The lighter flowers, both of form and color, should be so placed as to
be at the top, excepting such flowers as passion flower, fuchsia, etc.,
which are drooping or climbing plants.
Aim at simplicity in coloring rather than too great a mixture, which
gives a confused look.
The foliage is used as a background; there should be no stint of this.
The great fault observable in the arrangement of bouquets, whether
natural or artificial, is that they rarely have the leaves brought as
prominently forward as they should be, consequently the bouquet loses
both character and elegance.
Ferns, of which there is now so large and beautiful a collection, add
very much to the elegance of the bouquet.
EXAMPLES IN GROUPING. _No. 1, Roses._ Gloire de Dijon, apricot; Geant de
Bataille, scarlet and purple; Aimee Vibert, small white; pink cabbage;
forget-me-not; maiden hair fern.
_No. 2._ Rhododendron, crimson; red spotted do.; deep pink do.; pale
do.; white do. Some large ferns and orange azaleas of various shades.
_No. 3._ White camellias; red camellias; pale yellow azalea; pink
fuchsia; deep blue cineraria; ribbon grass.
_No. 4._ Passion flower (various); fuchsias; thunbergia; hop; ivy
leaves.
LIST OF MATERIALS, TOOLS, &c.
Moulding pins, moulders, pincers, tinting brushes, scissors, three sizes
of cotton wire, silk for tying, fine wire for tying, gum water.
COLORS IN POWDER. Carmine, burnt sienna, Prussian blue, ultramarine,
chrome 1, 2 and 3, white, magenta, violet.
MOIST COLORS. Carmine, lake, violet.
The papers most used are: White tissue, carmine, pinks (various), shaded
for roses (various), stem paper (green and brown), violet, 3 shades,
yellows, scarlet for poppies, etc.
[Illustration]