FLOWER ARRANGEMENT 363

ACCESSORIES

Any accessories that are placed in a flower arrangement should
have beauty, should conform to the theme of the arrangement, and
should compose into a unit with the flowers.

Materials. Natural materials like shells, starfish, coral, rocks,
and feathers help to establish moods. For example, tropical or sea
effects are obtained with coral or driftwood. The woods are sug-
gested by a gnarled root, or a branch covered with fungi or lichens,
or a small dead tree. Equal amounts of plant material and acces-
sory material are undesirable; for example, in combining rocks and
pansies one or the other must be in preponderance.

Small sculptures of people, animals, and birds may add interest
to flower arrangements, but unfortunately they are often inhar-
monious and too small. Other materials such as candles, books,
decorative boxes, tiles, glass bubbles, or fans sometimes provide
the contrast of form or color that completes a composition.

Artificial materials like curls or streamers of gilt, silver, or
colored paper, paper lace, and ribbons are sometimes combined
with flowers to create a gay, festive mood. Outstanding examples
are found in the modern interpretation of the Balinese ceremonial
decorations, where a tall, slender cone is ornamented with lines of
fruits, flowers, and artificial materials wound in spirals.

Theme. A definite theme is advisable, for it prevents the com-
bining of such unrelated materials as a pottery peasant figure, roses,
and shells. A consistent idea should be maintained. For example,
only water creatures should be placed in the water; land animals
should stand on blocks, rocks, or other solids to help the illusion.
The mood that is desired directs the relative proportion of acces-
sory materials to plant materials.

Design. One unit of composition should result from the com-
bining of accessories and flower arrangements. One way to ac-
complish this is to place a figure on one end of a raft or disk and
a vase at the other end and proceed to arrange the plant material
so that its lines reach towards the figure and tie all parts together.
If the figure can be removed without spoiling the entire composi-
tion the arrangement is a failure. It must be admitted that com-
positions in which the accessories form an integral part of a flower
composition are greatly outnumbered by the others.