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The Artistic Arrangement of Flowers 
By jane LESLIE KIET 
N OW that cut flowers are so universally enjoyed 
by all, arranging them has indeed become 
an art. We can all call to mind with 
horror the tight hunches arranged 
in pyramids, tied with not 
only many feet but in some cases 
yards of string, that were used a 
few years ago. Then where people 
wanted to he really elegant, they 
placed their flowers in a white paper 
bouquet holder. 
These arrangements were not only 
most unsightly, but at variance with 
Nature and all her lines. Of course 
when paper bouquet holders were 
in style all people did not use them. 
People that were the least hit artistic 
or who had any general love for 
flowers, would have felt pain m 
cutting them with short stems and 
tying them closely together with 
string. 
The florists and decorators are 
educating people to appreciate the 
true art that can he displayed in 
arranging even a few' held daisies. 
I'o arrange flowers artistically w'e 
must truly love them. By loving 
them 1 mean we must not only he able 
to appreciate their fragrance and 
beauty of color, hut we must he able 
to see beauty in even the most hum¬ 
ble weed, for we all acknowledge 
flowers to he among God’s most 
beautiful creations. 
To make them appear at their 
best after they are severed from then- 
stalks we must he close observers of 
Nature and after we have observed 
we must follow in her lead. 
When we stand on a hill and look 
about us, we see Nature on all 
sides. Here we see her groups. 
If we observe these closely we 
see nothing stiff' or formal. Each 
flower, bush or tree presents an 
individuality which helps to form an 
excjuisite whole. In Nature there 
are no straight lines but in their 
stead a series of graceful curves. 
Again as we look about us, we notice 
many colors, shades and. tints, but 
all blend and form a most beautiful 
color harmony. What w^e should 
always aim to attain in arranging cut flowers is 
the picturesque irregularity of Nature. 
Much of our success depends on the receptacle 
in which w'e place our flowers. We 
must ever bear in mind, that 
a vase is to flowers what a 
frame is to a picture, simply a 
suitable setting. As a rule the 
more inconspicuous a vase or bowl 
the more pleasing wdll be the general 
effect. There is no set rule to be 
observed in choosing a vase that 
applies to all flowers, but as a gen¬ 
eral rule we should choose a bowl 
or vase, so that it wdll admit of the 
flow'ers looking when arranged as 
near as possible as they did on the 
plant. Eor example, always arrange 
flow-ers with long stiff stems in tall 
vases and again those with soft, 
slender stems should always be 
arranged in low' wide-topped bowds 
so they can ramble over the side 
]ust as they did on the plant. Then 
flowers such as pond lilies require 
to be always floated in water, for so 
we see them in Nature, and we all 
know how the reflection in water 
adds to their charm. 
Never, in gathering flowers, be 
guilty of cutting flowers with naturally 
long stems close up to the flowers, for 
had short stems been more appro¬ 
priate Nature would never have 
endowed them with long ones. 
In choosing a receptacle in which 
to place your flowers select one 
that will in no way mar their beauty 
but rather enhance it. If we choose 
a colored vase see that it blends well 
with the color of the flowers we are 
arranging. Eor example, place deep 
red roses or yellow' daffodils or tulips 
in a dull brass I'ar. We will at once 
recognize how beautifully the deep 
red or brilliant yellow blends with 
the dull tones of the brass. They 
seem to fairly melt into each other. 
Or place copper colored chrysan¬ 
themums in dull green “Pompeian” 
vases or urns, if we are fortunate 
enough to possess any, and we 
will at once be satisfied with the 
effect. In Nature all colors har- 
Fig. I—A Hanging Vase Holder 
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