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The Weekly Florists' Review. 



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THE RETAIL 



FLORIST 



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4 



FLOWERS FROM LODGES. - 



III :i iri:i jdiit y of tli(> lloiists' clubs 

 liiioiijiluml till' i-oiiu'trv it is tiic prac- 

 tice to siiiil a tl('sij;ii to tlic I'uneral of 

 each nu'ml)(M''A\ii() dies. In some eases, 

 tlie cliaracter of the (losij;ii is left to the 

 man -who makes tlie j)iece, but a number 

 of organizations have ailojjted a stand- 

 ard desiyn, which is recognized as rep- 

 resentative of the club. The design 

 ailopted by the Kentucky Society of 

 Flerists is shown in the accompanying 

 illustration. It is a wreath on an easel. 

 The wreath is composed of galax leaves, 

 with c-arnations and valley. A similar 

 jiiece is sent eadi time there is a death 

 in the club membership. 



One of the peculiar features of the 

 jilan adopted by this society is in rela- 

 tion to wlu> is to make the design. The 

 llorist is not e.\|)ected to donate any- 

 thing, and it is the rule to follow the 

 membership list in order to -tell Avho is 

 to do the work. The first time after the 

 rule Avas adopted the work went to the 

 first named on the alphabetical mem- 

 bership list. It had progressed as far 

 as the name of Jacob Schulz in the ])res- 

 ent instance. 



Many retail florists have achieved rej.u- 

 tations as "joiners" simply for tiie 

 advantage which lodge membership gives 

 by giiining a Avide aciiuaintanci". Those 

 w iio are lodge members often can get 

 it arranged so that they hiuc authority 

 to send a <]esiguated floral tribute, rec- 

 ognized as representing the lodge, cverv 

 time a member dies, without special ac- 

 tion at :\ st;ited meetinor. 



FUNERAL WORK. 



Notes on Set Pieces. 



•ontinuing the discussion nf tiie spe- 

 cial features of set pieces. ;is certain 

 'iesigiis are called, others besides those 

 mentioned last week, the anchor, open 

 book and broken colnmu, ha\c points 

 which the design-maker must obser\e if 

 his Work is to be really first-class. It 

 iK'Acr should be lost sight of that (UU' 

 of the most important things in making 

 a tlesign is to always make the outline 

 tir>t. tiieieby as'^nriiig good shiipe. 

 When it is Jiossible to do so, it is :il\\;ivs 

 a Liood plan to us.' some sni;ill Mower its 

 ••III ''dning. 



Crescent and Star. 



A \\f\\ made -;tar and crescent is one 

 ot the preiiiesi (if .hsigns. Tiie crescent 

 '•an be iiimnied in any one of many dif- 

 tei-eut ways. Sei- that it tapers "nicelv 

 lo the j.oints. 'I'he star should be made 

 ol' some small llower. if possible. Often 

 I iiave tnkeii a <!ii ii.it ion to jijeces and 

 w<^'A some ot tlie petaN. The star should 



Hot be toci l;irL;e. 



The Cross. 



•\ A\e|| mmie (To^s :iUo liKikes a line 

 lior;il .|esi;;n. Often We liihl one not W(>ll 

 piop,iiti(inrd : thi~^. ot course, i-, tln' fniill 



of the wire man. but the llorist g<'ts the 

 blame, and deserves it. if he lets it get 

 by him. In a correctly pro|iintioneil 

 cross, each cross arm and the top arm 

 should be Just one-half the length of the 

 lower i>art, but if the three top arms are 

 of equal length the lower part can be a 

 little longer withont looking l»ad ; in 

 fact, in some cases it makes a better aji- 

 pearancc — for instance, in the case of a 

 flat casket cross. When making up a 

 cross see that you have neat, square cor- 

 ners and that the arms are in line. 



In the case of a cross with a slanting 

 bar. the bar shonlil always shint upwards 

 from left to right. 



The Crown. 



A crown is by no means oiu' of tln^ 

 easiest designs to make. 



In the first place, you must be careful 

 when filling or mossing the d(>sign to 



crow II of tlowcrs, be sure vcni oet a 

 good price lor the work. ;is voii will use 

 many tlowcrs and much lime. 



Cross and Crown. 



The cross ami clown is not as coiiimou 

 as some other designs, Init iie\ crtlieless 

 it makes a nice piece. Tile cross is the 

 .■>anie .as any cids>. The crown can be 

 fastened at either the point where the 

 arms cross, or alunit Inilt'way down 

 lui -Uie lower pari. The iiown must be 

 iiaide up c.arefiilly. so ;is not to lose 

 shajie. Vol! can use carnations for mak- 

 ing till' ( row n. A good plan is to take 

 the carnation to |iiei-es, or rather divide 

 one carnation into several |parts to form 

 the jioints ot' llie crown. In other words, 

 use only p;irt of one carii.atiou wired to 

 a toothpick in making the points. 



Broken Wheel. 



.\s in many otlie'r designs ul' a like 

 n;itiire, there is little chance tdr orna- 

 mentation on a wheel. Some dainty lit- 

 tle flower radiating fnun the hub toward 

 the rim always adds to the ap[iearance 

 of tlio piece. 'J'heii the rim can be 

 trimmed |>r<'ttily. .\ tlower of ditTerent 

 color slack in thi' emi of the hub sets 

 that part ()f the design off. When u 

 broken wheel is fastened to an easel, in- 

 stead of standing on a base, see that 

 none of ilie sjiokes is perfectly jierpen- 

 dicnlar or horizontal, as this looks bad. 



Design Adopted by the Kentucky Society of Florists. 



carry nut llie nice lines of the jiiece. 

 Simie lloweis like carnations or sni.all as- 

 ters lu' chrysauthemums .-an be used to 

 form the Clown. Little t liinmiiig i> 

 ''■il''''l for. It ymi li;i\c never made a 



The Gates Ajar. 



Tlie gates a,iar is ,iiir irf tie 

 v\c .Me often (•ailed mi to make, 

 it n i4oii(| ;ipp< a la lire t in- t w n 



■ 'lesignp 



To givf 



sides, or 



