10 



The Florists^ Review 



OcTOBEjt 24, 1912. 



chanical. True, it is all done with 

 a final object in view, but the only 

 claim we can make for any distinction, 

 beyond any other wreath made with the 

 same material, is in our power of plac- 

 ing our high light, our interest point of 

 orchids. The individuality of the piece, 

 the stamp of the maker, appears in the 

 manner of qualifying the interest. 



You will notice that the great princi- 

 ple of simplicity has been embodied in 

 all the construction. There is no taxing 

 of the mind to diecoiVer the composi- 

 tion of the design; each variety of 

 flower has been grouped so that it 

 stands clear for its identity. The pro- 

 portion is pleasing and the most unprac- 

 ticed eye can see at a glance just what 

 has been attempted. 



Art jumps at you from every part 

 and yet the set rules are so veiled 

 by the natural use of the material that 

 art is not even suspected, but only the 

 grace, and attractiveness of the flowers 

 hold our attention. 



Certainty in Results. 



It might be possible to arrange such 

 a piece as this without any knowledge 

 of art, but if such should be the case, 

 it could only be considered a fortunate 



accident. Why not make it a reason- 

 able certaintyby a study of the princi- 

 ples of art? Faithful observance of the 

 principles makes results sure. It means 

 money in your pocket and a greater 

 satisfaction to your trade. It is not 

 difficult, but it does require thought and 

 reason. It requires a free application 

 of the grains of common sense, and 

 then, on top of that, you should display 

 your own originality; throw your own 

 power of execution into the final plac- 

 ing of your high light, and the resxtlt 

 is bound to be pleasing. 



These principles are just p^^ essential 

 in the making of a cluster^rSgi- bouquet 

 or a basket arrangement, only the appli- 

 cation is a little different. 



As to the man who says, "I please 

 my trade and let art look out for it- 

 self, " one of two statements is posi- 

 tively true: Either he unconsciously 

 embodies art in the construction, or he 

 is the man who wonders how it is that 

 "the other fellow yets such good 

 prices," or why his trade wanders to 

 the bigger stores when his customers 

 have the purchasing of something a 

 little finer than their average corsage 

 bouquet, basket or design. 



Fred C. W. Brown. 



m 





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THE RETAIL 



FLORIST 



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A COMING OUT TEA. 



An old country house in a pjretty 

 suburb of Philadelphia was the scene 

 of! great activity that warm October 

 afternoon. Guests who came on foot 

 and in motors and carriages were enter- 

 ing through the open doorway and wide 

 entry into the parlor beyond. There 

 the daughter of the house was being 

 presented to the friends of her family. 

 She was simply gowned in white and 

 carried an exquisite shower bouquet of 

 lilies of the valley and white orchids. 

 The parlor mantels and walls and fire- 

 place were banked with dainty floral 

 creations, the gifts of friends, arranged 

 by an artistic hand. Here was a huge 

 basket of dahlias, the variety Geisha, 

 their bold form and brilliant coloring 

 brought out to fullest advantage. There 

 was a bunch of Glory of Pacific chrys- 

 anthemums, loosely tied with broad, 

 pale sash. Then another fine basket, 

 this one filled with roses, a symphony 

 in shades of pink, its delicacy en- 

 hanced by the proper shade of ribbon. 

 Then there was a batch of double vio- 

 lets, quite a novelty, with a gardenia 

 or two added to give fragrance. There 

 were many old-fashioned bouquets, cun- 

 ningly fashioned, each distinct from 

 the others, some with rosebuds of pink, 

 or cream, or orange, tightly tied to- 

 gether with a fringe of lilies of the 

 valley, or oncidiums, all with those 

 dainty lace bouquet holders. There was 

 a gorgeous bunch of delphiniums with 

 their rich blue coloring, another of Sun- 

 burst striking its many hued petals, a 

 pair of miniature rose trees in tubs, one 

 pink and one red, their symmetrical 

 proportions suggesting bay trees in full 



bloom. So I might go rambling on 

 were it not that enough has been said 

 to- give an idea of the doings in the 

 floral world. Phil. 



