Pot-pourri from a Surrey garden

The various directions imparted to plants and branches of trees on the above principles are obtained first by a careful selection of suitable material, then by twisting, bending, build- ing together and fixing at the base, and lastly by means of cutting and clipping off defective or superfluous parts. Flower arrangements are made sometimes with one species of tree or plant alone, and sometimes with a combination of two or more species. The use of many different kinds of flowers in one composition is opposed to the principles of the purer styles. In arranging two or more species in one composition, variety must be sought by combining trees and plants. In a three-line composition the branches of a tree should never be * supported ' on both sides by a plant ; nor should a plant be placed in the centre with a tree arrangement on either side. The two branches of the same kind must of necessity be used, but they should adjoin, not sandwich, the remaining one. For example, a composition with Irises (plant) in the centre and branches of Azalea (tree) and Camellia (tree) on either side would be defective. A correct composition would be one with a Plum branch (tree) in the centre, with a Pine branch (tree) on one side and Bamboo stem (plant) on the other. In cases of variety being obtained by land and water plants, this rule is sometimes violated. The manipulation of different plants and tree- cuttings with the object of preserving their vitality needs special study. In some cases merely sharply cutting the extremity is sufficient to preserve the succulence ; but with other material the charring of the end, or dipping in hot water to soften it, is common. 360 POT-POURRI FROM A SURREY GARDEN The Bamboo is particularly difficult to preserve. The inner divisions are generally removed, and the inside of the tube filled with spiced water or other stimulants. The object of these methods is to get the water to rise in the stem, so that the vitality of the bouquet may be preserved for days. Other means are resorted to in order to prevent the advanced blossoms falling off or dropping. In the case of some large and heavy flowers, invisible Bamboo spikes are employed to keep them erect. Salt is also applied at the base of certain blossoms, to keep the connection moist, and thus defer the shedding which often takes place owing to dryness. The flower-vases are made of wood, porcelain, pottery, bronze, brass, iron, and basket-work, with wooden, earthen- ware, or tin receptacles inside for holding the water. They vary as much in form as in material, the most common standing vessels being broad and flat, or long-necked, opening out to a broad flat surface at the mouth ; tall, narrow vases are also used. With the ordinary tall vase, whether of wide or narrow mouth, the height of the flowers is generally fixed as one and a half times that of the vase. In the case of broad, shallow receptacles, the height of the floral composition is made about one and a half times the breadth of the vessel. Vases for hooking on to walls and for suspending from a shelf or ceiling are also frequently used. Having thus briefly quoted from the main principles of this Japanese art as given by Mr. Conder, I shall now make a few homely suggestions as to how they could be applied by any of us in England.