FLORAL ART JAPAN. FLORAL ART OF JAPAN: A SECOND AND REVISED EDITION THE FLOWERS OF JAPAN ART OF FLORAL ARRANGEMENT. JOSIAH CONDER, F.R.I.B.A., WITH ILLUSTRATIONS BY JAPANESE ARTISTS. Z09 PREFACE. In publishing the original edition of this work, the Author expressed a hope th.it the Japanese method of decorating with flowers might be found adapted to adorn our Western homes. He felt assured that the ;esllietic rules governing this Floral Art. though could tlesign< their appHcatioi art principles : outcome of noticing the first edition in novelty or originalit) [ow. it was just the appr ould, nevertheless, appeal to Kuropean ii close study of natural laws, and not apricious fancy from the Far East. A lU'.nA d tint the art theories expounded > il,< \ \vere universally known to all inn i>r this r.ict that li-d the present writer. architect by profession, to dcv buildings. furn u-d false decoration. and Kuskii d .uir industrial .u-b-, the tendt^nty uf the age , and to follow the true pi-inci|jles laid down by If floral cuttings are to be used in adorning a nd odier Li.ninni.M, ,i, ^ m l- ..hers. If floral cuttings an room, why should wi- n. i ,i|i|,l\ ^iniil.ir art principles to their employment? Why should flowers alone be used in disorderly confusion, whilst order and method rule in other things? Working with stone, brick, timber, metal, paint, or plaster, we aim at expressing the true qualities of the material, both in construction and ornamentation. Yet when our material is the freshest and loveliest that the earth yields we are content to use it in a disorderly and expressionless manner. Cut flowers, as we arrange them, retain no sugges- tion of their natural growth or of the landscape to which they belong. With all our passion for floriculture and for masses of rich bloom, we have in Europe never possessed a Floral Art, properly so-called, — an art of designing with plant and tree cuttings jn such a way as to conventionally copy Nature in her disposal and treatment of floiTil growth. Mre. C. W. Earle. in her charming work " Pot-pourri from a Surrey Garden," has expressed her admir- ing appreciation of the Japanese mode of arranging flowers for embellishing rooms, and has given several examples showing how such a methoil may hn applied to English flowers. There are many indications that the study of this I'loral Art is growing abroad, and tlial it will coiitinui; to influence our use of cuttings for chanibur decorations. The writer does not suppose that the style of flower arrangemenLs followed by the Japanese will ever be adopted complete, with all the quaint traditions and subtle ethics that surround it in the land of its origin, but an explanation of these details is desirable in order to show the ntfioiiak which evolved the Art in the hands of this cultured people, and to indicate the lines upon which a suitable European adaptation may be based. The above considerations Lncouratjc the Author in issuing a second and revised edition of his original work. Additional outline plates and figures in the text have been introduced, as well as new coloured prints from designs expressly made by Ogata Gekko, one of the best living artists of the Popular School. The text has been augmented to some extent, partly in the body of the work, and partly in an appendix. The somewhat lengthy title of the first edition has been dispensed with, and the abbreviated one " Floral Art of Japan " adopted. JOSIAH CONDER. Tokio, May, 1899. CONTENTS. THE FLOWERS OF JA Sl-HISG Fl-OWEKS : SvMaiER Flowers: AuTisis- Flowers: Chrysinthemums— The Seven Planis of AiHiimn— Maples ... THE ARRANGEMENT OF FLOWERS. iNTfiClllCTlo.S Flowfbs AtcoRniNC 10 THEIR MoKTHS : Ominous Flowers— Flowers suitable fot Felicitous Occasions— Flowers pro))ibiicmboo {Shfchikukii'). Plate L I. -Arrangements of Willow Branches. Pute LII. — Flower Arrangements in suspended Moon-shaped Vcsigls. Plate I^I I L— Arrangements of Wistaria in a Bronze Boat, and of Lcspedcza in a Crescent-^ Plate LIV. — Method of arranging Irises. Plate LV. — Completed Arrangements of Irises in Slanding-vases. Pl\tf. LVI— Arrangemcnu of Fir with Irise>. and ol Weeping Cherry with Irisc*. Plate LVII. — Paired Arrangerociil of Irises, and Asters. Plate LVIH. — Arrangements of Peony, singly, and of Peonies with Irises. Plate MX.— Double Well-bucket Arrangcmenl of Clematis, and hooked Arrangement nf Cleni Plate LX, — ArrangcmenU of Leaf Orchid and of Nuphar jitpunkmii. Plate LXf. — Arrangements of {^nvolvuli and of Dianlfms supetr/ms. Plate LXH. — Arrangement of Chrysanthemums. Plaif. LXIII.— .\rrangcments of Naw/iiKi ilomeslica and of Kerri-t Jupon-oi. i'LATE LX I v. — Arrangements of Fiinii'a Di\ila and nf Narcissus. Flmz LXV.— Arrangements of Peach Blossoms in hooke.l and standing Vases. Platk LXVI.— Ikerobo style: Vase Arrangements of Flowers. Platk LXVir.— Ikcnobo stjle : Hasket Arrangements of Flowers. PtATB LXVIIt— Ikenobo style: llasin Arrangements of Flowers. Pl.vte LXIX.— Ikenobo style : Basin ArrangemenU of Flowers. IIXL'STRATIONS PRINTEP WITH T!IE TEXT. . — Diagram showing Veilkiti-lnanslc Arrangement of Flmver-lincs. , — Diagram showing liQiizonM-triaiigle Arrangement of Flower-lines, ;. — Long-neckc(i Standing-vase containing Arrangement t,f Pine. 5 — Flower-iiili with Carnation Howers, held by a Fan-f.istener, ^.— Well.frame Vase containing Ckmlvmlro,, •^quamalum (Togiri), page 58, page 59. -Hnkf,),- Flo> (Susuki). isket • — 5'r.S, Flower- basket niaintng Convolvuli. ilaining Chrysanihet nd Narc FiouRB S, page 6c. — Sock-shaped Hooking Basket containing Figure 9, page 61. — Bamboo Vaw with Chrysanthemums. Figure 10, page 65, — Hooking Vase in embroidered bag, containing Clirj'santliemums. Figure ii, page 6(5. — Hooked Flower-basket, iitittiiono, and suspended bronze ornament 1 Figure ii, page 67. — .\ pair of suspended boat shaped Vases with Flower-arrangements. Figure 13. page 68.— Flower-raft holding small Basket containing Cherry Blossoms. FiGiRE 14, page 70. — Inverted Umbrella of Bronze, with Camellia, Rnsh, and Ivy. Figure 15, page 71. — Flower-cliariot v. P"3e 3a-Amng Fico • S3. li»se 32.— Arrang I'lao K 34. |)as<: 33.-Diagni FlGUB " 35. page 34-Dbgni FiGCR « 36. P»SO 34 -ArMiig FlGU> I 37. P»t'c 35.-Diasn. Ihm E. Appendix, page VI. -s Vml, K. Apfcndix, page VII.— e small Clifyaanlheiimm siirigs «'illi other growth umn Chrj'aainlicmumi. 'iiiiii scaiioSir/olia showing tlispoiition of blussoms, vfti jiiponica in large Basin wiili J^tfu^u- fastener. icihoti of treating leaves of Narcissus. lilicial combinations of Narcibsiis leaves Frame wedges for THE FLO\^'ERS OF JAPAN. INTRODUCTION. " Flowere seem intended for the solace o( ordinary humaniiy ; cliildren love them ; quiet, tender, cultivated, ordinary people love ihem as they grow ; luxurious and disorderly people rejoice in ihem gathered."— John RrsKiv. fNE of Uie tjeneral impressions which exist abroad with regard to Japan, is that of a land unrivaled in the abundance and beauty of its flowers, — a belief that nature has lavished ^_ her floral gifts with special favour upon these sunny islands of the Far East. And in ■^ a great measure is this popular fancy justified, considering the imposing display of flowering trees and shrubs to be seen near the principal cities at cei-tain seasons. In the sense, however, of profusion in wild floral plants, it must be admitted that certain Western countries possess attractions which Japanese scenery can scarcely boast. The traveller, whose rural wanderings nearer home have made him familiar with furze and heather-clad moors, flower- sprinkled meadows, or hills and forests girdled and carpeted with blossoming plants, will miss in Japan some of these charming adornments of natural landscape. There is one short season in the year, — when the rice is young and green, and the bloom of the honey-scented rape plant spreads broad stretches of yellow on the plains, — that recalls to the mind the soft flowering verdure of other lands ; but the rice culture, with its endless irrigated terraces, and the high bamboo-grass, which covers every uncultivated hill and glen, deprives the scenery of all but a brief and passing suggestion of the colouring of Western meadows and uplands. Tiger lilies, fratillaries, bluebells, and numerous other wild flowers grow on the plains and downs, buried in the high coarse bamboo-grass. The comparative scarcity of groups of wild flowering plants, as a colour feature to the landscape, is, however, to some extetit made up for by the blossoming trees, displaying in turn soft ami vivid masses of colour amid the verdant foliage of the hill-sides. The wild camellia, azalia, magnolia, plum, peach, and cherry are the most important of these flowering trees ; the varied flaming tints of the azalia contributing chiefly to the brightness of the scenery. The blossom of the wild cherry tree, which abounds in 2 THE FLOWERS OF JAPAN. Vezo. adds to the wooded landscape of tliis Norllieni island an effect as of soft cloi.ds of a pale pearly tint, which the poets liken to mist upon the mountains. The flower charm as it exists in Japan is not. as elsewhere, purely one of rural or pastoral associations. It is closely and inseparably connected with the national customs and the national art. The artistic character of the Japanese people is most strikingly displayed in their methods of interpreting the simpler of natural beauties. That extravagant taste which demands for its satisfaction the grand, rare, or novel, and is unmoved by the modest attractions of more familiar surroundings, is little shared by the masses of this people, who bestow their chief sym- pathies on the humbler aspects of nature. Though tlie more majestic scenery of the country lias served as a constant theme for the painters and poets of the Court and nobility, \\\g popular art has always I^een an expression of the daily life of the people, and of those simple, natural surroundings, customs, and familiar beliefs which contribute to its enjoyment. The recurring months of the year, and the \'arious duties, pleasures, and poetic fancies which custom has asso- ciated with them, form the inexhaustible source from which artists of all kinds have looked for inspiration. The common flowers of the seasons have been given a prominent place in the fete-day calendar. Almost every month is known by its special blossoms, and the important cities have groves and gardens devoted to their public display. The festivals of the numerous Shinto deities are celebrated