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JANDABY 6, 1910. 



The Weekly Florists^ Review. 



V. 





i THE RETAIL «^i^i«= f 



FLORIST, 



vxisKi^r^ 



A W<X)DMEN'S WREATH. 



Hillary E. Le Page, of Stamford, 

 Conn., recently was called upon to make 

 an unusual design for the funeral of a 

 ^ lember of the order known as the 

 "v'oodmen of the World. The piece was 

 u plateau mounted on an easel and was 

 <^f unusually large size, but the special 

 feature was that the customer required 

 that a small log of wood be displayed in 

 the center of the plateau, as shown in 

 the accompanying illustration. The piece 

 itself was made of white carnations as a 

 base for the block of wood and as a 

 background for the lettering. The rest 

 of the design was of roses, daisies and 

 asparagus. Mr. Le Page's execution of 

 his, order pleased his customer greatly. 



COLOR LIFE. 



Bri{[ht Touches in Designs. 



No small amount of the value of life 

 is its warmth, and this is emphatically 

 true with regard to life of color. "Why 

 is pink so much more of a favorite than 

 lavender or bluet It possesses warmth 

 and fire. Blue is not becoming .to a pale 

 face. It is happily used with a clear, 

 light rosy color, or a rich, subdued rosy 

 color. Pink or red imparts color to an 

 otherwise color-poor complexion. The 

 warm shades and tints of color seem tq 

 impart light, and the dull, cold colors 

 selfishly absorb it. Lavender alone is 

 apt to appear dull and cold. It takes a 

 strong artistic instinct to discover its 

 value. 



Cold pictures do not attract a large 

 number of admirers. A sunset of violet 

 and green after a cold rain in winter 

 will not draw the eye like the glow of 

 the orange-pink, or crimson with violet, 

 of the opening spring. 



Of themselves, there are not many 

 more cold colors in nature than there 

 are pure colors. The most of them have 

 touches of some warm color, like pink, 

 yellow or red, in markings on the flower 

 proper, on the stamens or pistils, or on 

 the foliage or stems. It is wonderful 

 what transformations these slender lines 

 of warm color will produce on a flower. 



A Little Dash of Color. 



Here is a clue to what may be accom- 

 plished by a mere penciling in a group 

 of flowers, which is, properly speaking, 

 a design: A piece may be made of lav- 

 ender, say sweet peas or asters, or lav- 

 ender and white, and appear dainty and 

 ••thereal, but some way it is never so 

 ittractive as if there were ever so small 

 in addition of a crimson pink, unless 

 you find in the first place that your 

 •vhite is decidedly creamy or yellow, in 

 ihich case the warmth lies in the yellow. 

 An all lavender piece fairly leaps into a 

 • esurrection by the introduction of a 

 'arker purple or a rose-pink streak. A 

 lull copper which shows a subdued or- 

 •nge is as good as a hot water plant to 

 ' cold blue. 



To better appreciate the powerful ef- 

 fect of a trace of pink with lavender, 

 make this comparison: A piece made of 

 soft, rose-tinted hyacinths may with all 

 propriety be touched with a bunch of 

 light violet, without materially changing 

 the aspect of the design. People will 

 pass it by with some commonplace re- 

 mark. But make this same ' piece of 

 lavender hyacinths and touch it with a 

 nice bit of rose-pink, and while in the 

 former case the lavender is but a dot 

 on the pink, the pink on the lavender 

 permeates the whole group with the 

 magic of the sunlight which it carries. 

 Even with the combination of white and 

 lavender, sneak in some pink, although it 

 must be administered in homeopathic 



ing of colors, but in decorative work 

 lights can be rearranged with regard to 

 location, shading and degree of bril- 

 liancy, 80 as to at least suggest the color 

 effects on the plumage of the prond 

 gobbler or the turkey ben, the teal duck 

 or even a common chicken. Similar 

 blending of rainbow coloring is to be 

 seen in many fishes. 



China painters who know their art will 

 always work in. some warm dashes of 

 brown, which contains yellow, or a little 

 red, or some pink, which is diluted red, 

 on the turn of a leaf or in the cloudy 

 spaces of the background. Laying aside 

 the sentiment attached to all white in a 

 bride's bouquet, a suggestion of a deli- 

 cate, warm tint is just such an addition 

 to an armful or shower. A Golden Gate 

 or Uncle John rose somewhere among the 

 Bride roses, or a pale Bridesmaid bud- 

 does not appear accidentally in a well 

 arranged bouquet. At the same time, 

 we have reached the stage where color 

 for funeral work seems to be welcomed, 

 instead of a pall of all white, as it used 

 to be. 



The Warm Reds and Yellows. 



Thfe richness and attractiveness of the 

 reds which approach the pure reds is due 



A Woodmen's Wreath. 



doses. Sometimes the right thing can 

 be introduced in a tie or the part of the 

 tie. 



Using Skill and Saving Stock. 



If you want showy pieces, aim at this 

 iridescence in coloring, rather than size 

 of piece and quantity of flowers. Thus 

 you conserve your stock, and you make 

 skill count, which is the highest type of 

 work. Of course, we can not accomplish 

 such things as are hinted at in the ex- 

 amples to be mentioned next, showing 

 marvelous results in reflection and blend- 



to their warmth of color, just as warm- 

 hearted people are general favorites, 

 rather than cold-hearted, retiring people. 

 Purples are attractive in proportion as 

 they exhibit more red and less blue. 

 Yellow with white is excellent coloring, 

 because of the diffusion of the warmth 

 of the yellow over the delicacy of the 

 white, and the union is more nearly per- 

 fect^ if the white be a yellow white 

 rather than a blue or a violet white; not 

 that the union of blue or violet is not 

 harmonious with yellow, but that the 



II rf M'l i1 li'l ■■! 



