Japan has much to teach us with regard to flowers: nowhere else on earth are they so sedulously cultivated, or so faithfully studied in all their changeful beauty. Perhaps the most striking revelation of the Japanese gardener is his treatment of flowering shrubs and flowering trees disposed in masses. Happy the visitors to Tokio who sees in springtime the cherry blossoms ready to lend their witchery to the Empress's reception! Much is done to extend the reign of beauty in a garden when it is fitly bordered with berry-bearers. Rows of mountain ash, snow-berry, and hawthorn trees give colour just when colour is most effective, at the time when most flowers are past and gone.
In the practical bit of ground where the kitchen garden meets the flowers, Japan has long since enlarged its bill of fare with the tuber of a cousin of our common hedge nettle, with the roots of the large burdock, commoner still. In Florida, the calla lily has use as well as beauty; it is cultivated for its potato-like tubers.
Much as the study of flowers heightens our interest in them, their first, their chief enduring charm consists in their simple beauty—their infinitely varied grace of form, their exhaustless wealth of changeful tints. Off we go with delight from desk and book to a breezy field, a wimpling brook, a quiet pond in woodland shade. A dozen rambles from May to October will show us all the floral procession, which, beginning with the trilliums and the violets, ends at the approach of frost with the golden-rod and aster. But who ever formed an engaging acquaintance without wishing it might become a close friendship? Never yet did the observant culler of bloodroot and columbine rest satisfied with merely knowing their names, and how can more be known unless flowers are set up in a portrait gallery of their own for the leisurely study of their lineaments and lineage?
A word then as to the best way to gather wild flowers. A case for them in the form of a round tube, closed at the ends, with a hinged cover, can be made by a tinsmith at small cost. Its dimensions should be about thirty inches in length by five inches in diameter, with a strap attached to carry it by. At still less expense a frame can be made, or bought, formed of two boards, one-eighth of an inch thick, twenty-four inches long and eighteen inches broad, with two thin battens fastened across them to prevent warping. A quire of soft brown paper, newspaper will do, and a strap to hold all together, complete the outfit.
Our gathered treasures at home, we may wish to deck a table or a mantel with a few of them. The lives of impressed blossoms can be, much prolonged by exercising a little care. Punch holes in a round of cardboard and put the stalks through these holes before placing the flowers in a vase. This prevents the stalks touching each other, and so decaying before their time. A little charcoal in the water tends to keep it pure; the water should be changed daily.
A flower will fade at last be it tended ever so carefully. If we wish to preserve it dried we can best do so as soon as we bring it home, by placing it between sheets of absorbent paper (newspaper will do) well weighted down, the paper to be renewed if the plants are succulent and if there is any risk of mildew. But a dried plant after all is only a mummy. Its colours are gone; its form bruised and crumpled, gives only a faint suggestion of it as it lived and breathed. Other and more pleasant reminders of our summer rambles can be ours. With a camera of fair size it is easy to take pictures of flowers at their best; these pictures can be coloured in their natural tints with happy effect. In this art Mrs. Cornelius Van Brunt, of New York, has attained extraordinary success. Or, instead of the camera, why not at first invoke the brush and colour-box? Only a little skill in handling them is enough for a beginning. Practice soon increases deftness in this art as in every other, and in a few short weeks floral portraits are painted with a truth to nature denied the unaided pencil. For what flower, however meek and lowly, could ever tell its story in plain black and white?
The amateur painter of flowers learns a good many things by the way; at the very outset, that drawing accurate and clear must be the groundwork of any painting worthy the name. Both in the use of pencil and brush there must be a degree of painstaking observation, wholesome as a discipline and delightful in its harvests. How many of us, unused to the task of careful observation, can tell the number of the musk-mallow's petals, or mark on paper the depth of fringe on a gentian, or match from a series of dyed silks the hues of a common buttercup? Drawing and painting sharpen the eye, and make the fingers its trained and ready servants. From the very beginning of one's task in limning bud and blossom, we see them richer in grace and loveliness than ever before. When wild flowers are sketched as they grow it is often easy to give them a new interest by adding the portraits of their insect servitors. Amateurs who are so fortunate as to visit the West Indies have an opportunity to paint the wonderful blossoms of the Marcgravia, whose minister, a humming bird, quivers above it like a bit of rainbow loosened from the sky.
Early in the history of art the wild flowers lent their aid to decoration. The acanthus which gave its leaves to crest the capital of the Corinthian column, the roses conventionalized in the rich fabrics of ancient Persia, until they have been thought sheer inventions of the weaver, are among the first items of an indebtedness which has steadily grown in volume until to-day, when the designers who find their inspiration in the flowers are a vast and increasing host. In a modern mansion of the best type the outer walls are enriched with the leonine beauty of the sun-flower; within, the mosaic floors, the silk, and paper hangings, repeat themes suggested by the vine, the wild clematis and the Mayflower. The stained glass windows from New York, where their manufacture excels that of any other city in the world, are exquisite with boldly treated lilies, poppies, and columbines. In the drawing-room are embroideries designed by two young women of Salem, Massachusetts, who have established a thriving industry in transferring the glow of wild flowers to the adornment of noble houses such as this. As one goes from studio to studio, it is cheering to find so many men and women busy at work which is more joyful than play,—which in many cases first taken up as a recreation disclosed a vein of genuine talent and so pointed to a career more delightful than any other,—because it chimes in with the love of beauty and the power of giving it worthy expression.
Transcriber's Note:
Unable to locate “partnery” nor “tucu-tucu”, but they have been left as in the original.