monthly in the different towns by street fairs at which the choicest specimens of flowering trees and plants are exposed for sale. The secret, then, ol Japan's floral fame and floral enchantment lies rather in the care that her people bestow ■tippn Nature's simpler gifts than in any transcendent wealth of production. Treasured chieflJ^Ss heralds of the seasons, and as inseparable from the favourite pursuits and pastimes of out-door life, Japanese flowers are by no means esteemed in proportion to tlieir scarcity or difticulty of culture, The isolated merit of rarity, so much sought after in tlie West, has here little or no attraction. The native florists are not deficient in floricultural skill, and produce in certain blossoms forms of considerable artificial beauty, but the popular taste shows a partiality for the more ordinary and familiar flowers, endeared by custom and tradition. Flower vmving excursions, together with sucli pastimes as Shell gathering. Mushroom picking, and Moon viaving, form the favourite occupations of the holiday seeker throughout the year. By a pretty fancy, even the snow-clad landscape is regarded as Winter's floral display, and Snow viewing is included as one of the flower festivals of the year. The Chinese calendar, used formeriy by the Japanese, fitted in admirably with the poetical succession of flowers. Ham, the Japanese Spring, opened with the New Year, which commenced about February, and was heralded by the appearance of the Plum blossoms. SPRING FLO^^'l:RS. PLUM HLOSSOMS. T^vJI NRICHING the ])ai-e landscape with ils bloom, and lilliiiL; the air with its iVagrance ij^ipM at a time when the snow of winter has hardly passed away, the blossoming plum *;.^v^ tree has come to be regarded with especial fondness by the Japanese. Combined 'Jf ' witli the evergreen pine and bamboo, it forms a flora] triad, called the S/to-eliiku- biii, su]iposed to be expressive of enduring liappiness, and used as a decorative s)'mbol on many felicitous occasions. The plum blossom being the earliest to bloom in the year, is often referred to as " the eldest brother of the hundred flowers." Quick in seizing the peculiar features which distinguish one growth from another, to the extent almost of a tendency to caricature them, the Japanese have been chiefly attracted by the rugged and angular character of the plum tree, its stiff, straight shoots, and sparse, studded arrangement of buds and blossoms. Thus, a fancy has arisen for the oldest trees, which with their gnarled trunks and tender shoots exhibit these characteristics to jjerfection. In them Is shown the striking contrast of bent, crabbed age, and fresh, vigorous youtli. As if to render this ideal more complete, it is held that the plum tree should be seen in bud rather than ill full blossom. The gardeners of the country, so clever i tl tr g f t re trees, find in the plum a choice object for their skill, imitating o n sn II cilc tl b fivourite character of budding youth grafted on to twisted and contorte I a^ Tl se t y t ues, trained in a variety of shapes, — bent, curved, and even spiral, — with their vertical or drooping grafungs of different coloured blossom-sprays, fresh, fragrant, and long lasting, form one of the most charming of room decorations during the first months of the year. Poets and artists love to compare this flowering tree with its later rival, the cherry. With the latter, ihcy say, the blossom absorbs all interest; whereas, in the case of the former, attention is drawn more to tlie shape 'of trunk and branches : the cherry blossom, it is not denied, is the prettier and gayer of the two ; but the plum blossom is 4 THE FLOWERS OF JAPAN. mort chaste and modest in appearance, possessing besides, its sweet odour. Entluisiastic admiiers of the cherry blossom, however, go so far as to fancy they detect a delicious odour in this scentless flower. Tlie fragrance of the plum blossom is constantly referred to in the short stanzas with which the poetry of the country abounds. The following free translation may be given as an example of one of such verses : — "In Spring Uine, on a cloudless niglit, When nioon-bcaras Llirow iheir silver pall O'er wooded landscape, veiling; all In one soft cloud of misty wliiie, Twere vain, almost, to hope to trace The plum trees in their lovely bloom Of argcnl, t'is their sweet perfume Alone which leads me to their place." The ciistoni of planting plum trees in groves and avenues to form pleasure resorts during blossom time, seems to be of comparatively modern date ; and some of the most famous plum groves were originally orchards, planted for the sake of the fruit. It is said that in China, from whence japan borrowed many of her customs and cults, this tree was first esteemed for its fruit alone, and in later and more .-esthetic times it became honoured for its i>ure blossom and sweet scent. In the earliest Japanese annals we read of a single plum tree being regularly planted in front of the South pavilion of the Palace at Nara, and of its being replaced by a cherry tree in later limes, when the latter had in its turn become the favourite of the Court. In connection with this Imperial custom, a pretty story is told explaining the origin of the name 0-shukn-bai, or Nighlingale-divelling-plHm'tr^e, applied, even to the present day, to a favourite species of delicious odour having pink double blossom. Some time in the tenth century the Imperial plum tree withered, and. as it was necessarj' to replace it. search was made for a specimen worthy of so high an honour. Such a tree was found in the garden of the talented daughter of a famous poet, named Kino Tsuiayuki, and was demanded by the officials of the Court. Not daring to resist the Imperial command, but full of grief at parting with her favourite plum tree, the young poetess secretly attached to its trunk a strip of paper upon which she wrote the following verse : — ■■Ckiimcd for our Sovcicign's use, Blossoms I've loved so long, Can I in duty fail? But for the nightingale Seeking' her home of song, How shall 1 find excuse? "—Brinkley. •mV p ^r^' u^^ ^^ PLUM BLOSSOMS AT SUGITA. FLOWER VIEWING. This caught tlie eye of the Emperor, who. touched by the plaini pri;sse(.l, enquired from whose garden the tree was taken, and ordered it to be returned. The season of the phim blossom is made musical with the liquid note of the so-called Japanese nightingale {CcUria canlans), which for this reason is inseparably associated with the plum tree in the different decorative arts. Such dual combinations, taken from the animal and vegetable kingdom, form favourite motives for designs. Bamboo leaves with Sparrows. Pea-fowl with Peonies, Tigers with Bamboos. Storks with Pine trees, Wild boar with Autumn grasses, and Deer with Maples, may be mentioned as some of these popular In later times plum trees were planted in large numbers at rural spots near to the Imperial capitals, forming ]>leasurc resorts for the ladies of the Court. Along the banks of the river Kizu, at a place called Tsuki-ga-se, in the province of Yamato, fine trees of pink and white blossom extend upwards of two miles, diffusing their delicious scent around : they are what remains of quite a forest of plum trees said to have stretch- ed for miles around. The more modern towns have also their favourite plum orchards, visited by crowds of sigh-tseers at blossom time, in Februarj', Sugita, a village not far from Yokoliama, possesses one of tlie most famous ; having over a thousand trees, many of which are from eighty to a hundred years of age, and which supply in the Summer most of the fruit consumed in the Eastern Capital, Tokio. It is popularly known and frequented on account of its blossoms in the early Spring, and boasts six special varieties of tree, dis- tinguished by different fancy names having reference to the character of the flower ; the principal of which are those of pink and of so-called green blossom, — for the white kinti has a faint tinge of emerald. In all. there are said to bu sixty diflerent species existing in Japan, The single blossom of white or greenish-white colour and of small size is held most in esteem. All the white kinds are scented, but of the red some possess no perfume. There is an early plum of red and double blossom which blooms before the Winter solstice, and is of hand- some appearance, but it has little or no scent. The Japanese include several species of the yasmiHum in the same category as plum ti'ces. Every visitor to Japan has heard of the Qiva-rio-bai, or Recumbent-dragon- plum- trees at Kameido, a famous spot in the North of Tokio. At this place there existed, up to fifty years ago, a rare and curious plum tree of great age and contorted shape. Its branches had bent, ploughing the soil, and forming new roots in fourteen places, and it straggled over an extensive area. Owing to its writhing and suggestive shape, it received THE FLOWERS OF JAPAN, the name of the Recumbent Dragon, and. yearly clad willi fresh sliools and while blossoms of fine perfume, attracted large crowds of visitors. From this famous tree, fruit is said to have been yearly presented to the Shogiin. Succumbing at last to extreme age. it has been replaced by a number of less imposing specimens, selected on account of their more or less bent and crawling shapes. The present group of plum trees, inheriting the name though but little of the character of Recumbent Dragons, makes a fine show of blossoms in February, and keeps up the popularity of the resort. Komurai and Kir Kameido, also ha' frequented. Anolher noted spot, is Komi historically famous as Iiaving been often two hundred )'ears of age. i-grovc . which , , near Kawasaki, not far from Tokio, which sited by the Shogun, and possesses trees ovi At Stiinjuku, another suburb of Tokio, is a fine grove of plum tn called the Silver-world {Ghi-sekai), a term applied to the snow-clad landscape, and .special reference in this instance to the silver whiteness of these blossoms. The favourite trees of single blossom are eight in number — the Hitoye-ume, Sliihori. Hosoka, Nishikin, Kotenbai, Shidarc, Suzuri-shidare, and Tokiwa-shidare ; and among the most prized of double blossom are the Shidare-yaye, Suzuri-yayc. Okina-ume. Beni-suzume. Yonera, and Hana-gomori. Other trees such as the Mangetsu, Kaoru-ume, Momochidori, Tani-no-yuki. and Miyakodori are known as the best fruit-bearing kinds of plum tree. The illustration, Plate I. represents the plum grove at SugiUi, about five miles from Yokohama, which can be approached from the sea beach. PHACii blossom:^ v>,UICKLY after the plum follows the peach blossom which, though by i sharing [.X^x^t^lie traditional esteem and admiration bestowed upon the former, excels it in size, JT7*^.richness. and colouring. These blossoms are of numerous tinLs, — white, and different ^ shades of pink, and a deep crimson remarkably rich in tone. The peach blossom in mass, as it appears in groves and orchards, contributes far more to the beauty of the PLATE II. PEACH BLOSSOMS ; SOKA NO MOMOYAMA. SF.NJU. ,y^'.