DEPENDABLE GLADS 
15 
COLOR 
The climax of the whole spike ensemble is color. The six primary colors grade 
into one another in order, forming the various hues, which are distinguished by their 
degrees of warmth or coolness. Each of these hues has different values, according 
to the varying amounts of white and black each contains, forming the tints and shades. 
And all of these tints and shades for each of the hues have different degrees of dull¬ 
ness, formed by varying admixtures of neutral gray. 
By far the most common colors in Nature are the dull colors. The pure colors, 
which are the colors of the rainbow and their intermediate hues, are very scarce in 
Nature. They are found chiefly in flowers. Their purity accounts for their bright¬ 
ness. They are exceedingly attractive. It is this power to attract that draws insects 
as well as humans irresistibly to them. But we must not confuse color purity with 
true beauty. If our tastes have been properly developed, the latter attracts us just 
as strongly as does the former. 
COLOR AND BEAUTY 
The principle of unity, or emphasis, applies to the color of a floret. There must 
be just the one hue, and it should give the impression of solidness. If there is a 
throat marking, it must be rather inconspicuous, not attracting attention, on the prin¬ 
ciple that slight variations may be interesting, but more than that may be disturbing. 
The same may be said of other markings, such as flecks, mid-ribs, and so forth. 
This principle of unity of color in the Glad also conforms to the uses of the 
Glad. The florist as an artist must do his own arranging, and he chooses his colors. 
If there is more than the one color in a Glad, unless the second color is inconspicuous, 
the usefulness of that Glad is destroyed. The same rule holds good more or less sure¬ 
ly with all the rest of us who use Glads. An apparent exception is the Glad with a 
contrasting blotch, but here the idea is the contrast, which should be clear cut. 
So we see that the laws of beauty apply to the entire spike ensemble in all of 
its relationships, even including colors. Even so, with all of these beauty principles 
complied with, if the color is a dull, or broken, color, such as is so common in Nature, 
we are notj interested. If a Glad spike shall have all of these things, and not have a 
pure color, it avails nothing. This fact places color in a different category entirely. 
THE LAWS OF BEAUTY AND THE RATING SCALES 
I do not advocate abolishing the present rating scales. I am merely urging that 
they be overhauled with the principles of beauty as our guide. These principles have 
been only vaguely comprehended by those who have written these scales. For ex¬ 
ample, size is entirely indifferent so far as these laws of beauty are concerned. As 
for the number open, in the way of emphasis, or impressiveness, it is simply a case of 
a good thing being overdone, with the result that the principle of proportion has been 
violated. Color cannot be rated. Perhaps the scale should say “purity of color”. 
NOT TOO RIGID 
In what was said above about the application of the laws of beauty in the make¬ 
up of a Glad spike, it was not inferred that the spike should adhere to a rigid pattern. 
Balance, for example, does not mean altogether a perfectly straight spike. Informal 
balance is far more pleasing and delightful, as is seen in those spikes we call graceful. 
No two flowers are ever exactly alike. This b'eing so, such informalities as a slight 
twist in a stem, or a bloom slightly misplaced or off the regular form, or with a fleck 
or two on its face, or with a slightly ruffled edge, far from being subjects for penal¬ 
ties, rather lend interest to the flower, and should indulgently be regarded as delight¬ 
fully becoming. A slight throat marking, or a tendency toward the needle-point 
shape, or a faint suggestion of the hood, unless they are too evident or too pronounc¬ 
ed, so as to call attention to themselves, do not violate the laws of unity, or emphasis, 
and hence are perfectly allowable in a Glad. Many of these fads and fancies of the 
past have added a touch of interest to the present-day Glad. 
WHY ARE GLADS POPULAR? 
Their wide range of colors is what keeps the flower buying public from getting 
tired of them. Their constant improvement and the constant introduction of new 
