THE LADIES' FLORAL CABINET. 
385 
Again there is a form the petals of which seem to be 
made of rolled paper or shavings twisted and coiled 
like so much tangled worsted, only that there is more 
or less of a continuity to each other. This also has an 
extreme representation with petals coiled as tightly, 
curving downwards in the most regular and graceful 
outline until they nearly represent a true half circle. 
The first is represented by Glorie de Raymonante, a 
silvery rose and lilac flower. The second by the fine 
seedling with silvery blush flowers, Compte de Germiny 
with its tawny buff and mahogany shades, and Triumph 
de Chatelets, with its fawny, silky blooms represent two 
more of the class. 
Julius Scharff, rich amaranth and pale lavender tints, 
with worsted-like petals, and Mrs. Richard Brett, with 
threads of the purest gold, are representatives of the 
rest we have mentioned. The admirer will see yet 
many more variations, but this is sufficient, as it will 
serve to identify the most marked forms in the already 
large section known as Japanese. 
THE CHINESE TYPES 
are more correct in outline, with their prim shapes of 
almost mechanical setting, differing only that there are 
incurved and reflexed flowers. The incurved varieties 
are becoming extremely popular; their petals, like little 
shells follow over and over, until the expression of 
each flower is as if cast in a mould. This type was 
represented by very fine blooms of Hon. Wolesley, Lady 
St. Clair, Prince Alfred, Prince of Wales, Duchess of 
Manchester, and Mr. Bum. These are great favorites in 
England, as may be judged from their names. The re¬ 
flexed flowers were represented by a new seedling, 
Robert Walcott, rich deep crimson; Soeur Melanie, 
pure white; Annie Salter, gold; and Belle Castellane, 
white and rose, with gold tips. 
THE POMPON VARIETIES. 
Of these there are various forms and sizes, and they 
seem nearer to us, at least we know them better than 
the other sections, having been familiar with them as 
Artemesias, long before any great change had come 
over the Chrysanthemum. The little old wood-colored 
buttons, they are even here with us yet, so are the tiny 
little yellow ones. But there are innovations to be 
found in this section; here are fringed flowers of all 
colors, and here are what is known as anemone-flowered 
Chrysanthemums, better to call them tubular or quilled- 
flowered. A row of flat petals for a border, then the 
centre filled up with quilled florets, often of another 
color, as in Marie Stewart and Marguerite Coi, one with 
white and yellow flowers, the other crimson, red and 
gold. 
Such is a glimpse of the sections of the family 6f Chry¬ 
santhemums; and when we consider that more than 500 
varieties were shown by one firm, Messrs. Hallock & 
Thorpe, a slight idea of the magnificent exhibit can be 
obtained. Many of the specimen plants were fully four 
feet in diameter and about the same height. The 
standards were from six to eight feet high with well 
formed heads, two or more feet in diameter, and com¬ 
pletely furnished with flowers. In these forms all the 
various types described were to be seen. Besides, there 
was one form that we must not orbit in our mention, 
viz: a single flowered Chrysanthemum, typical of our 
common field Daisy, a single row of petals and a yellow 
disc, varying as much in color as in the double flowers; 
some are regular in outline and some as irregular as in 
the Japanese section. There is also as great a difference 
in size, varying from one-half an inch to seven inches 
in diameter. We noticed in this section Peter Hender¬ 
son, pure gold; Jas. Y. Murkland, silver and gold; Wm. 
Falconer, rosy red; Pres. Arthur, crimson and gold; all 
most effective and essential to large collections. 
In the professional class of exhibitors were Messrs, 
Hallock Son & Thorpe, of Queens, N. Y.; Peter Hend¬ 
erson & Co., N. Y.; and W. C. Wilson, Esq., of Astoria, 
N. Y. The first of these exhibitors, having made the 
Chrysanthemum a specialty, in fact, a professional 
study, made the exhibition a grand success. Their 
entries far outnumbered all others combined, and their 
skill and industry, as well as their interest in the soci¬ 
ety’s exhibitions, was awarded by carrying away all the 
first premiums in the professional class. They also 
received twenty-four of the society’s certificates of 
merit for as many new seedlings, a list of which, with 
their descriptions, we hope to be able to publish in the 
January number of the Cabinet. 
Mr. Wilson’s exhibit was remarkably fine, and in¬ 
cluded all the valuable varieties that have thus far been 
offered for sale by the trade. Had this collection been 
alone, it would have been well worth visiting. Mr. 
Wilson was a good second in nearly every class, in the 
race for premiums. We regret exceedingly the lack of 
interest in these exhibitions; the attendance was small, 
indeed a disgrace, a sad commentary on the taste and 
culture of all the classes, of which the great city of New 
York is composed. 
COLOR IN BEDDING PLANTS. 
Ribbon lines and carpet patterns and formal flower¬ 
beds of all kinds are usually abominations. The true 
lover of flowers enjoys them most when planted in 
natural masses and where their individual beauties and 
peculiarities present themselves. Even where flowers 
are properly used to kindle a glow of color at some ef¬ 
fective point in a lawn picture we lose a certain affec¬ 
tionate interest in them as individuals, which is their 
profoundest charm. They can become positively dis¬ 
agreeable when used to furnish so much scarlet and so 
much blue in a crown or anchor—that is when they 
take the place of paint and carpentry in the highly 
colored “designs” which disfigure our cemeteries and 
even private lawns. 
There are places in connection with architectural 
forms, where rigid lines of planting can be used as per¬ 
manent adjuncts of the design. But even here, where 
formal flower-beds can be made effective, they are often 
offensive by reason of the crude color contrasts they 
present. Strong, positive colors are used without any 
regard to their harmony, and the result is too often a 
vulgar glare of discordant tones. A correspondent of 