-'%.^r FLOWER J7EIF/A-G. 7 Spring landscape than its more honoured but severer brother the pUim blossom, though it has not, however, had the good fortune to bo patronized by ancient Emperors or extolled by distinguished poets. Lacking these essentials to floral greatness, and coming as it does between the plum, of classical fame and predilection, and the flashy cherry of patriotic boast, it has been comparatively neglected by the artist and relegated to secondary rank as a decorative moti\'e and material. The orchards of peach trees in blossom are, liowevcr, much frequented by the common people who find enjoyment at any spot where bloom and colour are to be seen. Plate n. illustrates trees in a grove called Soka-no-Momojama. at S«^nju. a suburb CIIHRRV FiLOSSOMS. :-sponding with the present April, is A.jJ^^the month of the cherry blossom, the king of flowers in Japan. This flower is ^^ remarkable for its softness and exuberance, as contrasted with tlie severe simplicity ^^ of the plum blossom. The latter blooms fresh, vigorous, and leafless, in the bare and often snow-clad landscape ; the former, with its florid richness, cnchanced in some cases by young reddish leaves, is especially fitted to assert itself amid the greenery of budding spring-time. But the splendour of the cherry's bloom is transitory in comparison with the more lasting qualities of the plum, which retains its beauty for a full month. The cherrj- flowers must be viewed during the few short days of their prime, and should these days be stormy, the full glory of the sight is lost for a year. The most enthusiastic partizans of the cherry blossom assert that it is all the more precious on account of its transient cJiaracter, "Among men, the samurai, among flowers, the sakura." is a familiar saying, which well expresses the patriotic pride with which this gay flashy flower Is regarded in Japan. The sentiment is also conveyed in the following lines by one of the national poets : — "Shikishima no Vamalo gokoro wo Hi to low aba Asalii ni nhvoii Yamazakura bana." 8 THE FLO U'ERS OF yAPAN. " Should you ask me what is the true patriotic spirit, I answer— it is the scent of the mountain cherry tree in the morning" air. " The wild cherry seems to have existed in Japan from time immemorial, and still abounds in the woods of the Northern island, Vezo, where the Aino aborigines apply its bark to many purposes. In ancient times, however, the plum tree, of Chinese importation, seems to have absorbed the attention of the Court and people, and it was at a later date that the cherry, the flower of the country, appears to have found its place in their affections. Though early records refer frequently to the plum, there is no mention of the cherry earlier than the time of Richiu, an Emperor of the fifth century. This Monarch was disporting himself with his courtiers in a pleasure boat, on a lake of the Royal park, when some petals from the wild cherry trees of the adjoining hills fluttered into the wine cup from which he was drinking. This circumstance is said to have drawn His Majesty's notice to the beauty of this neglected blossom, and from this time arose the custom of wine drinking at the time of cherry viewing. To the present clay there is a popular saying, — " Without wine who can properly enjoy the sight of the cherry blossom?" It was reserved for a later Emperor, in the eighth century, to give it that importance as a national (lower which it has ever since retained. Whilst on a hunting expedition on Mount Mikasa, in the province of Yamato, the Emperor Shoniu. attracted by the beauty of the double cherry blossoms, composed the following short verse, which be sent, with a branch of the flowers, to his favourite Consort, Komio Kogo : — " Tltis gathered cherrj' branch can scarce convey A fancy of ihe blossom-laden irce. Blooming in sunlight; could I show il Tliee, Thoughts of ils beauty would drive sleep awayl" To satisfy the curiosity of the ladies of his Court, the Emperor ordered cherry trees to be planted near the Palace at Nara. and afterwards the custom was continued at each succeeding capital. Yamato, the province in which were situated several of these ancient capitals, is the most noted for its cherry groves, and at a spot called Yoshino a thousand trees line the path and cover the hill side. It has been a favourite fancy to compare the appearance of tliese trees in blossom to mists or snow upon the hills ;is in the verse.-" The cherry blossoms on Mount Yoshino deceive me into thinking they are snow!" CHERRY BLOSSOMS AT MUKOJIMA FLOWER VIEWING. 9 Imperial garden parties to view the national Hower date back as early as the days of the Emperor Saga, in the ninth century. These ancient court receptions were attended b)' the notable literati wliose amusement was to compose odes on the flowers. In the thirteenth century, the Emperor Kameyama caused a number of trees from Yoshino to be planted at Arashiyama, a beautiful hilly spot on the banks of the rapid river Oi. in the neighbourhood of Kioto. Here he built a sumnwr pavilion, and, in spring and autumn. Court after Court visited the lovely spot, which was rendered further famous in a verse composed by one of the Imperial line : — " Not second to Yoshino, is Arashiyama, where die white spray of the torrent sprinkles the cherry blossoms." This spot no longer possesses its Imperial pavilion, but remains a favourite resort for sight-seers from the Western capital, in the months of the cherry and the reddening maple. Numerous tea houses and booths, on the banks of die rapids, give a fine view of the wooded hills opposite, amidst the Spring greenery of which may be seen the pearly white clouds of the cherry blossoms. Here the blossom-clad branches form a part of the distant landscape, as originally beheld in their natural wildness. when they first attracted the admiration of the earlier Emperors, and before their more gorgeous successors, of double-flower, became arranged in artificial groves In and near to the modern capital, Tokio. are several spots renowned for their show of cherry trees, originally brought from Yoshino. and from the banks of the Sakura river in the province of Hitachi. It is said that cherry viewing first became a popular amusement in 'Vedo towards the latter half of the seventeenth century. From that time all classes of the people, from die two-sworded samurai to the small tradesmen and menials, participated in the enjoyment. The green sward beneath the cherry ti-ecs was crowded with merry picnic parties of all classes, screened off with low coloured curtains. One favourite resort, called Asukayania, at Ojl, is often spoken of as the uao Yoshino. It is a high, grassy bluff, overlooking an extensive plain on one side, and sloping down to the road of die Oji village on the other. The eminence forms a park of cherry trees extending down the precipitous sides of the bank, so that the pedestrian sees the pinky white blossoms against the blue sky above him, and below him the pearly gray of the blossoms in the shadow of the cliff. Koganei, some half day's ride from Tokio. is perhaps the most attractive spot for seeing the double cherry in full bloom. Here a fine avenue of these flowering trees extends upwards of two and a half miles along the aqueduct which conveys the water of the river Tama to Tokio. It is said that they were first planted immediately after the completion of tlie aqutduct, by command of the ShogLin Yoshimune, in the beginning of 10 THE FLOWERS OF JAPAN. the eighteenth centurj-. with the idea that cherry trees had the virtue of keeping off im- purities from water. For this purpose ten thousand trees were brought firom Yoshino and from the banks of tlie nver Sakura ; but the number now remaining has dwindled to only a few hundred. In the old temple grove, now a public park, at Uyeno, there are a number of fine trees of the single early-blossoming kind, called by the Japanese Higan-zahira, among which are some magnificent specimens of the weeping cherry. This latter species has pen- dant branches, drooping like the willow, and bears single white flowers, but no fruit ; and in this respect it is an exception to the general rule, that the trees of single blossom bear fruit whilst those of double blossom are fruitless. The fruit of the Japanese cherry tree is. however, at its best, insipid and worthless. These trees at Uyeno are said to have been planted by one of the Tokugawa Regents in imitation of the hills at Yoshino ; they are all of majestic size, and present a gorgeous sight in April, with their pale pink blossoms seen partly against the blue sky, and partly against the rich foliage of the pines and cedars which sur- round the golden shrines and cenotaphs of the Shoguns. The single-blossom trees at Gotcn-yama, a park in llie suburb of Shinagawa, form a beautiful sight early in April. Tlie most jjopular resort in Tokio is the clierry avenue at Mukqjima, extending for more than a mile along the banks of the river Sumida. Here the trees lack the grandeur and natural beauty of those at Uj'eno, and have no surrounding foliage to set them ofl'"; but they are mostly of double blossom, and bending with their weight of flowers, — looking almost artificial in their Iu.\urious fullness, — present a most imposing sight. This spot is frequented by the gayest holiday makers. Wine drinking is considered essential to a proper enjoyment of the scene, and crowds of pedestrians, bearing their gourds of rice- wine, make such resorts merry and boisterous with their carousals. Other visitors, of a richer class, indulge in the prospect of the blossom-laden banks from roofed pleasure boats, accompanied often by a gay gathering of singing and dancing giris. The season of this flower is one of high winds, and the soft petals of the full blown blossoms fall like snow flakes covering the pathways beneath. This simple fact is not without its attraction to the Japanese, who make much of the falling cherry petal in their jioetry and other arts. "No man so callous but lie heaves .i sigh Wlien o'er his head Uie wiUier'il cherry flowers Come flutf ring down. Who knows ? the Spring's soft show'rs May be but tears shed by the sorrowing sky."