A HANDY BLANK. 



"I enclose a form of order blahk 

 that I find minimizes the chance !of 

 error in taking telephone orders," 

 writes Fred W. Arnold, of Cambridge, 

 O. He adds: "Perhaps other florists 



F. w. Arnold, Florist 



Datt. '. 



SoUtottr. _.. 



Addnu _ 



ArUet* _ 



Prte* 



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liucfipttoH. 



Dtlhtr Whtn? 

 DtllBtr Whtnf 



REPEAT 



Blank for Taking Telephone Orders. 



will be interested in it." The blank is 

 reproduced herewith, reduced in size. 

 The original was about 4x5 inches, giv- 

 ing space enough for convenient writ- 

 ing while at the telephone. Probably 

 a great many will consider that the 

 most important feature of the blank is 

 the injunction to KEPEAT! Your 

 printer will turn out these blanks for 



you so cheaply that they are worth a 

 trial if you are having trouble through 

 mix-ups in orders taken over the phone. 



DON'T EXCUSE A FAULT. 



Don't excuse a fault to save the trou- 

 ble of correcting it. . ,- ■ •, 



That is dangerous to the busihess. 



Yet many men do it. 



They never acknowledge they are 

 wrong until after they see the customer 

 getting angry and see the likelil^ood of 

 the store losing much business. ' 



The best way is to " acknowledge the 

 corn" and make good immediately by 

 rectifying the wrong. 



To shirk the task of correcting your 

 faults will eventually undermine the 

 business. 



THE BBOKEN WHEEL. 



The broken wheel formerly was one 

 of the most popular of funeral designs 

 and in some localities it still is made as 

 frequently as any other piece, with the 

 exception of the wreath and the pillow. 

 The broken wheel, like the broken col- 

 umn, has so plain a meaning that its 

 significance escapes no one. 



The accompanying illustration shows 

 a typical broken wheel. It is a design 

 which cannot be satisfactorily executed 

 except of good size; if the piece is too 

 small the space between the spokes be- 

 comes solid and the character of the 

 piece is lost. It must be shown on an 

 easel. 



MUMS IN DECORATION. 



The Danger of Monotony. 



The great popularity of the chrysan- 

 themum as a decorative subject is proof 

 of its value, for no plant without great 

 intrinsic merit could have survived so 

 long in the face of so many other good 

 things. But in the race for big, showy 

 flowers and eflEects we are prone to 

 overlook the beauties of less gorgeous 

 but equally pleasing varieties. The ris- 

 vival of interest in the single and pom- 

 pon kinds is a step in the direction of 

 a more artistic and varied use of this 

 popular flower, but only a step has been 

 taken as yet and there is room for 

 many more. 



Retailers, it is true, are dependent 

 upon their growers for variety, and so 

 many of these have got into the rut 

 of growing just what they know will 

 sell, taking no chances on anything 

 new or di^rent, that it is dishearten- 

 ing to a decorator who would like to 

 use something novel or fresh but can 

 not obtain it. But most growers will 

 take steps to produce the novelties, 

 provided their customers will promise 

 to take the stock when grown and so 

 insure them against loss, while the re- 

 tailer who grows a part of the stock 

 he sells has the remedy in his own 

 hands. 



The Small, Single Varieties. 



Small, late struck plants of single 

 varieties are elegant for filling flat 

 baskets to be used as centerpieces or 

 for other purposes, and those with a 

 quilled or anemone center and long, 

 wavy petals are especially attractive. 

 There is no lack of color variety; we 

 have pure whites,, all shades of rose and 

 pink, light and golden yellows and 

 many tints of red in self colors. These 

 are usually most satisfactory, as the 

 varieties with two and three colors in 



