66 
H 0 u s'e &■ G ar dev 
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Planning a Successful Garden Show 
{Continued from page 64) 
with pretty dear glass bud vases, bought 
at a bargain and sold at a low price 
with the blossoms they contained. 
Especially interesting was the table pre¬ 
sided over by “the little bee woman,” 
who in addition to her attractive dis¬ 
play of fancy china jars of strained 
honey, unique flower holders to be at¬ 
tached to the wall, and books on bees, 
showed also under glass a large hive of 
bees at work. Thus the variety of our 
exhibits proved one of the strong at¬ 
tractions. 
The morning of the exhibition mem¬ 
bers began arriving early, as everything 
had to be staged by twelve o’clock 
(when the judges would begin their 
work) in order to get through before 
the opening of the doors to the public 
at two o’clock. 
Every exhibit had to be tagged at the 
entry desks outside, with class number 
and name, but without owner’s name, 
and registered before being passed in¬ 
side to be staged. The groupings there 
were most artistic, and as soon as the 
judges finished each particular exhibit, 
and attached awards, the committee fol¬ 
lowing fastened on cards showing name 
of exhibitor. 
The jury consisted of the Club’s best 
qualified botanist, a local florist, and a 
woman expert from a neighboring town. 
As they had no means of knowing 
whose exhibits they were judging, of 
course, even the most carping critic had 
to admit fairness. 
Although the weather had been most 
unfavorable, a surprisingly large quan¬ 
tity of flowers as well as vegetables was 
shown. A big crowd filled the hall 
afternoon and evening and everyone 
was enthusiastic. Although the admis¬ 
sion fee was only ten cents (kept low 
in order to interest the general public), 
and the entire expenses of the Show 
about $140.00, the Club was able not 
only to pay all expenses, but found itself 
with a small balance to the good, besides 
having acquired certain properties which 
could be held over and kept available 
for future exhibitions. 
Considerable work it was, of course, 
to plan and carry through successfully 
without a hitch; but nobody minded 
the time or labor in view of the fact 
that we had given our town its first 
big flower and vegetable show, and en¬ 
couraged people to try next time for 
results even better and finer. 
The Humorists and Landscapists 
of Japanese Painting 
{Continued from page 39) 
while in 1661 was born Korin, one of 
the brightest gems in the crown of 
Japanese art. Working alike on silk 
and on paper, executing many of his 
finest pictures in gold on lacquer, now 
painting flowers, now birds, now sub¬ 
jects like those of Matahei, he has had 
few equals anywhere in technical abil¬ 
ity. Nor perhaps has there ever been a 
painter, producing so much as he, who 
has been attended so constantly by 
exquisite taste. It is interesting to re¬ 
call that Korin was the elder brother of 
Kenzan Ogata, whom Japan regards as 
her best ceramicist; and it is said that, 
when Kenzan contrived to found a kiln 
of his own, having previously been al¬ 
ways an employe of factories, he re¬ 
ceived generous aid in the project from 
his brother’s purse. 
A Chapter of Humorists 
The last chapter in the history of 
Japanese art has a happy beginning, 
but a sad ending. Korin necessarily 
exerted a wide spell, which was felt in 
particular, or so at least it would seem, 
by the beautiful painter of birds and 
flowers, Okio; while in 1747 was born 
Mori Sosen, a lonely figure in artistic 
annals. For he gave himself almost ex¬ 
clusively, year after year, to the paint¬ 
ing of monkeys, a consequence being 
that he acquired monkey as a nickname, 
the little boys shouting it after him in 
the streets of Osaka, where he lived. 
The comedians of the animal world. 
monkeys have frequently in their guise 
the proverbial pensiveness of profes¬ 
sional humorists in general, and it is 
Sosen’s chief laurel that, again and 
again, he uttered this trait in his beloved 
theme. He lived till 1821, at which 
date were painting Shiuhsho and Yeishi, 
both greatly influenced by Matahei; 
while the woodcut masters presently 
reaching their apogee, several of theYi 
wrought occasionally with the brush, 
Hokusai’s paintings being fully equal in 
merit to his familiar prints. 
Yeisen’s Art 
Contemporaneous, with him was Yei- 
sen, a rare landscapist, soon after whom 
Yosai gained a wide celebrity, due no less 
to his genre pictures than to the book he 
both wrote and illustrated, “The Great 
Heroes and Scholars of Japan.” But, 
at this very time when talented art was 
being produced on so lavish a scale, 
people far and near were beginning to 
inveigh fiercely against the old, despotic 
regime. And, when the sword was 
drawn in 1868, there were no half¬ 
measures, the Shogunate being hewn 
down, all power wrested from the feudal 
lords, and a representative government 
with the Mikado as its head established. 
Unless for a few months, however, the 
Revolution did not really check the 
profuse output of painting, artists who 
won renown at this period being Bun- 
cho, mainly a landscapist and flower- 
{Continued on page 68) 
