DESIGNS AND BOUQUETS - THE HARMONY OF COLORS - VARIETIES FOR USE.

The PRESENT age is one of vacillating ideas in the relation of flower lovers to buds and blossoms. This is owing largely to the craze of fashionable society for change; what was considered "just the thing" for the season of 1889 may be out of style and old-fashioned the present season. So then, we may come to the logical conclusion that in flowers as well as in clothing, fashion's decrees are as inexorable as were the laws of the Medes and Persians. True, the skilled artistic florist and decorator is to some extent the arbiter of the social standing of those flowers which he so deftly weaves into harmonious designs, and, if he be diplomatic, is usually able to turn the tide of fashion's vacillating mood in any direction he may will, to a greater or less degree.

In attempting a complete list of flowers in use for bouquet and design making or other decorations, some which may be named would be used in Chicago, yet be entirely out of fashion in New York, and vice versa. Again, modes of arrangement are as restricted to certain localities, as are flowers used ; but there are two fundamental principles of floral work, the foundation on which rests the entire structure and from which no artistic designer dare depart, viz.: the harmony of colors and the suitability of the blooms used in the formation of the design for the purpose of both his work and the purpose for which the design is intended. In these respects, the amateur can make no mistake; if he follows strictly the law of color in nature, however crude the mechanical part of his work, it will be a thing of beauty.

As a matter of fact, the true artist with flowers is as varied in his modes of treatment as the knight of the brush; for while both may understand the harmony and contrast of colors, one will be able to fashion a design in a short space of time which may be a "poem in nature," while the other, despite the proper combination of colors, will show, as a result of his work, a design not devoid of beauty, but mechanically stiff.

It is well for the amateur that many of the common garden flowers are suitable for floral design work, else he might be puzzled, in his ignorance of the art, how to make five dollars' worth of flowers and two dollars' worth of work bring forth a design which would be sold for $25.

In the formation of bouquets and designs, green is, as a matter of course, indispensable; it serves as a background against which nearly all shades look attractive; in bouquet making or the arrangement of flowers for corsage wear, green may be introduced or not as is deemed best; oftentimes the foliage of the flower used is sufficient, and indeed in some fashionable circles is deemed the only correct style. For designs, smilax, Asparagus tenuissimus', English ivy leaves, vinca, Lygodium scandens and adiantum are the principal greens used. For light airy work and festooning, smilax is probably more largely used than anything else; while for close compact designs, English ivy leaves are preferable.

The list of flowers suitable for cutting covers a most extensive field, embracing, as it does, all flowers which do not easily droop nor whose petals fall readily, and whose stems are sufficiently long and stiff. Last summer the writer was called upon in an emergency to prepare a presentation basket of flowers and 250 boutonnieres, and two hours to do the work in ! The basket took all the choice flowers we had, for the trade had been heavy that day, and we were obliged to fall back on what was growing out of doors and the few remaining in the greenhouse. Here is what we used : For green, sprigs of smilax, rose geranium leaves, vinca leaves and sprigs of rose bushes ; for flowers, ageratum, geraniums, heliotrope, alyssum, violets, dianthus, carnations and a few rose buds. True, the variety was great and the flowers common, but our patrons were satisfied. Of summer flowers, in addition to those named, asters, pansies, roses, mignonette, fuchsias, begonias, chrysanthemums and many of the blossoms from shrubbery may be used for floral work with good effect.

In the greenhouse, during winter, we have for use orchids, roses, camellias, geraniums, carnations, violets, begonias, ageratums, alyssum, mignonette, heliotrope, chrysanthemums, stevias, tuberoses, lilies of the valley, bouvardias, azaleas, callas and other lilies, tulips, narcissus, marguerites, etc. The list is certainly large enough to suit the most fastidious tastes. Undeniably, roses are the most popular of all flowers for cutting, and are used for all purposes where flowers can be used ; orchids are beautiful and fashionable, but expensive.

In the making of "designs" one must be governed by the purpose for which the piece is intended. For funerals, it was once the custom to use nothing but white flowers with some green, but now, when the selection is left to the florist, bits of suitable colors are introduced. One of the most beautiful inexpensive floral designs we ever saw, was a cross made wholly of smilax for green, the edges filled in with blue ageratum and the center packed close with white carnations. In large designs, calla, Harrisii and candidum lilies are used with good effect.

Taken as a whole, the selection of flowers for ordinary purposes is, in reality, largely a matter of individual taste, as florists who supply this trade can fully testify. The wealthy mourner demands the most beautiful floral offerings to lay at the bier of a loved one. The poorer people have perhaps but a sprig of syringa to lay before their dead, but are happy in being able to have even this. Attempts have been made to taboo flowers from funerals, but they have failed simply because nothing can adequately fill their place.

"Who can paint Like Nature? Can imagination boast Amid her gay creations, hues like hers? And can he mix them with that matchless skill. And lay them on so' delicately fine, And lose them in each other as appears In every bud that blows?"