APPENDIX 



357 



of great importance, and the firm and skilful fixing of the stems 

 or branches in the vessel which holds them is one of the most 

 difficult parts of 'the manipulation. Ordinarily, the stems are 

 held in position by small cylindrical pieces of wood, fitting 

 tightly across the neck of the flower vase, and having a slit, 

 wider above than below, for threading them through. The 

 wedge-shaped form, wider towards the top, which is given to 

 the slit allows slightly different inclinations to be imparted to the 

 several branches. The fastener should be fixed about half an 

 inch below the surface of the water, and should not be visible 

 from the front of the vessel. Some schools affect a rustic 

 simplicity in their appliances, and employ a naturally forked 

 twig to hold the flowers in position. For arrangements in 

 neckless vases, such as sand-bowls or shallow tubs, other sorts 

 of fasteners are necessary. One kind consists of a sheet of 

 copper perforated with holes of different sizes, to receive the 

 extremities of the different stems. Another fastener is made 

 of rings or different sections of bamboo of varying diameters 

 attached to a wooden board, the stems finding lodgment in the 

 sockets thus formed, and being further held in position by 

 pebbles being placed over them. 



The direction of the steins at starting need not be strictly 

 vertical ; but, if ciu-ved, the curves should be strong ones. 



The artist studiously avoids an equal-sided or symmetrica] 

 arrangement, but obtains a balance of a more subtle kind. 



The triple arrangement may be taken as the original model 

 of all arrangements. The Principal is the central and longest 

 line of the design, and is made to form a double cm^ve, with the 

 upper and lower extremities nearly vertical and in a continuous 

 line, the general shape being that of an archer's bow. The 

 Secondary line should be about half, and the Tertiary line 

 about one quarter of the length of the Principal, supposing all 

 to be straightened out ; and these two lines are arranged on 

 different sides of the Principal in graceful double curves of 

 varied character. As a general rule, the Secondary has a more 

 vertical and the Tertiary a more lateral tendency, the former 

 being on the outside of the arched bow formed by the Principal, 

 and the latter making a counterpoise on its hollow side. By 

 changing the direction and giving a different character to 

 the curves of these three lines, a great variety of design is 

 produced. 



