io8 FLORAL DESIGNS. 
No. 5. (Page 17.) Wreath. A pretty and inexpensive wreath of mixed flowers, tied 
with No. 16 white satin ribbon. It consists of Perle and Marechal Niel roses, carnations, 
primroses and lily of the valley. Smilax and ferns were used for backing. Very effective 
for its cost. 
No. 6. (Page 19.) Wreath, with Large Bow of Ribbon. This is a more expen- 
sive wreath, and is one form of the much admired crescent wreath. It can be made either 
on a stand or flat. A solid wreath of white carnations without the admixture of any other 
flower forms the ground-work of the design. Pale Mermet rases and their foliage are ar- 
ranged loosely on this ground-work of carnations, narrowing down to a single bud. The 
whole is in strong relief against the white below it. Lily of the valley clusters to the left 
of the ribbon sash, which in this case is pearl white satin, No. 20 ; ay x yards were used iu 
the sash. For further details, see article on making up a wreath, in Chapter I, page 119. 
No. 7. (Page 21.) Standing Wreath, on Base. Niphetos roses and carnations, 
interspersed with lily of the valley, heavily backed with smilax, are the main features of 
this work. It is a representative piece as turned out of many floral establishments. 
No. 8. (Page 23.) Masonic Wreath, enclosing Square and Compass. An ad- 
mixture of flowers enter into this design, which are plainly indicated in the engraving. 
For descriptions of other wreaths, see Chapter V, page 132. 
No. 9. (Page 25.) Sickle and Sheaf. Sickle of Niphetos roses, carnations, bou- 
vardias and lily of the valley. The handle was of blue Roman hyacinths, laid against a 
standing sheaf of wheat. 
No. 10. (Page 27.) Flat Sickle. This is a low-priced design, and is made of the 
same flowers as the preceding one. The wheat is here arranged as though it had just been 
cut by the sickle and had fallen over the blade. For other designs of sickles, see chapter 
on funeral work, page 132. 
No. 11. (Page 29.) Pillow. This was arranged in the month of September, when 
there is a dearth of good flowers. A delicately-tinted pink dahlia occupies the four cor- 
ners of the pillow, while a crescent arrangement is shown on the pillow, which contains 
the sacred word "Mother." The foundation of the lettering is of white carnations. For 
further descriptions of pillows, see chapter on funeral work, page 133. 
No. 12. (Page 31.) Standing Anchor. A pretty low-priced design, such as is 
called for every day. In a small anchor there is always difficulty in obtaining distinctness 
of outline. Observe carefully our directions for packing the corners of such designs, on 
page 119. 
No. 12. (Page 33.) Broken Column. The shaft is of white carnations, interspersed 
with roses, lilies, tuberoses, etc. It is an ordinary every-day column. Another arrange- 
ment is seen on page 95, lettered with "Broken Hopes." For descriptions of other col- 
umns, see chapter on funeral designs, page 133. 
No. 14. (Page 35.) Floral Scroll, with Cross and Crown. Polished ivy leaves 
are the foundation of this work. Perle roses outline the edge, while a row of marguerites 
add a finishing touch. "Rest" is lettered on white cape flowers, while the Cross and 
Crown is formed of roses. The back is covered with smilax. A rich piece of work, and 
very effective. 
No. 15. (Page t>7-) Harp on Base. This is the usual form of a harp. It is formed 
almost entirely of roses, camellias and chrysanthemums. The strings are made of silver 
wire, with one of them broken as in engraving. Roman hyacinths are interspersed among 
the flowers on the base, which is finished with a heavy border of fern leaves. 
No. 16. (Page 39.) True Harp. This is a simple but beautiful piece, made of all 
small flowers, with the exception of two camellias which form rosettes. White jasmine, 
bouvardias, primroses and sweet alyssum form the frame, with laurel leaves overlapping, 
to supply the other upright side. Fern leaves finish the base, as seen in the engraving. 
The strings are covered with smilax, ; asparagus would also be well for this. 
No. 17. (Page 41.) Lyre on Base. The engraving clearly delineates the character 
of this design. The flowers enumerated above are all represented in its composition. 
The back is covered with ground pine, or bouquet green. The base is finished with ivy 
leaves. 
