HOUSE AND GARDEN 
July, 1911 
that the average 
cigaret is not a 
smoking proposition, 
but a selling proposition. 
The Makaroff business is 
different. I started the manu¬ 
facture of 
No. 15 is 15 Cents—No. 25 is a Quarter 
Plain or Cork Tips 
You know 
this as 
well as 
I do— 
Makaroff 
Russian Cigarets 
because that was the only way [ could be sure of getting the kind of 
cigarets I wanted. It has grown because there are a lot of 
other folks who want that kind of a cigaret. And the number 
grows just as fast as people find out what kind of a cigaret 
Makaroff is. 
Just let this fact sink into your consciousness and stay there— this business 
is and always will be operated to make a certain kind of cigarets—not merely to 
do a certain amount of business. I always have believed that if we produced 
the quality, the public would produce the sales. And that faith has been 
justified. Makaroffs are really different from other cigarets — and the differ¬ 
ence is all in your favor. 
You will find that you can smoke as many Makaroffs as you want with¬ 
out any of the nervousness, depression or “craving” that follows the use of 
ordinary cigarets. 
Makaroffs are absolutely pure, clean, sweet, mild tobacco, untouched by 
anything whatever to give them artificial flavor, sweetness, or to make 
them burn. 
Pure tobacco won’t hurt you. You may not be used to it, and you may not 
like the first Makaroff, but you’ll like the second one better, and you’ll stick 
to Makaroffs forever if you once give them a fair chance. We have built 
this business on quality in the goods and intelligence in the smoker—a com¬ 
bination that simply can’t lose. 
Ask 
Your 
Dealer 
Mail address. 18 Elm Street—Bos.on, Mass. 
Ask 
Your 
Dealer 
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HENRY V. WEIL 
698 Lexington Avenue 
Cor. 57th Street New York 
and needs no key or winder? The mes¬ 
sage of the dial, however, is its greatest 
service, especially in a time when senti¬ 
ment is deemed a weakness, for, to quote 
Lamb again, “It spoke of moderate labors, 
of pleasures not protracted after sunset, of 
temperance and good hours.” Surely it is 
not out of place to-day. 
How the Japanese Arrange Flowers 
(Continued from page 19) 
opening the shogi, or rice paper translu- 
cency, he looked into the garden to note 
that the morning-glories were all re¬ 
moved. Disappointed, he closed the shogi 
doors again. Rikiu, who had watched his 
action with a gentle smile, pointed to a 
tiny vase in the corner of an alcove. It 
contained a single, rarely beautiful morn¬ 
ing-glory. Said the master of the tea 
ceremony: “This flower is all that is 
needed for external adornment. Now 
concentrate your attention upon the tea.” 
The feeling for simplicity and restraint 
that inhibits vulgar display and garish¬ 
ness in all the domestic arts of Japan is 
nowhere better illustrated than in this 
anecdote of Rikiu, the great promulgator 
of ikcbana. Schools of varying practices 
and methods have sprung up since his 
day, but all are true to the essential prin¬ 
ciples that beauty should not be sub¬ 
merged in profusion. 
There are other principles in which all 
the sects of ikebana agree. They unite in 
teaching their followers to avoid what are 
called “the seven diseases of flower ar¬ 
rangement,” prohibitions which forbid the 
crossing of stems, the protrusion of 
blooms in front of calyxes, and other 
technicalities of arrangement. 
On the constructive side every student 
of ikebana learns to employ variations of 
the ten-chi-jin, a triangular scheme with 
symbolical meanings implicit in the ar¬ 
rangement. In seeking to make flowers 
or foliage conform to this plan every 
Japanese understands that the apex of the 
triangle (ten) symbolizes heaven, the pro¬ 
truding point (jin), humanity, and the 
point at which the vertical base of the tri¬ 
angle is bisected (chi), the earth. Con¬ 
tours should, if possible, be so disposed 
that earth will seem to look toward man 
and man toward heaven. The ten-chi-jin 
motive is repeated in almost countless 
ways wherever Japanese folk come to¬ 
gether, and sometimes when some fair or 
manly follower of a cult of flower ar¬ 
rangement has been particularly success¬ 
ful in a novel application of the ancient 
convention you may see a whole group 
of people bow down reverently before the 
creation. 
The lesson for Americans in this artis¬ 
tic and scientific expression of the Japan¬ 
ese passion for floral decoration is, of 
course, one of suggestion rather than 
adaptation. The importance attributed in 
Japan to an art that we do not recognize 
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