— Chamoerlmn. FLOWER 17EU7NG. u The cherr).- trees in blossom, seen at night by the pale light of the moon, form also iinothcr great attraction, Yozakiira or Night Cherry Flowers being included as one of the sights uf the year. The river banks at Mukojima and even the formal avenues of the Yoshiwara at Asakusa arc crowded after sunset, in the cherry season. Cherry viewing at Mukojima un the banks of the Sumida river is illustrated in Plate III., which represents i ascending the banks from a pleasure boat. SUMMER FLOWERS. \VISTARIA BLOSSOMS. fNE o( tlie earliest flowers of the Japanese Summer which attracts tlic pleasure seelcer. is the wistaria, blooming in May, soon after the cherry blossom has fallen. This stalwart flowering creeper is reared upon large trellises, arranged to cover long walks, bridges, or arbours, in pleasure grounds and gardens. A favourite position is one sheltering an open gallery, which overhangs a lake or stream. In die precincts of the popular temple at Kameido, in Tokio. close to the famous Recumbent Dragon plum trees there are wistarias of magnificent size, bearing blossoms which hang in rich purple trails from two to three feet in length. Wide rustic galleries, in connection with matted garden sheds and galleries, extend over an artificial lake stocked with gigantic gold fish, and the wistaria trellises form an extended covering overhead. A belief exists that this flower attains great size and beauty if its roots are nourished with the rice-wine of the country, and there is, at Kameido, a tree producing specially fine blossoms, at die base of which visitors are accustomed to empty their wine cups. Fine specimens exist in various parts of Japan, bearing clusters over three feet in length, among which may be mentioned one at Noda, in the province of Settsu, called the Ckilosc, or tree of a thousand years. 1 he wistaria of jjurplc blossom is most common and at the same lime most esteemed, ranking Iiigher than the white kind, which is regarded as abnormal. This is an exception to the prevailing custom, which places white before other colours in blossoms of the same species, and especially proscribes purple flowers as associated with mourning, and, therefore, unfit for felicitous occasions. In various designs the pheasant is shown in combination with die purple wistaria. The xIlw of the wistaria in llower as enjoyed in olden times by ladies of rank is shown in Flute IV. WISTARIA BLOSSOMS IN A NOBLE'S GARDEN. f AZAUAS IN TEA HOUSE GARDEN, NEZU. FLOWER IVEHVAX AZALIAS. ^(HE azalias commence to flower about tlie same lime as the wistarias, ami display a variety of colours of most brilliant hue— numerous shades of scarlet, crimson, orange, white, and magenta— unequalled by any other blossom. The hardy azalia are abundantly planted on the sides of artificial hillocks and on the slopes of a Japanese landscape garden, usually remarkable for its wealth of evergreens and predominating verdure, never looks gayer than when these bushes are in flower. There are several public gardens at Okubo, a village near Shinjuku. in Tokio, which are planted entirely with azalia bushes of great size and remarkable age. These plantations date back to the time of the Tokugawa Regents, by whom they were frequented, and tliey are still visited every summer by numbers of sight-seers. One azalia tree at Okubo has a stem as thick as a man's leg and is said to produce eight thousand blossoms at a time. Other places where the azalias may be seen to advantage are, — Uyeno Koyen, Uyeno Okeiyen, Asakusa Koyen, Shiba Koyen, Susaki Benten-no-sha-nai, Mukojima Mokubo-ji, Azabu Shokayen, Honjo Uyebun, Meguro Daikokuya, and Horikiri Musashiya, — all parks or gardens in the vicinity of Tokio, Plate V, illustrates the azalias in the grounds of the Gongen shrine at Nedzu, a suburb of Tokio. In this enclosure is a famous suite of chambers used for the Tea Ceremonial and much patronized by the public. H^N June, the impular flower is the iris or flag, which is cultivated in large marehy -''' - - . . (vatered by a stream, a loop or ular flower is the iris 0 r flag crs jr lake.', In spread many out gartl •tH/bend in the water-course is spread out into a marshy expanse, planted Pjflats tfV/^bend "r and crossed by fancy plank bridges of zigzag shape. There are in Japan four distinct species of iris, known by different native names, but the kind most seen is the ylcon,s atlamm, or sweet flag, which the Japanese call Hana-Mu. In the case of displays of iris flowers, a mass of varied colour is delighted in : the purple, white, and variegated blossoms being grown together, indiscriminately, and wi* little or no attempt at pattern or design. The most noted place for shows of Ulis flower is Yatsuhashi, in the province of Mikawa, the THE FLOWERS OF yAPAN. , 1 r ,!,„ iri.; beds of gardens ; but the popular scenery of which locality serves as the n,ode for th ' ^^^^ "^f ^^ ^„„,, „,, , ,, resort nearest ToWo is a spot called "or*.., close to hve, S-.^a. ^^^^ J^^^ ^^^^ .„e fashion to n,a.e e«cn^o„s in pleas^^ '^:2:^i^^ .-^ -^anUs. dotted »ith ,He flo„.e. ,n every -^^;* ; _^, ,^^^ J^ ,,,^ ,,Hly variegated carpet below, summer-houses, from whicli visitors can loo „owdcd in tlie season Narrow wooden bridges ^ve .rther ^^^'^^ ^^^ ^^ „, ,„,„„, .,h with a brilliant throng of visiton;, whose prctt) cu^luu the flowers. Th( r pla, uiih ihu kinjirisiu darin duck, and other water birds. Plate VI. shows tin. skirts of the city. , ihcy may be ny places on the oiit- PEONIES AND LOTUS I-LO\VERS. tMONGST summer flowers must be noticed the peony and lotus, which, though hardly sufticicntly democratic to rank among the most popular flowere, yet play an important ^^^part in the art of tlie country. The peony is a delicate plant and is cultivated '^ in long sheltered beds, generally forming the parterre to some adjoining chamber, from which its magnificent blossoms can be viewed. In the grounds of the wealthy it is subjected to scrupulous care and nursing, in order to produce flowers of enormous size and fullnes>i. often so large and heavy as to need artificial support. It is regarded as the flower-queen of China, and Is essentially the favourite of the upper classes in Japan. The ])eony was first imported into this country in the eighth century, and was then chiefly cultivated in the provinces of Yamato and Yamashiro. Even now, the finest specimens in brought from the neighbourhood of tlie old capital, Nara. The largest blossoms IS much as nine inches across. The peony is sometimes called the Hower-of- prosperity; another fancy name by which it is know is the plant-of-twenty-days, because it is said to preserve its beauty and freshness for that period of time. Of the large tree- peony, called bolan, there are ninety distinct kinds, and of the small plant-peony, having \^i\M\ui i^\ ^^ il]l.;i'i'*^li}.S'-^....* IRIS BEDS, NKAR TOKIO, PEONIES AT YOTSUME, HONJO. Iffiid'. ^a'ti- ,1 '^ FLOWER VIEWING. ,5 singfc blossoms and called .haknyaku, Acre arc said to e.ist five hundred varieties. Tlie bclan may be .nspectcd at numerous public gardens in Tokio such as the Hanjitsuyen, Unsanyen. Gochikuyen and Sendaiyen at Komagome ; the Uyebun, Yokayen, and Teigo- yen at Honjo ; Dalkokuya, Meguro; Taikoyen, Shiba; and Senkayen and Shokayen in Azabu. The slmkuyaiu is also shown in the Uyebun, Honjo ; the Yoshinoyen at Komme- hikifune-dori and the Teigoyen at Minami futaba-cho Honjo. Among colours, the red and white are most valued, purple and yellow specimens, though rare, being less prized. This e.vuberant flower, with its large curling petals, is a favourite subject for design and decora- tion. Its companions in art are the peacock, the golden pheasant, and the simlii. a kind ot conventional lion derived from Chinese designs; in such company it forms the constant decoration of temple and palace walls, A show of peonies in the screened and sheltered beds in wllich they .are grown is represented in Plate VII, Liken from the garilen of tlie Uyehan, \'otsume, Honjo, The lotus is closely connected with the Buddhist religion, and is, therefore, associated in the minds of the people with spirit-land. The lakes of temple grounds, especially those dedicated to the water goddess Benten, are frequently planted with lotuses. The lake Shinobazii at Uyeno has a fine display. The fine wide moats of the Tokio Castle abound in these water plants, wliich impart to them considerable beauty in the summer season. Wherever undisturbed pools and channels of muddy water exist, the lotus is to be found, and even the ditches beside the railway connecting Tokio with the port of Yokohama are rendered gay in the summer by the lotus flowers in bloom. As the peony is said to be the national flower of China, so the lotus is regarded as the national flower of India, the source and centre of Buddhism, It is therefore considered out of place as a decoration for occasions of festivity and rejoicing, but it is constantly used for obsequies and other sacred ceremonie-s. The lotus serves as a suitable theme for religious contemplation, and is therefore the favourite flower of monastic and temple retreats ; the best displays are to be seen in the lakes of the old temple groves of Kioto and other cities. Growing out of the muddiest and most sUgnant water, its leaves and flowers are always fresh and clean ; although it is particularly sensitive, and quickly withers if brought in contact with any of the fertilizers by which other plants are nourished. This purity which the lotus maintains amid surrounding fifth is mentioned as one reason for associating it with a religious life. A well-known book of Buddhist precepts contains this text :— " If thou be born in the poor man's hovel, liut hast wisdom, then art thou like the lotus flower growing out of the mud!" The wliitc lotus flower has a powerful and sweet perfume, but the red kind, though more handsome, produces but little scent There is a species called GoU-llmad- rm FLOU'l-RS OF 7APAA'. I. , with yellow lines; and a very handsome flower of U,,!. its red blossoms be.ng marked / ^^^^^ ^^^^^ ^^^^^^ .