File:FLOWER-VASES. (1910) - illustration - page 262.png

English: Illustration from page 262 of FLOWER-VASES..
Caption: "FLOWER-VASES. Quote: "Flower arrangement is an art which plays an important part in the decoration of a room; for the kakemono which hangs in the alcove of the parlour loses half its attraction unless there is before it on the dais a vase of flowers to match. The alcove is the part of the room which draws first notice upon entrance, and the flowers share with the kakemono the earliest attention of the newcomer. The idea underlying the art is that flowers should not be thrown anyhow in a bundle into a vase, but that due consecration should be given to their artistic arrangement. The flowers should even in a vase be arranged as they might appear in nature. It is not always, it is true, as they actually appear in the open air: but they are arranged as they might look if aided by art under certain conditions, for the flowers in the vase always have a degree of symmetry which is but rarely found in nature. Their form is often artificial, but not opposed to nature, just as dwarfed trees are stunted by art but have perfectly natural shapes. The rules regarding the position of the branches in a vase are certainly conventional, insisting as they do upon balance and symmetry of form, but they do not go beyond the bounds of possibility. The only objection, in fact, that might be brought against them is that there is always present the danger of taking for normal forms what are seen in nature perhaps but once in a million. But of the gracefulness of the arrangement there can be no two opinions.
Although we speak of flower arrangement, the art is not confined to flowers, but extends also to the treatment of trees and shrubs without flowers. Among the trees, the branches of which are, when in flower, put into vases, are the plum, camellia, cherry, peach, rose, azalea, Japan quince, and wistaria, while the herbaceous flowers are innumerable and include such different plants as the pot marigold, corchorus, peony, bleeding-heart, iris, anemone, primrose, red-bud, sweet flag, hydrangea, clematis, safflower, corn-poppy, common mallow, day lily, cockscomb, globe amaranth, chrysanthemum, narcissus, lady’s slipper, and Cape jasmine. Branches of trees noted for their foliage are also put into vases, such as the magnolia, yulan, pine, and similar evergreens; and others bearing fruit are in no less favour, like the loquat, plum, nandina, and pomegranate. In short, the art is practised with most trees and shrubs, cultivated or wild. The principle of the arrangement in its simplest form, which deals with three stalks or branches, is that the middle stalk or branch, which is the longest, shall rise perpendicularly, or nearly so, and of the remaining two one shall branch off horizontally to one side and the other slant upward on the other side of the central stalk or branch. More stalks or branches may be taken, but their positions are only amplifications of the two lateral ones. The central piece being always single and amplifications being of equal number on both sides, there is invariably an odd number of stalks or branches. The manner of amplification or the position of the secondary stalks varies with the different schools of flower arrangement. The only condition they all insist upon is that the stalks or branches shall be in a way balanced on either side, but shall not show perfect symmetry which is never to be found in nature. As stalks which completely satisfy the conditions required for their artistic arrangement cannot be readily procured, it becomes necessary to bend and twist them into the requisite shape. They must be so bent and twisted as not to snap, crush the fibres, or display splits, but to conceal the artificial alteration of their structure. While the arrangement of the stalks and flowers calls for taste and judgment, their manipulation demands no less dexterity in carrying out the design formed; and it needs considerable practice to be able to bend the soft stalk of the orchid and the tough branch of the plum with equal ease and neatness. Next in importance to the arrangement of the flowers is the manner of making them draw water. To this end various devices are used, of which the commonest is to burn the bottom-end of the stalk; this end, on being then dipped into the vase, sucks up water which is thereupon circulated into the rest of the stalk. The hardwood of a tree branch is often crushed at the end to facilitate its permeation by water. Some plants are put into hot water; others are covered with mud or nicotine at the end; and others again are dipped in a strong solution of tea and Japan pepper. Salt is sprinkled over bamboo to keep off insects, and with the same object tobacco powder is thrown on some plants. The shape of the vase is also of importance and has to be taken into consideration with the kakemono exhibited. They are of various shapes. The commonest are of china, tall, round, and slightly bulging in the middle. Sometimes they are more slender, and sometimes no more than deep dishes, square or round. If they are to be hung up by a chain, as in a tea-room, they are shaped like a boat or a water-bucket; or if they are to be hooked on a peg, they are made of china or bamboo. The pedestal for the vase is also of diverse shapes. It may be a flat piece of wood or china, or have legs, one at each of the four corners or one at either side flattened out.""