28 
JOURNAL OF HORTICULTURE AND COTTAGE GARDENER. 
[ July 14, 1892. 
ihe open air in Sir E. Loder’s garden at Horsham. Grown in a 
peat or sphagnum bog in a sheltered position exposed to plenty of 
sunlight S. purpurea is quite at home. It is, of course, equally 
good under pot culture. 
S. Patersoni (fig. 4) is the result of crossing S. purpurea and 
S. flava, the parents of S. Stevensi figured last week, and although 
the two hybrids are very similar to each other they differ in form 
of flower and in the colouring of the pitchers. S. Patersoni was 
raised by Dr. Paterson, and exhibited by him before the R.H.S. 
about seven years ago. Its pitchers assume in autumn a rich deep 
claret red colour with veins of a darker hue, and they are 2 feet 
long. I consider this one of the very best Sarracenias yet raised. 
Its flowers are as large as those of S. Stevensi and coloured deep 
«rimson. S. Chelsoni, raised by Messrs. J. Veitch & Sons from 
S. purpurea and S. rubra, has pitchers similar to those of 
S. Patersoni but darker in colour. All the hybrids of which 
S. purpurea is one of the parents are remarkable for depth of 
eolour. By crossing it with the elegant beautifully tessellated 
§. Drummondi, a hybrid of exceptional merit as regards colour, 
but not first-rate as a grower, was raised a few years ago and 
named S. Mitchelliana. 
S. Drummondi is perhaps the handsomest of the species, its 
erect pitchers, 2 feet long, closely reticulated with white on a green 
ground and splashed with crimson, wholly crimson inside, being 
produced freely first in spring and again in August if the plant is 
properly treated. Its flowers, which are rich vinous crimson in 
colour, are fully 4 inches across. There are several named varieties 
of it—viz., var. alba, with more white in the pitchers than in the 
type, and the flowers paler in colour : var. undulata, darker in the 
colour of the pitchers ; var. mexicana, &c. 
S. rubra is another species with long narrow pitchers, green, 
with purplish veins, and flowers coloured brown crimson. It is not 
nearly so ornamental as some of its progeny. The singular little 
S. variolaris with its short pitchers, hooded at the top and coloured 
green with a creamy mottling, is worth growing for its pitchers 
as well as for its elegant pale yellow flowers. By crossing it with 
S. psittacina, another short pitchered, prettily marked species, the 
hybrid known as S. formosa was obtained by Messrs. J. Veitch 
and Sons, and by crossing S. psittacina with S. purpurea one of the 
most beautiful of the smaller Sarracenias was raised by that skilful 
and urbane Veitchian propagator, the late Mr. Court, after whom 
the hybrid was named. S. Maddisoniana sprung from the same 
parents as S. formosa, and the distinct prettily marked S. Swaniana 
from S. purpurea and S. variolaris. The prettiest of all the 
psittacina or Parrot-like set of hybrids is that named Wrigleyana, 
raised in the gardens at Bridge Hall, Bury, and distributed by 
Messrs. B. S. Williams & Son a few years ago. Its parents are 
the same as those of S. formosa, but the pitchers are much finer, 
being from 12 to 15 inches high, curved and hooded so as to suggest 
the allied Darlingtonia, bright green mottled with almost transparent 
white and veined with crimson. I have read somewhere a state¬ 
ment to the effect that the parents of this hybrid are S. Drummondi 
and S. psittacina, but this is surely a mistake.—W. W. 
(To be continued.) 
THE ARTISTIC AND EFFECTIVE ARRANGEMENT OF 
PLANTS AND FLOWERS.* 
During the past ten years marvellous strides in the way of im rove- 
ments in the artistic and effective arrangement of plants and flowers 
have been made. For myself, I can clearly see these changes and 
rejoice in the knowledge of them, and I feel that to those who helped 
to bring about these changes for the better our warmest thanks 
are due. In studying our subject we must look straight to Nature 
herself, and there learn an object lesson. When we take a survey of 
some of our lovely woodland scenery in the summer and autumn months, 
we do not see anything of the conventional or formal type ; but every¬ 
thing seems arranged with a delightful ease, nothing seems to clash : the 
colours of the flowers blend beautifully, their foliage is in perfect 
harmony, the fine overshadowing trees above us and the mossy ground 
beneath our feet, all tend to make the scene of natural wealth, which 
Nature so lavishly provides, one which we can enjoy and feast upon. 
Take again the banks of some of our rivers. The scenes at certain 
points are enchanting. What with the Iris, Water Lilies, and other 
flowers, Rushes, and river grasses, backed up by wild Dog Roses, Elders, 
and many other trees, we see Nature’s arrangement in perfection. We 
get no hard pruning of the Rose, no cutting into a pyramid or round 
shape of the Elder, but we have them presented in their natural form 
with long flowing branches thickly studded with beautiful flowers. In 
rowing up the Thames between Caversham and Pangbourne I have often 
enjoyed the sight of these lovely pictures. I am fully persuaded that 
* Extracts from a lecture delivered by Mr. G. Phippen at the International Earl’s 
Court Exhibition on May 27th. 
those who would succeed in the artistic and effective arrangement of 
plants and flowers must have a love for the natural and strive to follow 
Nature’s laws and ways. If we do this our march will be in the right 
direction. 