^ sometimes to be seen deep crimson colour may also be found. ^^^^^^^^ ^^^^^ ^^^^^^ ^^^ ^^ ^,.g^t ^^^ f^,,^ ■•"r'r"'Td::*":«-- ""-■"-- ,„* Oosea^er midday. Tbe off after five or SIX ilajs. ^ ^^^^ ^^ ^j^^ fl„„ers. their broad curlmg surfaces .eaves of the lotus are ^"^^ ^^^^J. ,^,„,ir„, ,ffec. in the lotus ponds, and forming a of deep green and emerald p es ntmg _^^^_^^^^^_ .^ ^^^^^^ ^^^, ^^^^^ ^^^^_,_. favourite subject for the painters brush. In design . fowl are represented with the lotus. AUTUMN FLOWERS. CHRYSANTHEMUMS. HE clirysanthemum is the principal flower of Autumn, and the triumph of Japanese ffloricultural skill. Specimens of remarkable variety in form and colour of blossom "frti ^^^ P'"0'^'"^^'^ i" the gardens of the nobility. The flower of the chrysanthemum. ^**' in its most handsome form, loses its disc-like character, and presents a combination of long oval petals, partly extended, and partly curling inwards, exhibiting in contrast the different tints of face and back; whilst, in its most eccentric and artificial shape, it assumes the character of a confused mop of tangled thread-like petals, more curious than beautiful. The florists aim at producing an extraordinary quantity of blossoms upon one stem, reaching often to tlie number of several hundreds. The varieties of the Japanese kiku are numerous, including not only those species classified as chrysanthemums by European botanists, but many kinds of Pyrethrum. Aster, and other genera. It seems tliat the wild chrysanthemum, of small flower, has always been in- digenous to Japan, and held in considerable repute from every early times for medicinal purposes ; in which connection early records state that large quantities of the yellow kind were yearly sent to the Imperial Court from the Southern provinces. The large cultivated flower, however, is said to have been imported from Corea or China and first planted in Japan at Hakata in the province of Chikuzen. At this time five colours were known, described as blue, yellow, red. white, and black, the term black probably referring to a dark purple colour. Originally these plants were reproduced by means of slips and cuttings, but now the seed is employed, which is said to give greater variety of blossom. The chrysanthemum is sometimes spoken of by foreign authors as the national flower of Japan, a rank properly belonging to the cherry blossom ; and this mis-conception is probably owing to the former being used as one of the crests of tin; Imperial House Tlie flower has always been much honoured by the Court, and as early as the time of the THE FLOWERS OF 7APAN. Emperor Heizei. in the ninth century, garden parties were held In the Palace for the purpose of celebrating its blossoming time; just as. at the present day, a yearly chry- santhemum show takes place in the Imperial grounds. These ancient celebrations seem to have partaken of a truly pastoral character, the courtiers wearing the plucked blossoms in their hair, drinking Avine. and composing verses upon the beauties of the flowers. The modern clirysanthemum displays in the Palace gardens are more like our own flower-shows in the social conventionality of their arrangements ; but the numerous variety, of every imaginable colour and profusion of shape, arranged in long open rustic sheds, forms a brilliant and im|>osing scene hardly rivalled by any flower-show in the world. At a recent display in the Imperial grounds at Akasaka there were a hundred and sixty varieties of blossom exhibited, each bearing a fancy name of its own. Some of tliese names are so poetically suggesti\'e of the form or colour of the flowers that the enumeration of a few of them will not be out of place : Chi-kin-gi . Usit-gasumi Tama-sudar IlalSH-yitki. Ilana-galam. Kagari-bi . Asa-hi-m-na Hoshi'dsuki-yo Hoshi-m-hikari Kiini-tio-mcg mm Viiki-m-ashita Tsuki-m-kasa. Ogon-no-nishiki Terrestrial Globe— a large globular yt-llow flower. Silver World— a flower of pure white colour. Thin Mist— a white flower. Companions of the Moon— a white flower. Shadows of the Evening Sun— a flower of dull red colour. The Screen of Gems— a flower of orange red colour. The First Snow — a pure white blossom. The Basket of Flowers— a rich red flower. Beacon Light— a red flower. Waves in the Morning Sun— a reddish flower. Sky at Dawn— a flower of cherry-blossom colour (pate pink). Garden Fence-a flower the colour of the wistaria blos- som (lavender colour.) Dishevelled Hair (ii, in „,„,„i„jj ,,,,,p,__^ „^,^,^_. ^^ tangled petals. Starlight Nigl,t-a white flower. Stars Brightness-a pale bluish flower. Blessings of Majesty_a pale pink flower Snowy Mor„i„g-a flower of pale pearly pink eolour. Moon s Halo-a flower of orange red coloiu- Oolden lirocade-a flower of golden yellow eolour. PLATE Mil. lElSltfe CHRYSANTHEMUMS AT SOMEI, FLOWER rmiVLVC. Ogon-nc -tsnyu. . . . Gek-ka- w-mmi . HakH-r 0 . . . . Tsuyu-i o-shita-zomc \vliitc llo Golden Dew — a bright yellow flower. i-'ull Moon— a while flower. Moonlit Waves— a flower of yellowish white colour. While Dragon — ^a white flower. Dye of the Dew — a flower of pale yellow colour. There aic saiil to lie in Japan Uvo luindred and sixty-nine colour varieties of Uie chrysanthemum, of which sixty-three are yellow, eighty-seven white, thirty-two purple, thirty red. thirty-one pale pink, twelve russet, and fourteen of mixed colours. A fancy prevails that in this flower the same tint is never exactly reproduced, and that it thus suggests the endless variety of the human countenance. Blooming longer than most flowers, the chrysanthemum has come to be associated with longevity. In tlie province of Kai. a hill, called the Chrysanthemum Mount, overhangs a river of clear water, into which the petals fall, and a belief exists that long life is assured by drinking the water of this stream. A favourite motive of decoration, which may be seen in numerous conventional designs, is the chrysanthemum blossom floating in running water. A custom also survives of placmg small blossoms or petals in the cup during the wine-drinking which lakes place on the festival of the ninth day of the ninth month. The ordinary varieties of chrysanthemum ai-e to be seen in great abundance in the street fairs during die Autumn months. Dango-zaka. in Tokio, is a favourite popular resort during the chrysanthemum season, but here the flowers, mostly of the smaller kind, are used artificially, modelled into groups of figures and animals representing historical subjects, scenes from popular theatrical performances, and even the battle scenes of the China-Japan war. TIk chrysanthemum is associated with the istrates a display of chrysanthemums in a : royal bird of Japar , grounds at Some!. I'lale ^^ THE FLOWERS OF JAPAN. THE SEVEN PLANTS OF AUTUMN. I^m; laucity of important flowering trees and plants in Autumn, lias led the ^^fejapancse to make much of certain simple plants, comparatively insignificant in ^^themselves, but gathering importance and interest in combination. As has already ^ been pointed out, almost every month of the year is associated with a special blossom, and the calendar would therefore not be complete without a reference to these flowers of the late Autumn. These seven plants are : the lespedeza. the morning glory, the Eularia japonka, the Valeriana villoma, the VaUriana qfficiiialis. the Pucraria thun- bcrgiana. and the carnation. Perhaps the favourite of these is the lespedeza, or bush clover, of which there are several kinds, some having pink, some white, and others yellow flowers. Growing wild on grassy moors, it is associated with wild horses, deer, and the wild boar, together with which it is often depicted in various designs. The deer is specially associated with the Autumn time, and represented also with other Autumn flowers and with the reddening maple. The seven Autumn plants are grown together in the Hiak-hua-ycii, or Garden-of-a-hundred-flowers. at Mukojima. The temple grounds of the Hagi-dera, near Kameido, are famous for their show of lespedeza flowers. Displays of various kinds of convolvuli or morning glories, trained in pots over skeleton framework representing rusuc structures, are also to be seen at the various gardener's nurseries at Iriya. one of the suburbs of Tokio, by those enthusiastic enough to reach the spot before six o'clock on an Autumn morning. Fancy flowers, less than half an inch in size, in clusters, and shaped like a butterfly orchid, and other strange varieties, may be seen. Within the last year or two the culture of convolvuli or morning glories has become very popular, and they may be observed before many dwellings in the city on quaintly designed frames. Plate IX. illustrates the seven plants of Autumn as grown in the Hiak-kuia-ycn at Mukojima. AUTUMN FLOWERS, AT THE HIAKKA YEN. MUKOJIMA. FLOU'IiR IVEir/XG. ?/^V ^*^^^^^ ^^ *''^ ^°^^' festivals of the yc:ir as observed in Japan ckniancU some ^(^^ mention of the maple, — for the reddening leaf of the maple, like tlie foliage of many ^JS^ o^'''^'" blossomless trees, is regarded as a flower in Japan. The rich tints of the '"*' changing leaves of certain deciduous trees, hardly distinguishable from the colouring of blossoming shrubs such as the azalia, form a favourite object of attraction during the Autumn montlis. The native term momiji. which is commonly translated maple, is, strictly speaking, a general name applied to many trees which redden in the Fall. Of the maple itself, there are many varieties, distinguished botli by the form of their leaves and the tone of their changing colour. No garden is considered complete wittiout its group of such reddening trees, placed beside some artificial hill towards the West, to receive additional splendour from the setting sun. They are planted on grassy slopes and in valleys, with the object of bringing into one limited prospect the red and golden tints in which the natural scenery of the wooded hills abounds. The grand slopes above the river Oi at Arashi-yama, noted in the Spring time for their show of cherry blossoms, present a fine display of scarlet maple foliage in the Autumn. At Ko-no-dai, a famous prominence commanding a view of the whole plain of Tokio, diere are some magnificent maple trees, noted for their enormous size. A spot called Tatsuta, in the province of Yamato, is renowned for its fine specimens, which line the banks of the river, and are in full glory about the end of October. At Oji, a suburb of Toliio, the slopes of a natural glen between the hills are planted with thick masses of these trees, forming a most romantic spot, where, from the galleries of a rustic arbour, die sight of the foliage in all its burning splendour