occasionally, if you admire the 

 style, but vary the panels. Make some 

 long and slender, if you have buds, and 

 shorter and wider if you have full blown 

 roses. If you have both, grade from one 

 to another, the buds at the tip, the half 

 open flowers connecting with the broad 

 base of full blown flowers. 



Even wagon wheels are varied in some 

 details. What would we think of a paint- 

 er of pictures who had but one pcene 

 to repeat upon every canvas, an Jirchi- 

 toet who builded but one kind of house, 

 or a tailor whose cut was the same for 

 everybody and all occasions? Many a 

 bridal bunch would serve for a funeral 

 cluster, as far as distinguishing charac- 

 teristics are concerned. 



(To be continued.) 



A CASKET COVER. 



The illustration on page 1098 is re- 

 produced from a photograph of a casket 

 cover, or blanket made by A. Gude & 

 Bro., Washington, D. C, for the funeral 

 of Captain Trout, of the Second Cavalry, 

 who died in the Philippines, but whose 

 remains were brought to Washington for 

 interment at Arlington cemetery. The 



The Every Day, Miny-Times-Repeated, Style of Flat Bunch of Carnations. 



