The Democratic banner. (Mt. Vernon, Ohio) 1898-192?, 1913-01-21
Of Arranging Flowers Shown
In Japan

VI INdtteTb lIttIc ~ tuc WOnAoh WAV
s1as some knowledge OF Japanese now-
,er arrangement that At this season OF
the year flowers cost great deal OF
money. She III be satisfied with three
~or five or seven flower sprays. Many
women are taking lessons In artistic
flower arrangement (0f the Japanese
sorder) from those who have spent
years acquiring the art.
The little lead or glass flower hold
"'ers which 20 In the bottom u vases
a,ant bowls and hold the flower stems
upright may be bought In many Of the
shops, and any woman with an eye for
good lines and little study Of Japan
: $50 prints can make very acceptable
arrangements"
There are few rules laid down by
che Japanese school which ought to
be considered by any one who at
sempts simple compositions.
The, principle on which tho art Is
oased is a representation Of natural
,ioral growth. The manner In which
ehc arrangement springs from the sur
face of the water should at once indl-
~:xte the way the flower grows In the
:son. The composition must. therefore.
never be weak at the bose.
Absence OF symmetry or equal SID
',.ducss IL also to be sought for. The
japanese arrangements are always OF
ODD numbers Of flowers or branches.
sxbd the Japanese obtain balance ny
more subtle means than q symmetric-
: nj advancement.
Tho lines OF flower scheme should
never be parallel. especially IL they
ARE of the same length. Each stem
should have It's own distinct line. and
shese lines should never visuaily In
serest. one another to form angles or
Irecross to form looped openings. The
Ja,m fsase consider II fault, too, TO al
Row dropped branches on both sides OF
a, lYiinpositlon, says New York Tri-
bune contributor.
II is not necessary TO have flowers
.branches may be treated artisucaliy
a. any one knows who has seen Jap
rssness screens and prints. In fact
a,,e'a4 leaf and branch arrangements
are very appreciate In the fall and
winter, for another of the Japanese
principles Is that the composition
iNhould reflect the spirit Of the season
In the spring they should denote vi
salIty. In the summer fulness; In the
auinmn they should be sparse, aud IL
winter simulate the drearincss of The
outdoor flower world.
The tools necessary are simple; on'
can get along with pair OF scissors
and the flower bowl or vase and on'
AitiIe fower holder, For elaborate ar
arangement odd little fasteners IN th'
shape Of bronze crabs and tortois'
rnay be used. A forked twig is con
s~nient to use In tall. broad mouth
ed vessel, AZ by means OF IL three D
M,~ sprays may be separated and AZ
ranged gracefully. II may be neces
sary TO do a great deal Of bendinl
and clipping before the arrangement
'is complete, and thoughtful compost
sion will. always take time
The Japanese surround "ikebana.
las they call the art, with a great dca
-of ceremony. and professors Of u hav
"a definite social rank. The art is fo
is,wed to a great extent by members
'-.he nobility and philosophers. II
-4oonsidered a fine art. and II is beite'
nd to confer upon It's deyotecs sell
'.deniai. gentieness aud forgetfuines
~ cares tt
The rules OF the art are extensive
tand every leaf Of AN experts Arrange
ment In its position and relation
,ths other leaves and flowers mas
definite significance. Thus. u is COZ
ssidered weak to have a flower belo'
"a leaf
Each flower has its own ueanin
land Is considered appropriate Il
some occasions and not for other
The orchid and the Iris must not b
used together because they are I
,ssirnilar, and land and water pian'
must not appear in the same compos
xion