may be enjoyed. Shinagawa and Meguro, other well known spots in the vicinity of the capital, have also good groups of maples which attract many sight-seers. Picnicking and mushroom gathering are pastimes which accom- pany the viewing of the maple. In the poems and pictures of the country the maple is associated with deer. "How full of sorrow seems llic Autumn! when, In solilary rambles slowly straying, Amid llic russet (oliage of the glcn, I listen to tlie lonely slog's sad baying," 22 THE FLOU-ERS OF JAPAX. Tlie famous view of maples in tlic ylen called Taki-no-f,'ana at Oji is given in Plate X. In the distance may be seen the rustic sheds from which visitors enjoy the prosjjL-cl of tlie scarlet folia^'c. whilst in the foreground is shown a girl reading some of the verses attached to the lower branches of the trees. MAPLES AT OJI. ARRANGEMENT OE FLO\\TRS. INTRODUCTION. WFmiTH the Japanese, the arrangement of cut flowers in vessels of various kinds has ^^'MW become a decorative art of considerable refinement, compared to whicli Western •^^^ methods of floral composition have the appearance merely of haphazard combina- tions. The bouquet, wreath, and garland, all depending for their beauty upon the close massing of blossoms and greenery in soft and luxurious confusion, bear no resemblance whatever to the more austere and open compositions of the Japanese which belong entirely to a different phase of art. The fact that many of the most charming flowers of the country are those of trees, the blossom-clad twigs of which it would be difiicult to arrange in closed and rounded masses, may in some manner explain the open lineal character given to floral designs ; the same treatment Is, however, equally applied to flowering plants and grasses which would lend themselves far more easily to the European method of grouping. The reason for the peculiarity of treatment noticeable in these flower arrangements may rather be sought in the Japanese manner of observing and enjoying floral nature. Where- as the Western amateur devotes his attention mainly to the blossoms, the Japanese lover of flowers extends his admiration to every striking feature of the plant or tree producing them. The rugged nature of the plum trunk, witli its straight, stiff shoots, or the graceful sweep of the branches of the weeping cherry, are to him inseparably associated with any beauty which the blossoms themselves possess. The lines of branch and stem, the form and different surfaces of leaves, and the distribution of buds and blossoms, all receive an equal share of attention and all play their allotted parts in designs. It may be said that the art under consideration is based upon a representation, more or less conventional, of floral growth ; and. principally for this reason, the compositions are made to assume an open character in which the forms of branches, stems, leaves, and flowers are all clearly and individually expressed. 24 ARRANGEMENT OF FLOWERS. The vernacular term liam. translatable as fltmvr. has, in the art of floral arrange- ment, a much wider signification than its nearest English equivalent. Among the so-called Jlomcys of the seasons arc included certain evergreens and other flowerless shrubs and trees, some of these holding very high floral rank. The pine and bamboo, for e.xample, both occupy a very important place in what are called /on«- arrangemcnis : also the maple with its reddening leaves is used as one of the principal fimocrs of Autumn. In the choice of material, seasonableness is one of the principal points kept in view. The laxurious taste for choiceness, as implying rarity, is diametrically opposed to the rules of the art under consideration. Flowers blooming before or after their proper season are. with very fe%v e.\ceptions. rejected for Japanese floral compositions, such designs being in a manner intended to e.\press the particular period of the year. April blossoms, used in any other month, would ap|5ear to the flower-artist as incongruous and out of place as winter clothing worn in summer-time. It therefore naturally follows that a proper cultivation of tlie floral art demands a thorough acquaintance with the nature and growth of all trees and plants employed ; and, in the case of those common to several months, a close observation of the varj'ing characteristics of the same plant during different seasons. The flag or iris, for example, which is common to different months of Spring, Summer, and Autumn, has a peculiar bend and vitality in its leaves, and a diflireiit length and vigour in Its flower stems, during the v.vious periods of its growth ; and these distinctions arc all ke])t in view when this flower is cmj)]oyed in compositions. The natural localit)' of production of trees and plants ; whether lake or river bank, mountain, or moor; greatly influences the character of the design employed. To arrange a water plant ,n the same manner and with the same surroundings as a land plant would be considered a great violation of the rules of appropriateness. Not only are blossom- bearing trees and flowering plant, treated as perfecUy distinct in character, but minor divisions as to locality of production are often observed in both. Among plants a distinction ,s made between ordinary land plants, forest plants, mountain plants and water celt Is« ™°"*' '"''■ '"'' """■ ^°'"' '""• ""'' '"''""""■" '^'^^ ="■= distinguished in The necessity for a proper familiarity with the nature of all flowers used in compositions ,s one reason strongly urged against the employment of rare or Me kin plants, however beautiful they may be The „>,. „f -ii a , botanist, as well as rare foreig^ floL^ the 1 o „ t^, "^Z tr""''" 'l "' -. i. .ohibited, unless the artist has previously made ::e;;rtir:;i:d:::^ INTRODUCTION. 25 the natural characteristics of such flowers. As om: exponent of the art has quaintly expressed it, tlie artist must be tlioroughly imbued widi a sympathetic feeling for the character, habits, virtues, and weaknesses of the members of tlic floral kingdom from which he seeks his material, till he possesses almost the same love and tenderness for their qualities as for those of living beings. Preliminary to a study of Japanese Floral Art it is necessary to have some acquaintance with the principal flowers employed. These flowers are enumerated in die following pages under the heads of the different months to which they belong. In consequence of such a classification many flowers common to several months are repeated. It must be remembered that according to the old calendar the commencement of the first month. — which was at the same time the beginning of die Japanese Spring, — was about thirty days later tlian the first of January. The adoption in late years of the Gregorian calendar has therefore rendered it impossible to conform at the present day to all the loiles laid down for the selection of flowers for special occasions. Such uf the old fete-days as ai-e now observed, are pushed back one month or more in time, and the flowers originally fi.\ed as appropriate for their celebration are often unavailable, or recourse has to be made to premature or forced specimens. The following classification is according to the old calendar, existing when the whole theory of the art in question was established. FLOWERS ACCORDING TO THEIR MONTHS (OLD CALENDAR). les in Ihe following lisi of (low r planls which I distinguishing signs arc placed :■ termed Lwing Flowers, being particularly characlcrisl el's are much prized for felicitous t t Distinguishes the Early Flowirmgs.—HowsTs which are in advance of their pr^^pcr season in the r under which they arc placed. These have also their appropriate use in floral coinposi lions. J Indicates what are called P.med Flotvers. and § star namcj have reference lo flowers which are late or passed in i months. The use of such flowers is forbidden for most cerei Viilgar Flotvcrs, applied lo wild plants, or to ihose of very cc termed Dead Flowers. These , belonging properly lo earlier There exists also the term which possess no fancy name ; and the cmploymenl of flowers included under this head is not permitted except in the hands of ihe n professors of the art. The use of cereals is also to be avoided. experienced FIRST MONTH (PRESENT FEBRUARY). Chimonanthus tra grans FLOWERS .4CC0RDIXG TO THEIR MONTHS. SECOND MONTH (PRESENT MARCH). tSuivo Crraalinnii s THIRD MONTH (PRESENT APRIL). JAPANESE Name, hotanic ARRANGEMENT OF FLOWERS. Kifi- I fKodcmn FOURTfl MONTH (PRF.qENT MAY). •Hanku', Cypnpctl.ununacanthnim FLOIVERS ACCORDING TO THEIR MOiXTHS. FIFTH MONTH (PRF^F.NT JUNE). ITcacn Rliwlixleii arii J unco?, cnmmui tSanfcaku-i Sciqius lacutir; IO.no.Uk. rirrxre! iOloEi'riso Hypericum crcc FLOWERS ACCORDim TO THEIR MO.\i KIGIITU MONTH (PRliSKNT SErTKMBER). tSu.uki lOmtoyclu •Torikabulo tK,,™,, tUkon ARRAKGEMENT OF FLOWERS. NINTH MONTH (PRESENT OCTOBER). JOn.i TtNTIl MONTH (PRESENT NOVEMBER), JAIANESE NAJIE. LoiANICAI. NaJIL iTsmvabuii Scotcio Umpfc FLOIVERS ACCORD/A-G TO THFJR MONTHS. ELEVENTH MONTH (PRESENT DECEMBER), TWELFTH MONTH (PRESENT JANUARY). Considerations of good or evil luck enter largely into tlie choice of flowers, especi- ally when employed as decorations for occasions of rejoicing ; and there are certain flowering plants and trees reputed to possess poisonous properties in tlieJr roots, stems, leaves, or blossoms, which are objected to at any time, their employment being considered unlucky The following is a list of the principal of such poisonous flowers : — OMINOUS FLOWERS. toTANicAL Namb. Note. Jai-anke Name. Botanical Name. Note. ARJ^AA'GESfENT OF FLOU'ERS. lamed, all Howcrs l«^mR a poMcrfi.l odour are considered In addition to the last i unsuitable for placing before guests. A.ong the flowers peculiar to the difl-erent nronths previously classified some are considered specfally appropriate for displaying upon f.te days .h.ist others, though allowed at ordinary times, are interdicted for such important occasions. As most of tl,ese flowers are to be found enumerated in the complete tables already given, the following classification is abbreviated, merely grvmg the Japanese names and the corresponding name in English, botanical names being prmted only where no popular equivalent e.v!sts. It may be observed that this hst includes in all twenty- four .species of plants and trees, or, i( different species of the same gam-a be classed together, the number of specially honoured flowers becomes reduced to fifteen :— FLOWERS SUITABLE FOR FELICITOUS OCCASIONS. FIRST MONTH (PRESENT ri-BRMRV). SKCOND MONTH (PRESDXT M.VRCH). THIRD «IONTH (PRESENI- Al'UH.). FOURTH MONTH (PRESENT M.W). FIFTH MONTH (PRESENT JUNIC). ^^OlFEJ^S ^CCUJ^n/^VG TO THEIR MOA'TNS. SIXTH MONTH (PRESENT JULY). SEVENTH MONTH (PRESENT AUGUST), EIGHTH MONTH (PRESENT SEPTEMBER). NIN'J'II MONTH (PRESENT UCIOBEK) TENTH MONTH (PRI^SENT NOVEMBER). ELEVENTH MONTH (PRESENT DECEMBER). TWELVTH MONTH (TRESENT J.