864 
THE GARDENING WORLD 
February 4, 1899. 
All these things are described in detail, even to the 
inner working of the establishment, and the means 
adopted in every department, where every set of 
workers has its own duties to perform and is expected 
to do it independently of its neighbours. By this 
means nothing is overlooked by depending on some¬ 
body else to do it, while accuracy and despatch are 
insured. Owing to the numerous illustrations the 
readers of this book get a vivid idea of the subject 
being discussed. Order in everything is the secret 
by which the huge machinery of the establishment 
can be kept in efficient and speedy movement, with¬ 
out hitch, loss of time, or confusion. There is a 
place for everything, and everything is in its place, 
so that the hand can be put upon it when wanted. 
Everthing is systematic,and we might say mechanical, 
save of course in the case of the workers, every one 
of whom is an expert in his or her own particular 
line. To read over the book and glance at the 
pictures will convey a better idea of the details of 
every department, both in the stores, the glasshouses, 
and the open ground, than could possibiy be conveyed 
in a notice of the book. The ledger office is a marvel 
in itself, and requires a fire-proof room for the storage 
of the books at the closing hour each day. 
--—•*»- 
THE IVY WHEN CUT. 
Tenacity of the Ivy. 
The discussion as to whether Ivy can live after the 
stem has been cut, on p. 348, recalls to my mind an 
instance showing great tenacity of life on the part of 
the Ivy. About six or seven years ago, during a 
severe gale (in the month of January), an old and 
very picturesque Ivy tree in the gardens of Hanger 
Hill House, Ealing, succumbed to the violent winds. 
It had during growth assumed an umbrella shape, 
was very many years old, having been almost of the 
same dimensions within the memory of the oldest 
employee, who had known it for thirty years. Ex¬ 
amination showed that it originally embraced a tree 
stem, and at about 12 ft. to 15 ft. high evidently 
ceased to climb, and became arborescent, forming a 
huge, somewhat circular head. Its largest stems were, 
I should think, 3 in. or 4 in. in diameter. Well, one 
morning found this venerated tree prostrate, and 
efforts were made to restore it to its former position, 
in deference to the owner’s wishes ; although it was 
looked upon as a hopeless task, inasmuch as 
only one root connected this mass of greenery with 
the soil, all the remainder being broken by the 
change of position. After much difficulty it was 
restored to the perpendicular, and propped up. A 
bank of soil was placed around the base, and, I 
believe, that tree is as firm and sound as ever, and 
remains to ornament, let us hope, for many years an 
exceedingly interesting and charming garden.— 
A. P. 
Can Ivy Live after the Stem is Cut ? 
The question under discussion has certainly gained 
in interest by reason of the statements that have 
been made in connection with it. Until Sigma raised 
the point on p. 302 I had really no idea that there 
could be any question about it at all. I have cut so 
many Ivies through the stem myself, and seen so many 
others cut through, and the death of the plant has in 
every case followed, that the possibility that it could 
be otherwise has not troubled me at all. 
Now facts are facts, but they are apt to be mis¬ 
leading when hasty deductions are made from them. 
Mr. Lockwood, on p. 348, commences by saying “I 
believe, under suitable conditions, it is quite possible 
that the Ivy is an aerial as well as a terrestrial 
plant.” A little further down he says, “ undoubtedly 
the hair-like roots," etc. (the italics are mine) If the 
thing is undoubted there is no room for belief, and, 
conversely, if Mr. Lockwood only believes, he has no 
right to use the word undoubtedly, for this is begging 
the question, as well as being contradictory. 
That the Ivy mentioned by Mr. Lockwood lived 
after the stem was cut was probably due to the fact 
that the plant had formed roots at other points, and 
in some other rooting medium than terra firma, but 
it does not follow that the aerial roots had developed 
into true roots, capable of sustaining the plant when 
the roots at the base were severed from connection. 
This is the crux of the whole matter, and I should 
like to know if Mr. Lockwood put this to the test; 
also if all the stems of the plant were cut quite 
through, and if there were any other points, such as 
gutters and water-spouts, where soil had collected, 
in which true roots might have been formed, either 
prior or subsequent to the cutting of the main 
stem. 
