ADDED MOST TO THE BEAUTY OF THE SHOW 
So thought the judges who awarded to this display from Mr. Adolph Lewisohn the Sweepstakes Cup of the Garden Club of America. 
It was a misty foam of dainty color harmony, ethereal and shimmering, wonderfully rich in greenhouse flowers of the season set in a 
base of Primula malacoides with Buddleia asiatica showering in the background. The tone throughout was of soft "pastel” quality 
NEW YORK’S SPRING FEAST OF FLOWERS 
rWIJ! H E annual spring floral festival that New York has now 
staged for the eighth time has achieved, in the year’s 
icIlSSl cycle of events of interest to the gardener, a place that 
makes it much more than a New York incident. 
Rather it has become truly national in interest. 
Its promoters call it International — which of course it is not, 
never was, and (with Quarantine 37 in operation) cannot be! 
Its stamp of national interest is achieved by the supporting 
attendance of visitors from all parts of the Union and not from 
any marked national support by the exhibitions, which is not a 
critical observation, but merely a statement of fact. The truth 
is that the material of the New York Flower Show is local. 
It is none the worse for that, however; a flower show must per- 
force be dominated by the productions of those growers in the 
neighborhood of the place of the display. 
The flower show that was held in the Grand Central Palace 
March 14th to 20th scores an advance over all previous efforts 
in spectacular effect, and in that respect it stands unique. This 
was due to the “gardens” of which there were four, each cover- 
ing an area of a thousand square feet. Though to a degree 
artificial and false, they yet carried a feeling of realism when 
looked at as entities. In analysis such attempts fall to pieces 
because of the fact that the effects produced are made through 
the suggestive use of materials that could not possibly be had in 
actual planting. At the same time, such displays do point a 
lesson in the principles of development and — perhaps best of all 
— exhibit plant materials in effective action, so to speak, which 
impresses the visitors with the decorative utility of the material 
rather than the cultural perfection of the individual specimen. 
The latter standard is designed to intrigue the professional 
grower, by whom the shows are made; but any educational value 
to the public will be in the demonstrated use of the plant. The 
average person grows plants for the harvest of beauty, and the 
New York Show has been regularly stepping ahead in empha- 
sizing this in the leading display classes. It is a new era in 
flower show standards. 
The cooperation of the Garden Club of America added another 
feature of striking appeal and demonstration in the use of the 
garden as a place of beauty and harmony. Prizes were offered 
for a bird bath and its setting, thus introducing another novel 
feature in which a number of local garden clubs took part. 
The City Gardens Club has, as its object, the amelioration of 
the crowded city districts by the introduction of “gardened” 
courts, window boxes, etc., to relieve the bareness, and an 
appropriate demonstration of two adjoining plots, one redeemed, 
the other littered in the, alas, normal way, was convincing 
enough. 
But the culturist was not without objects to interest him, 
either. Mr. Coe’s marvelous Camellias; Mrs. Constable’s 
Acacia and Clivea group; Mrs. Payne Whitney’s Primulas and 
other spring flowers of the greenhouse; Mr. Adolph Lewisohn’s 
plants of like nature; Mrs. W. B. Thompson’s richly colored and 
multiformed Crotons — all such still live in memory after the 
doors of the exhibition close. Orchids, always intriguing both 
to the gardener and the merely curious casual observer, were 
given their share of honors: J. B. Duke and A. N. Cooley having 
exhibits in the amateur collection, with major displays from 
such trade powers as Lager & Hurrell and Julius Roehrs & Co. 
