of great importance, and the firm and skilful fixing of the steins
or branches in the vessel which holds them is one of the most
difficult parts of the manipulation. Ordinarily, the stems are
held in position by small cylindrical pieces of wood, fitting
tightly across the neck of the flower vase, and having a slit,
wider above than below, for threading them through. The
wedge-shaped form, wider towards the top, which is given to
the slit allows slightly different inclinations to be imparted to the
several branches. The fastener should be fixed about half an
inch below the surface of the water, and should not be visible
from the front of the vessel. Some schools affect a rustic
simplicity in their appliances, and employ a naturally forked
twig to hold the flowers in position. For arrangements in
neckless vases, such as sand-bowls or shallow tubs, other sorts
of fasteners are necessary. One kind consists of a sheet of
copper perforated with holes of different sizes, to receive the
extremities of the different stems. Another fastener is made
of rings or different sections of bamboo of varying diameters
attached to a wooden board, the stems finding lodgment in the
sockets thus formed, and being further held in position by
pebbles being placed over them.
The direction of the stems at starting need not be strictly
vertical ; but, if curved, the curves should be strong ones.
The artist studiously avoids an equal- sided or symmetrical
arrangement, but obtains a balance of a more subtle kind.
The triple arrangement may be taken as the original model
of all arrangements. The Principal is the central and longest
line of the design, and is made to form a double curve, with the
upper and lower extremities nearly vertical and in a continuous
line, the general shape being that of an archer's bow. The
Secondary line should be about half, and the Tertiary line
about one quarter of the length of the Principal, supposing all
to be straightened out ; and these two lines are arranged on
different sides of the Principal in graceful double curves of
varied character. As a general rule, the Secondary has a more
vertical and the Tertiary a more lateral tendency, the former
being on the outside of the arched bow formed by the Principal,
and the latter making a counterpoise on iis hollow side. By
changing the direction and giving a different character to
the curves of these three lines, a great variety of design is
produced.
Principal
'Secondary'
TRILINEAL ARRANGEMENT OF STEMS
APPENDIX 359
There is another style of design applied to a large class
of flower arrangements, in which the Principal line of the
composition has a horizontal, or almost horizontal, direction ;
the intention of such compositions being to suggest floral growth
on the edges of cliffs or banks, when used in hanging vessels or
vases placed on raised shelves.
The different lines have been spoken of as if existing in one
vertical plane parallel to the spectator ; but actually these lines
have also directions of varying degrees forward or backward.
In other words, the extreme points of these lines would require
a solid and not a plane figure for their enclosure.
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of great importance, and the firm and skilful fixing of the steins
or branches in the vessel which holds them is one of the most
difficult parts of the manipulation. Ordinarily, the stems are
held in position by small cylindrical pieces of wood, fitting
tightly across the neck of the flower vase, and having a slit,
wider above than below, for threading them through. The
wedge-shaped form, wider towards the top, which is given to
the slit allows slightly different inclinations to be imparted to the
several branches. The fastener should be fixed about half an
inch below the surface of the water, and should not be visible
from the front of the vessel. Some schools affect a rustic
simplicity in their appliances, and employ a naturally forked
twig to hold the flowers in position. For arrangements in
neckless vases, such as sand-bowls or shallow tubs, other sorts
of fasteners are necessary. One kind consists of a sheet of
copper perforated with holes of different sizes, to receive the
extremities of the different stems. Another fastener is made
of rings or different sections of bamboo of varying diameters
attached to a wooden board, the stems finding lodgment in the
sockets thus formed, and being further held in position by
pebbles being placed over them.
The direction of the stems at starting need not be strictly
vertical ; but, if curved, the curves should be strong ones.
The artist studiously avoids an equal- sided or symmetrical
arrangement, but obtains a balance of a more subtle kind.
The triple arrangement may be taken as the original model
of all arrangements. The Principal is the central and longest
line of the design, and is made to form a double curve, with the
upper and lower extremities nearly vertical and in a continuous
line, the general shape being that of an archer's bow. The
Secondary line should be about half, and the Tertiary line
about one quarter of the length of the Principal, supposing all
to be straightened out ; and these two lines are arranged on
different sides of the Principal in graceful double curves of
varied character. As a general rule, the Secondary has a more
vertical and the Tertiary a more lateral tendency, the former
being on the outside of the arched bow formed by the Principal,
and the latter making a counterpoise on iis hollow side. By
changing the direction and giving a different character to
the curves of these three lines, a great variety of design is
produced.
Principal
'Secondary'
TRILINEAL ARRANGEMENT OF STEMS
APPENDIX 359
There is another style of design applied to a large class
of flower arrangements, in which the Principal line of the
composition has a horizontal, or almost horizontal, direction ;
the intention of such compositions being to suggest floral growth
on the edges of cliffs or banks, when used in hanging vessels or
vases placed on raised shelves.
The different lines have been spoken of as if existing in one
vertical plane parallel to the spectator ; but actually these lines
have also directions of varying degrees forward or backward.
In other words, the extreme points of these lines would require
a solid and not a plane figure for their enclosure.