We all know that Ivy will develop true roots from 
the nodes when brought into contact with the soil, 
else we could not strike cuttings, but this proves 
nothing about the development of the aerial roots 
into true roots. Mr. Lockwood’s facts may be all 
right, but his deduction is not valid. In order to 
make sound deductions it is necessary to know the 
whole truth and not merely a part of it. 
If Mr. Lockwood will kindly answer the questions 
I have asked, we shall then be in a better position to 
determine the exact value and weight of the facts he 
brings, and to see how far they go when brought to 
bear upon what is, at least, my own opinion at pre¬ 
sent, viz., that Ivy, be it ever so tenacious of life, 
cannot live by its aerial roots, but that if the main 
stems are completely cut through it must die,unless it 
has formed true roots in the ordinary way by contact 
with other soil in other places; and that these true 
roots have not passed through an intermediate 
“ aerial ’’ stage, during which they were simply 
mechanical appliances for raising the plant from the 
ground and supporting it when raised. There is to 
say, the least of it, a great mass of evidence In sup¬ 
port of this opinion. 
The editorial comment on p 317 as to the proba¬ 
bility of the severed stems being connected with un¬ 
severed ones by a process of natural grafting is, to 
my mind, the key to much of the apparent mystery. 
—Fiat Justitia. 
More Ivy Cutting. 
In reference to the cutting of Ivy stems mentioned 
on p. 348, it may be stated that the noble climber is 
the victim of a great deal of bad usage at the hands 
of older children than those just donning their 
breeches for the first time. Between the Richmond 
Hill Gate, of Richmond Park, and Petersham is a 
piece of wood consisting chiefly of tall Elms with a 
few Oaks, and Ivy has been established on several of 
them for many years. Some of the trees are decrepit 
and dying, and I suppose the authorities, with the 
idea of rejuvenating the trees, have caused the thick 
limbs of the Ivy to be cut through with a saw, close 
to the ground. In one case the Ivy stem has a 
diameter of 6 in., while on the other side is another 
stem, 3 in. thick, that has not been cut. The flower¬ 
ing branches are still alive, though not very vigorous, 
and some of them, at least, seem to come from the 
stem that has been cut. There ought to be many 
from the thicker stem, and certainly all the branches 
above seem alive. This may appear a little in¬ 
definite, but unless the two Ivies were unravelled or 
both stems had been cut, the matter cannot be made 
more precise at present. Several I vies,cut in the same 
way on other trees, are quite dead from top to bot¬ 
tom ; and while the cutting of the Ivy cannot help 
the old trees, the dead stems and leaves now dis¬ 
figure the latter. It seems a lazy way of getting rid 
of Ivy — R. H. 
PICTURES BY LADY ARTISTS. 
The members of the executive of the Society of 
of Women artists have to congratulate themselves 
upon the fine collection of oil and water colour 
pictures now on exhibition at the Galleries of the 
Royal Society of British Artists, in Suffolk Street, 
Pall Mall East. In addition to the large central 
gallery several smaller chambers are filled with 
pictures, whilst other rooms are devoted to a 
quantity of very choice samples of wood carving, 
screens and broidery work, and other artistic objets 
de luxe, illustrative of seme of the highest skill and 
finish. 
In all there are something upwards of 470 pictures 
of different sizes from various artists, and not a few of 
these betray real genius both in beauty of design and 
execution. The subjects chosen by the fair wielders 
of the brush, display a fair amount of variety. 
Allegorical pictures are scarce, and there seems to 
be a falling off in’mountain, rock and sea scenes as 
compared with the displays of former years. '• Lake 
Idwel in North Wales," by Emma Power, is one of 
the best efforts in the way of mountain scenery, and 
the artist has given an excellent rendering of a 
mountain tarn with mists enwrapping the rugged 
sides of the enclosing mountains with the many 
subtle shades of light and darkness to be seen in such 
portions of gallant little Wales. ‘‘Bury Coombe," 
by E. Stewart Wood, is a large oil paiDting showing 
a big expanse of down, with woods and dells and 
coppices introduced. A number of rooks perched 
upon a scythe lying upon the ground is a distinct 
and pretty feature. “ The Ridge of the Down” by 
Annette Elias is one of the best works in oil of this 
talented lady. The blue of the hills in the back¬ 
ground, and the white of the chalky cliffs in the 
foreground, with the flock of sheep at their base are 
all well brought out. A part of the coast of 
" Caledonia, stern and wild ” is to be seen in " On 
the coast of Scotland, Forfarshire,” by Kate Edith 
Nicholls. ‘‘In Ugbrooke Park" by Harriette A. 