\NU.\RV), TJie following list of (lowers, the use of which is prohibited for special i nf ceremony or congratulation, is arranged without regard to the montlis to which they belong. The employment of such flowers is deprecated at any season, without reference to any particular month, unless no other flowers can possibly be obtained. The reasons for their rejection are not always very clearly defined ; sometimes the objection is to the form, sometimes to the colour, occasionally to some supposed poisonous property, and often than traditional supers'^' what seems little more ,..f„rc. to f.nd these objections d,sregardecl 1 or caprice. It is not surprising, by certain masters : — ;rs prohibited for felicitous occasions. Ranking highest in the above list of felicitous flowers, the following considered as par excelUncs tliose for ceremonies and congratulatory ( Tlie Kiku, or Chrys.int]icmuin, lo which is given the fancy name Chojii-s ; Uug-laslin^ Plant, on account of its growing through all the four : The Suisen. or Narcissus, calletl by the fancy name of Inyo-so, or Plant of llie Twi S^XfS, a name given to this linwer because of the following year. in the Winter and lasts till the Spr FLOWERS ACCORDING TO THEIR MONTHS. „ The J/„„,>V, or Maple, rancifuUy called M,^,.s, or n,s.n-J,sf,m.,g Plan,. because there ,s a popular superstition that it absorbs all poisou and infection from the air. The Sakura. or Cherry, regarded in Japan as the kinj; of flowers. The Bolan. or Tree Peony, fancifully named FM-s.ua, meaning PUnt of Wealth and High Rank. The peony is said to be the queen of flowers in China, The Omolo. or Rhodea japonica, much honoured because, unafii-ctcd by heat or cold, its leal remains strong and green throughout the year. The Fuji, or Wisteria, fancifully called Niki-io. meaning Plant of tlic Two Seasons. appearing between the third and fourth months, it belongs both to Spring and imer. Though much honoured and used for felicitous occasions, the wisteria must be employed at weddings on account of its purple hue, this being associated with In addition to the above seven flowers, the Kakitsitbata (Iris lievigata) also takes high rank, but on account of its purple colour, like the wistaria, it is prohibited for wedding beca I-Iitherto attention li,as been directed to the principal flowering plants and trees of the country, and to the degree of esteem in which they are individually regarded, especi- ally with reference to particular months. Many floral compositions consist of combinations of two or more different kinds of growth. The manner in which different species are combined is best explained when the whole theory of the Japanese methods of arrange- ment is discussed in a later chapter. But, apart from the manner of grouping them, there are certain prejudices in favour of and against different combinations of material which require mention in the present conte-xt. The following is a list of a few of the suitable and unsuitable combinations of flowers ; — ArPROPRIATF. COHIiIN;\TIONS, MiRANGEMESr OF FLOWERS. OBJECTIOSABLF, COMBINATIONS. I, A,«!:.o (Momtat glory) » (ICJtl,) , (Po.locin» ni« All of the above combinations, both good and bad. are of trees or plants which are in bloom during tlie same montli. They are, therefore, combinations which are practicable \vithout violating the rules as to seasonableness. Those which are classified as objection- able are so considered, therefore, for reasons odier than that of seasonableness. Sometimes the objection is based upon too close a resemblance in form or colour ; in other cases, simihrity of species, or of locality of production, leading to redundancy of expression in the composition, is the deterring cause. The peach and the cherry, for example, being both flowering trees and somewhat similar in character, are not considered suitable in combi- nation. HISTORY AND THEORY. ^IM^^^^'^^ P''^'^''^''""^ ^"'^^^' ""'^^ *''" eM>lanation of tliu Floral Art, it may be- of i^Jsomc interest to enquire into the origin of a cult so curiously unlike, in its methods. a^M,any other hitherto followed in Europe. Japanese historians claim for it an Indian and religious origin. The doctrines of Buddha, deprecating as they did the wanton sacrifice of animal life, are said to have suggested the gathering of flowers liable to rapid destruction in a tropical climate, and prolonging their vitality by careful preservation. The survival of such a theory would seem to show that some form of the art was first introduced into this country with the adoption of the Buddhist faith, both as a part of its ritual— flowers being placed before the Buddhist spirits, — and also to provide a pious pastime for the priests. The religion of Sakya Muni, as is well known, reached Japan tlirnLi-Ji China in the sixth centiiry, and certain Chinese priests are mentioned as the lusi t< iJi- is ..f the art of arranging flowers in Japan. It also appears that the eariiest nali\'- pr.ntiiiMnri-i in this country were famous priests, amongst whom Shotoku Taishi. son of the Emperor \'omei. and Mi-iUci Shnnin. are particularly mentioned. These primitive flower compositions were, however, of a more accidental, and. at the same time, of a more extravagant character than those of the art as it became after- wards modified and developed. They partook more of the nature of a Western bunch or noiegay, being crowded in arrangement and miscellaneous in substance ; they also lacked the severe conventionality of later methods. The style of composition adopted still survives under the name of Rikhca, meaning Erect Flower Arrangement, and is used for flowers placed as religious ornaments or offerings before shrines and tombs and as a votive decoration at marriage ceremonies. An approach to symmetry was a governing feature in the most elaborate of such compositions. Branches of blossoming trees or foliage were employed, to form a vertical central mass ; and other flowers or bundles of foliage were disposed on either side in balancing groups. The idea of imparting graceful and har- .'es to the different lines of the composition was as yet only partially devc- H/STORY AND THEORY. 40 . „,„„ refined flower arrangemenls, this early style was loped Unlike the later and ^^^^^,^^^ ^^ ^^^^^_ ^^ ^^^^,^_^ ^^ ^^^^ remarkable for the mtxture "'^.'^"'^ ,.„ „„e design. The chief lines of a snecics of plants and trees be.ng employed '" '■ r ^.„ , species 01 p number were formed of branches of dilTerent growth, composition, generally seve .^^^^ ^^^ ^^^^^^^ ^^^^^^^^^^ ^.^^^^ ^^^ ^^^^ .^ some of which were in luu leai u , . > .■ r 1 I „r ntlier niants were used at the base or connection of these character. Large leaves of other piants various branches to hide their bareness, and careful attention was given to the bends f these leaves so as to reveal their front and back surfaces in a well balanced contrast. The shape and disposal of the hollows or openings in a floral design received as much attention as the principal lines. Terms such as,— " valley," "grotto," and ■■perspecuve distance," were applied to these openings, the fancy that a natural landscape was represented being always kept up. Even in this comparatively ancient development of the art, the proportion which the floral composition held to the vessel which contained it was fixed by rule, a practice which was followed in all later arrangements, A special branch of the Rikhaa style, which approached to a kind of miniature gardening, was applied to the ornamental use of thick stubs and branches of trees and water plants arranged in broad shallow vessels with an admixture of small rocks and stones. The intention of pourtraying and suggesting landscape, which to the Japanese is present in every class of floral composition, is, in this particular style, patent to every observer. This kind of arrangement, in a somewhat degenerate form, may be frequently seen at the present day in floral decorations for large public rooms, old lichen-covered branches of pine, plum, or maple trees being the favourite material. The RM'.M style possessed numerous rules and an elaborate nomenclature applied to the diflirent members of a composition. Plates XI. to XXI. inclusive iUustrate the Rikkva style of flower arrangement. The later and more popular styles, which it is the principal object of this work to expound, adopted, to some extent, similar terms and theories in a simplified form. The more modem development of the Flor.il Art was simultaneous with a great fancy for ornamental vases of various kinds, which sprang up under the patronage of the famous Regent Yoshimasa, at Higashi-yama, The impetus given ,0 the manufacture of choice vessels by this Prince, chiefly owing to his inauguration of the Tea Ceremonies and other polite accomplishments, was accompanied by an austere refinement in the methods of arranging fl„ „ ,„, ^^.„,^ ^^.^ ,^^ ^^^^^ of adaptation ,0 the Tea Ceremonial that the first modifications in the Flower Art took place, and the chief reformers were the DIAGRAH OF KlKKtVA LINK PLATE XII. STRAIGHT R!h-ICWA ARRANGEMENT, SHIN STYLE. STRAIGHT ItlKKWA ARRANGEMENT. GIO STYI.K. I'f-ATE XIV. STRAIGHT EIKKWA ARRANGEMENT, SO STYLE. BENT RIlCKiV.l ARRANGIiJIENr. SUiy STVLi;. PI-ATH XVI. HKKWA ARRANGEMENT, G/0 STVI.K BENT RIKKWA ARRANGEMENT, SO STYLE. PLATE XX. FIKKn-A COMBINED ^TUMP ARRANGEMENT FUK SHELVES, PI-ATi; XXI. "^^ ^ AVA'A'IF'.I DIAGRAM OF KURO HISTORY AND THEORY. 