14 
THE FOSS HEATON GLAD GARDENS, CRESTON, IOWA 
HARMONY 
Harmony is seen if we observe that there are sets of lines of similar directions 
and inclinations. For example, for each of the left-hand florets there is a left petal 
edge of the upper central petal, also a right petal edge of the same set of petals, and 
so on for the petal edges in various sets for all the florets. For each edge we may 
point out there is a set of lines of similar direction and inclination. Even the lines 
of the pistils correspond in sets, as well as the feather blotches. Even the lines of 
the mid-ribs of the petals indicate a harmonious design in the spike, giving an impres¬ 
sion of unity in the entire flower. There is a family resemblance among the florets. 
The leading lines follow the general shape of the cluster, with a maximum of tran¬ 
sition lines and a minimum of contradicting lines. 
BALANCE 
For a spike to have balance there must be an equal amount of attraction to the 
eye on each side of the stem axis all the way up the stem. 
PROPORTION 
Proportion has to do with that which holds the interest. There must be a pleas¬ 
ing consistent relationship of the various parts to the whole spike and to each other, 
and this includes each petal and each floret, as well as the cluster and stem. Proper 
proportions would require a cluster about twice as high as broad, with the thickness 
of stem consistent with the size of the blooms. 
EMPHASIS 
Emphasis is the art principle by which the eye is inevitably carried to the most 
important thing in any arrangement of lines and parts. It so happens, and it is a de¬ 
lightful coincidence, that the thing to be emphasized in a Glad spike is exactly the 
thing for which the Glad is to be used. And that is the color. The easy flow of line 
up the spike,the rhythmic movement and beauty of line and shape, the suggestion of 
broadness and openness and depth of character, the stateliness and dignity, all these 
things point to the one central idea, which is the presentation of the color to the best 
advantage. There is unity of purpose in the Glad spike, and when the laws of beauty 
are obeyed color reaches its greatest fruition. 
VIOLATIONS OF THE LAWS OF BEAUTY 
If the florets are too far apart vertically, they appear to be single-file, as in cer¬ 
tain Prims. This is a violation of the principle of proportion. If the florets are too 
close together, they appear crowded, and their cumulative effect is more or less de¬ 
stroyed, and the principle of emphasis is violated, as well as proportion, because each 
floret is not allowed to present the full effect of its beauty. Also, on account of the 
jumble of lines, harmony and rhythm are lessened. If a floret is out of position, 
balance is upset. 
For the proper proportions there should be not less than five open florets, and 
not more than seven or eight. Outside these limits proportion is violated. Harmony 
and rhythm require a fairly smooth and regular outline for the cluster, so as not to 
interfere with the easy movement of the eye up the spike. Open spaces between the 
florets also interfere with harmony and rhythm. 
As for the shape of the floret itself, we must remember that there should be no 
departures from the basic type. This basic type for the floret conforms to the gen¬ 
eral outline of the spike. When they do conform completely, the principles of 
harmony, irhythm and emphasis are most fully complied with. Triangle-shaped and 
winged florets, as well as hollyhock and lily-shaped florets, are inharmonious and 
displeasing, as well as off type. Besides, there is no particular point in trying to 
imitate other flowers. 
There have been quite a few fads in connection with the style of the floret, such 
as the ruffled type, the laciniated type, the Primulinus type, the needle-point type, 
and so forth. A slight touch of any of these lends interest to the flower. But any 
more than a slight touch tends to call attention to such things for their own sake and 
away from the flower ensemble itself. To that extent they violate the principle of 
unity, or emphasis. The hood of the Prim, and laciniations and ruffles, also tend to 
disrupt the smooth and easy flowing lines, and thus violate the principle of harmony. 