Seymour represents an exceedingly pretty piece of 
water scenery—a tree-locked lake with a huge leafless 
veteran of the forest whose " giant arms ” lie spread 
over the limpid water. Both conception and exe¬ 
cution are good. 
Scenes of rural life have for long been favourites 
with artists, and choice bits of country scenery 
exhibit a considerable preponderancy over other 
subjects in this instance. " An Irish Bog" by 
Edith Hay ter, is a characteristic scene of the Emerald 
Isle. “The Corn Field,” by Beatrice Bright, is 
remarkable for the success with which the artist has 
reproduced the rich and varied hues of autumn. " A 
Sussex Homestead ’’ by Mary Wilson, is perhaps 
rather more idealistic than true to modern life. Old 
Sussex homesteads of this kind have practically 
vanished from the country of London by the Sea. 
River frequenters will not be slow to appreciate 
" Poplars and Willows, Cookham," from the brush 
of Mrs. Ethel Murray, for it pourtrays a typical up¬ 
river spot. 
Of paintings of animals there are several worthy of 
the highest commendation, although two stand out 
with especial prominence. “ My Four Darlings "by 
Annie Philipson displays the heads of four mettle¬ 
some horses, drawn with wondrous fidelity to life, 
the delicate curves of the nostrils being superbly 
brought out. A smaller and less pretentious but 
none the less meritorious picture is labelled “ Privi¬ 
leged " and is by Fanny Moody. There we see a 
magnificent Scotch Collie looking with good natured 
surprise at a playful kitten which has nestled close 
to him and is clasping his hind legs with its little 
paws, gazing into its face meanwhile with big blue 
eyes with all the insouciance of kittenhood. 
There are numerous instances of renderings of 
special flowers, but these we think are not so good 
as those of last year, although there are some very 
pretty pictures amongst them. The modest Violet 
is limned on several occasions and in a variety of 
ways. That by Marie Hemsley is the best of all. 
" Narcissus ” (paper white) by E.A. Stock; Paeonies, 
by Louise Furmage; “Blue Bells," by Helen 
Thorneycroft; ‘‘November,’’ represented by a bunch 
of white Chrysanthemums, by A. M. Youngman, 
R. I.; “ Pods of Iris ” (I. foetidissima),by Katharine 
M. Newman; Auriculas, by Grace M. Hastie ; Lilac, 
from the same artist; and “ Chrysanthemums," by 
E. M. Brebner, are all meritorious. “ Wild flowers 
on the Kennet,’’ by Agnes Gardner King, shows those 
common but showy by-river subjects Lythrum Sali- 
caria,Inula dysenterica and Eupatorium cannabinum. 
Of the representations of fruits decidedly the best is 
that of a dish of Magnum Bonum Plums, the work 
of Eloise H. Standard. " Figs and Grapes," by the 
same lady is also good, but the Grapes have been 
given an unnatural blue tint that depreciates the 
value of the painting. 
-- 
When the Polato was Young.—When the Potato was 
first introduced into France it had many curious ex¬ 
periences. Some there were who foresaw great 
possibilities from the new vegetable, whilst others 
were sceptical as to its value as food. In order to 
induce farmers to take an interest in the plant 
Monsieur Parmentier, who was largely responsible 
for its introduction into France went the length of 
having the plot in which he had planted his crop 
guarded by a cordon of soldiers. This it is said 
aroused the curiosity of the people and led them to 
take an interest in the new plant. The next step 
was to invite a number of scientific and influential 
men to a banquet at which Potatos were liberally 
served. Thus began an industry which to-day proves 
a remunerative one to many people for the acreage 
devoted to the cultivation of the Potato in France at 
the present day is not far from three times that 
cropped by Potatos in the United Kingdom. 
