10 



The Weekly Florists' Review. 



May 30, 1912. 



and is strictly decorative. Hence there 

 is no reason for restraint in assembling 

 the flowers. Throw them out and apart 

 freely. Don't be afraid of breaking 

 the outline. It would have been better 

 not to use any asparagus than these 

 scanty bits. A well grouped bunch of 

 the asparagus, with some long-stemmed 

 Romans at the left side, would have 

 blended the two elements of galax and 

 carnations. 



What is the rosette bow for? It ties 

 nothing; there is nothing to be tied. 

 Supposing it were needed, it is too 

 scanty for the size of the piece. The 

 bunch of chiffon loops should be much 

 fuller and streamers of chiffon might 

 veil the ribbon streamers. 'In case the 

 ribbon is used for the sake of the in- 

 scription, it might be gracefully draped 

 across the piece, with a rosette at each 

 end. 



The piece might have been more at- 

 tractively decorated by arranging the 



long-stemmed carnations in a long 

 spray, topped by a fringe of Romans. 

 This spray is most easily handled if 

 made separately and pinned onto one 

 side of the wreath. The tie with the 

 lettering might then be added. Or a 

 carnation and hyacinth garland could 

 have been wrapped around the galax 

 wreath, with the ribbon tying the head 

 and tail ends. Or a double spray, of 

 carnations at one end and Romans at 

 the other, with an enlarged tie, could 

 have composed the decoration. 



Gertrude Blair. 



Improperly Balanced. 



From the picture submitted I am un- 

 able to determine the exact material 

 employed. The body or form is of 

 galax, with an opposing factor of flow- 

 ers and ribbon. Carnations and hya- 

 cinths we will call the flowers, in the 

 absence of positive knowledge. 



The flowers and galax are the oppos- 



Wreath of Galax and Rcie» by Fred C. V. Browo. 



ing factors and, as such, it is advisable 

 to give them opposites in direction for 

 the sake of interest. The story em- 

 bodied is that a wreath of leaves has 

 been enriched by a cluster of flowers. 

 The reason why this cluster should hi' 

 opposite in- direction to the leaves is, 

 so that a point of interest may be cre- 

 ated at the greatest point of opposition; 

 or, in a case of running parallel with 

 the main interest, the flowers should be 

 filtered in at one extreme and have 

 an abrupt termination at the other, 

 thus creating a single point of interest, 

 or high light. 



In this piece we find two such posi- 

 tions and, apparently without reason, 

 one has been selected and has received 

 as its high light a bow of ribbon, em- 

 phasized in a degree by the word 

 "Brother," but the full stop on the 

 other extreme of this directionless mass 

 of blooms is unbroken and gives the 

 unpleasant sensation of collision. 



Had the maker grouped his hyacinths 

 at the ribbon high light and given 

 general direction to his cluster by using 

 his carnations on longer stems, and if, 

 still desiring the parallel principle, 

 he had filtered his carnations on over 

 (not into) his galax at the opposite 

 of his ribbon, the effect would have 

 been eminently better and the point of 

 the story would have been much better 

 told. 



The spindly legs of the easel are akin 

 to a naked truth — disagreeable, but 

 fact. They should have been veiled in 

 some suitable way. The card would 

 have looked much better if placed on 

 one of the flowing ends of ribbon, or 

 on the design proper. 



Fred C. W. Brown. 



THE BBEDE'S MUFF. 



A Taking Novelty. 



The bouquet is so old that there has 

 been demand for wedding flowers in 

 some other form. 



This call has been met by the bride's 

 muff. 



The muff makes a hit wherever it is 

 used or shown. Put a conventionaf 

 bride's bouquet in your window, or in- 

 clude it in your exhibit at a show, and 

 it attracts scarcely so much as passing 

 notice. But put in a muff and you get 

 the ladies lined up three deep — and the 

 men, too. 



The first bride in a social set to carry 

 a muff, instead of the conventional 

 bouquet, sets all her acquaintances talk- 

 ing about it. The muff gets attention 

 where a shower bouquet wouldn't be 

 noticed any more than the groom is. 



Making a Muff. 



The shower bouquet often has been 

 cited as the supreme test of a retail 

 florist's abilities as a worker with flow- 

 ers, but the muff, on the other hand, 

 is a quite simple proposition. Any 

 handy seamstress can make one in a 

 few minutes and many a man does as 

 well. 



The muff usually is made on paper. A 

 long strip of heavy, tough paper is 

 rolled into the requisite shape, and 

 sewed there. Some cover both sides, in- 

 side and out, with cotton wadding be- 

 fore rolling, but others put the wadding 

 on afterward. Next comes the chiffon 

 or netting covering. It is not difficult 

 to put on, but usually a first attempt 

 gets it too tight — it should be good ma- 

 terial and it should be loose and full. 

 You are not imitating the round, hard, 