I turn now to some remarks upon several items which seem foremost 
in my mind. First is one which concerns all of us to a more or less 
degree—that of plants and flowers for house decoration. The English 
as a nation have a love for flowers in their homes, and I advocate the 
greater use of plants for house decoration than is at present practised. 
Take a large hall and wide staircase. What a charming appearance 
flowers and Palms have, little groups being formed in the angles of the 
staircases, at the ends or in the niches of the corridors, with here and 
there a hanging basket of Ferns ! Again, in the reception, drawing, 
and dining rooms plants might with advantage be more employed, 
always taking care that the arrangement is in harmony with the 
surroundings. Palms and other light feathery plants should always be 
used to give a light and artistic effect. The red pots in which the plants 
are growing should always be hidden from view, either with moss, 
Maidenhair or other Ferns. I cannot admire many of those brilliant 
coloured cachepots which we see so much in use ; they detract from 
the appearance of the plant in my opinion. There are some lovely 
tints to be found in art silks which have a charming effect draped 
around the pots. 
In dinner table decorations there is a great field for artistic persons, 
and I suppose more thought and attention are given to this than other 
branches of floral art, but there is room for much improvement.— 
First in the design of the epergnes employed. Tno=e good people who 
design these seem to my mind in nine cases out of ten to miss their 
mark. They design something very handsome and in many cases 
chaste and artistic, and the article produced must certainly be called a 
work of art; but when we come to put our flowers in them we find they 
are defective and the whole effect is not what we could wish. The 
reason is, I believe, that the designer is not a floral artist, and con¬ 
sequently does not know what is really required to show off flowers to 
perfection. Epergnes in general are not made light and artistic enough. 
Presuming we may have obtained the ideal epergne, dressing must 
occupy our attention. The flowers used should be small, delicate in 
colour, in perfect harmony with each other, and of chaste appearance ; 
larger flowers may be used in the base of the epergne. If Maidenhair 
Fern is used it should be of a pale green colour. Trails of Smilax are 
very pretty if carefully and lightly used. The Asparagus foliage is 
also charming, and can scarcely be dispensed with if we want to get the 
best appearance. A well dressed epergne is not to my mind often 
seen. It should have a fairy-like appearance whatever be the flowers 
used, and look as though hands had never touched it. The blending of 
colour and the whole balance have to bo perfect to present an ideal 
arrangement. Having thus dealt with the epergne, which is the most 
important part, I will only add that the specimen glasses should be 
filled to correspond. When one has epergnes on the table I never 
advise haviDg any flowering plants whatever, but if there is room, that 
attractive Palm Cocos Weddelliana may be employed ; it is the best 
table Palm we have. 
I shall probably be expected to say something about church decora¬ 
tions. This is a wide field and a subject that would occupy a whole 
afternoon if we went anything like fully into it. There not being two 
churches alike, it is somewhat difficult even to give a general outline of 
what course should be pursued. Plants in pots, to my mind, are not 
sufficiently used. In many cases a very formal appearance is presented, 
but, on the other hand I cannot agree with the elaborate use of large 
Palms, and placing them on the top of the pews, as is sometimes the 
case when decorating for a wedding. If Palms are employed it should 
be to form a series of arches up the central aisle from the entrance to 
the communion steps, a wonderful effect being thus produced. The 
style of the windows should influence and guide the artistic treatment 
of the decorator. Trails of Ivy seem indispensable. Arums never 
seem so much in character as when employed in decorating a church. 
In some churches I have seen small zinc flower holders containing 
water and supports for the flowers and Ferns used ; these if effectively 
filled and hung around the choir stalls, pulpit, &c., produce a pietty 
effect. Ferns may be extensively used in this work, the common wild 
Fern Filix-mas seems especially adapted, although it may be a little stiff. 
Coloured flowers must be used with great cauiion, in fact scarlet is 
about the only one that should to any extent be employed, though 
harmonies in yellow are popular. Many ladies seem to have a special 
love for church decoration. In their hands frequently we see very 
pretty results, but sometimes there is a want of harmony, owing, perhaps, 
to the fact that one does this portion, and another that, and so on. 
It would be better that in these cases a harmonious plan be thought 
out, and all help to bring it to completion. 
Leaving church decorations, I want to carry your mind away to the 
artistic and effective arrangement of plants and flowers at shows, and 
this is one of the most important parts, if not the most important part, 
which I have to deal with. I maintain that there is room for immense 
improvement. People have said to me, “I do not care to go to the 
flower show, there is so much sameness in it.” I regret to acknowledge 
that there is a great amount of truih in this, but it should not be so, 
when we consider for one moment the inexhaustible supply we have in 
the varieties of plants and flowers. One of the first faults I have to find 
is that the compilers of schedules of shows will copy each other. Why 
not each try and have some amount of originality, strike out a fre3h line, 
and get out of the old rut l (i But suppose we do,” someone says, 
