Pot-pourri from a Surrey garden

In the meanwhile, however, it is my object to spread its teaching and to show how, with but slight modifications and relaxation from the stricter Japanese rules, this artistic science may be adapted to English flowers and English drawing-rooms. It has a strong claim to being adopted by all lovers of the beautiful and the practical combined because, first, these decorations have a quite unique beauty and refinement; secondly, cut flowers and shrubs live long in water when sup- ported by a flower-holder in the Japanese way, to be described presently ; thirdly, only very few flowers or branches are required — a great advantage to those who have but small gardens, to people living in towns where flowers are expensive, and for the seasons of the year when flowers are scarce. Also an extremely decorative effect can be produced without making the room airless from the scent of many flowers. Fourthly, the infinite variety of design it is possible to produce with but few branches on the Japanese principle as compared to the English may be likened to the number of changes that can be rung on a few bells when a given system is followed, whereas the different bells rung simultaneously produce only one, and that a dis- cordant, sound. Eoughly speaking, the Japanese art of cut-flower decorations may be classified into three fundamental principles : — 1. Not alone the flowers and leaves, but also the stems or branches should be considered as part of the design — in fact, it is the most important part. 2. The branches are not allowed to lean against the edge of the vase, as in the English manner, but must be firmly supported either by a wooden fixer fitted into the neck of the vase, or by coils of iron if open basin-shaped or flat-bottomed vessels are used, this giving to the stems the appearance of growth and self-support. 3. Only such flowers and trees as are easily obtainable should be used. Rarity is not considered a merit, and foreign or out-of-the-way plants are only permitted to be used by those who have a thorough knowledge of the nature of their growth, characteristics, &c. The flowers used should be in season, and the design of the decoration suited to its position in the room — i.e. if under a picture, on a shelf, in the centre of an alcove, &c. — as well as adapted to the vase which holds it. APPENDIX 355 Although one of my objects is to show how much the English method may be improved without too great a sub- servience to the strictest laws of the Japanese art, yet it would be difficult to make myself understood by the uninitiated without first giving an outline of that science, which was originally, it is supposed, a religious rite, and which to-day is still a much- reverenced art in Japan. For this purpose I shall quote freely from Mr. Conder's book, as it would be impossible to improve JAPANESE EOSE (llOSA RUGOSA) IN A METAL TASK upon his lucid and concise treatment of the subject. The following are selected as the most important rules to be observed : — The surface oi the water in which the flowers are placed is technically considered to be the soil from which the floral growth springs, and the designer must here convey the impres- sion of stability and strength. The springing, or point of origin of the floral group, is A A 2 356 POT-POURRI FROM A SURREY GARDEN FLOWER FASTENERS APPENDIX 357