4, a,nj,„. or Professors of Tea. Sen no Rikiu, Senke, Sekishiu, and Enshin. who were fonr of the principal flower designers of the Ashikaga and subsequent periods, were at the same time famous professors of the Tea Ceremonial. But the affected simplicity which ruled the Tea Room did not give full scope for the exercise of great elaboration in flower composi- tions, and other less austere forms of arrangement were developed, suited to the larger chambers of the nobility, but based upon the principles which had thus been inaugurated. A distinctive character and special proportion are given to flower compositions, as thus finally classified, according to the particular class ol clamber which they adorn or the rank of the person in whose residence they are used. The arranging of flowers has always been regarded in Japan as an occupation befitting learned men and lilcrali. and though the ladies of the aristocracy have practised it, together with other polite arts, it is by no means considered as an effeminate accomplishment. Among its most enthusiastic followers appear the names of noted priests, philosophers, and even famous statesmen who have retired from public life. Mixed up with the theory of the art, and imparting to it at first sight an air of quaintness and mystery, is a considerable amount of Chinese philosophy, together with many traditional superstitions. Ideas of good and evil luck control both the selection of material and the manner of arranging flowers for special occasions. Various virtues are attributed to the professors of the art. who are considered as belonging to a sort of aristocracy of talent, enjoying privileges of rank and precedence in society to which they are not by birth entitled. A religious spirit, self denial, gentleness, and forgetfulness of cares, are some of the excellencies said to follow the habitual practice of the art of arrangement of flowers. Philosophical classifications are resorted to for the purpose of distinguishing tlic diflerent parts of floral designs. Thus Earth. Heaven, and Mankind are names employed in some styles to indicate the parts of a tri-lineal flower arrangement; Earth. Fire. Water, Metal, and Wood being used in the same way to designate the members of a five-lined design. Other Schools apply, in a similar manner, the names of abstract ideas, such as the five orders of Japanese versification, or the virtues of the human heart. The different methods of nomenclature are numerous, and would appear to have been adopted by the rival Schools principally with the object of imparting an appearance of originality and mystery to their own particular versions of what is practically one and the s.ame art. Again, the male and female principles so often referred to in Confucian philosophy are constantly applied to distinguish contrasting forms, surfaces, or colours in composition. It has ever been a favourite fancy of the Japanese to apply distinctions of sex to inanimate ^, ARRAKGEMENT OF ELOJfERS. „a>ure. In natural scener,'. and landscapcKardening, k is cus.on,ary to discriminate between «,alc and fi,„.,le cascades, maU and f.,„ak plants and trees, and m„le and foW,- rocks and stones. The distinction is not so mnch one of individual and separate quality as of forms placed in combination or contrast, and regarded as male or fcmaie in respect of one another. Thus the main torrent of a waterfall is considered masculmc, and the lower fall in proximity feminine. In like manner, rocks used in gardening have no distinguishing sex, unless they are used in pairs or groups. In the case of two stones of different character placed side by side, the one of bolder and more vigorous shape will be called the male, and the other the female stone. Curious as such fancies may seem, they are of considerable v,t1uc when applied in the arts of design, their observance helping to produce that harmony of well balanced contrasts which should pervade all artistic composi- tions. Nor are such ideas, indeed, quite foreign to certain branches of Western art. In architecture, for example, it is common to attribute mate and female characteristics to the different oruers of classic architecture. In llic Flor.ll Art ihc iilea of sex is applied to contrasting forms, long and sliort, large and small, angular and round, as well as to different kinds of growth, and to various colours in combinations. When a fioAvering tree is used in combination with a plant, the tree is considered as male, and the plant 7\s female. With blossoms, buds are regarded as female, full flowers as male, and over-blown (lowers again are classed as female; the time of full vigour receives the male, and the periods of weakness the female character. A similar fancy is applied to the different surfaces of leaves and to the different colours of Hewers. Among colours, red, purple, pink, and variegated hues are male; and blue, yellow, and white ae female. The front siu-face of a leaf is male, and its under surface is female. With Howers, the different forms of bud and full blossom, and in the case of leaves, the two surfaces, lend themselves easily to such distinctions ; but berries seem to have defeated attempts at sexual classification, until Enshiu, one of the masters of the Flower Art, after observing the bulbul bird pecking at the fruit of a tree, devised the method of marking certain of the berries in a floral composition as if pecked by birds, and thus ereattng a dual character.-that of square and round. The male and female principles are also apphed to the different directions of the stems of a composition, the right hand side and front of the design being regarded as ,„„/,, and the left hand and further side as female. •-- -n the left side of a composition turned to the front and back to the right is said character. male character, while to one on the right bent back to the left is attribu'ted /„„„& HISTORY AND THEORY. 43 Beside sex. the different colours in flowers or leaves are said to liave an order v,{ rank. Tiiis idea of rank is applied principally to different colours of the same flowers. With most plants the wliite flower takes highest rank, but there are exceptions to tliis rule. The yellow chrj-santhemuni takes precedence of those of any other colour. With peach blossoms, the pale pink colour ranks first, though there exists a rich red specimen of great beauty and i-arity. In the case of other flowers the colours taking the highest rank are with irises, purple ; with camellias, red ; with wistarias, lavender ; with peonies, red ; with valerians, yellow ; with convolvuli, dark blue ; with kerrias, yellow ; with kikios. light purple ; and with lespedeats, pink. As before mentioned, a number o[ different Schools of Flowtr Arrangement sprang up after the impetus given to culture by the great art-patron. Yoshimasa. The principal styles of composition practised by these different Schools are known as the Ko-Riu, Ikcuobo- Rill Emhiu-Riu. Shinsho-Riu, Sekishin-Riu, Misho-Riu. Sc-iike-Riii, Yabumuchi-Riit, Kotio- Rill, and Scizan-Riii. The masters of any of these Flower Schools would resent as ignorant the idea of confounding their theories with those of a rival style. Each School lias its own special terms, philosophical mysteries, and secret degrees, but to enter closely into these peculiarities would be almost like discussing some of the more trivial differences between sects in the same religion. Tlie main principles of the art are the same throughout, and the floral designs produced, regarded as works of art, are as similar as any desings can possibly be. The compositions of the Rikkiva and Ikenobo styles are tlie only ones which present a distinct character easily recognisable from those of other styles. In the present work the Enshiii style has been chiefly followed, this being the most elaborate and one of the most popular of the more modern styles, but numerous Illustrations have been taken from compositions of other Schools. The Enshiu style was originated by a retiiiner of the Shogun lycyasu. called Kobori Totomi no Kami. He was a distinguished professor of the Tea Ceremonial, and became teacher of this accomplishment to the Shogun's heir, lyemitsu. Compared wiUi some of the other styles, that of Enshiu is characterized by a greater degree of artificiality or artistic affectation, and this makes it specially adapted for the purposes of analysis for and a thorough explanation of the principles of the art. LINEAL DISTRIBUTION. X^^N analysis of Japanese flower arrangements shows that the lines or directions taken ^^by the different stems or branches foi-m the basis of all compositions. While i^^f European floral decorations' are merely combinations of masses of colour, in which blossoms and leaves alone play a part, those of Japan are syntlittic designs in line, in which every individual stem, flower, and leaf stands out distinctly silhoiicltud. The treatment employed may be likened somewhat to the methods of distributing' carved foliage in architectural panels as followed during the middle ages in Europe. The surface of the water in whicli the flowers are placed is technically consitlered to be the soil from which tlie floral growth springs ; and the designer must here convey tlte impression of stability and strength. However good the upper lines of the composition may be. a weak springing at the base deprives tliem of life and vigour ; for it must be re- membered that not flowers alone are displayed, but floral growth and vitality are to be expressed in tlie designs. The direction of the stems at starting need not be strictly vertical, but, if curved, the curves employed should be strong ones, and all weak bends and angles should be avoided. As a composition consists of several main lines, it follows that there will be several lines of spruighig, or origin, In some cases, the springing lines are all united from below the surface of the water to a point some distance above, after which they separate in tangental curves in different directions ; in other cases, each stem-line is kept distinct throughout, being separated from the others immediately from the point of 111 the distribution of the principal lines of the composition from the point of their separation, the artist studiously avoids an equal-sided or symmetrical arrangement, but he obtains a balance of a more subtle kind, which is at the same time productive of a pleasing variety of form. Balance and harmony without repetition is a governing principle in this as in other Japanese arts. The lines of each stem, or, in cases whert slender stems arc combined, the central lines of each group of stems, receive first ati ^6 ARRANGEMENT OF FLOWERS. The triple arrangement.-by «vl,ich is meant tliat governed by tl.ree prevailing lines.-raay be taken as tlie original model for all arrangements (see Plate XXII A.). The three lines of such compositions may with sufficient fidelity to the more quaint native nomenclature, be called. Principal. Scmidayy. and Tertiary. The Primipal. as its name implies, is the central and longest line of tlie design, and this is made to form a double curve with the upper and lower extremities nearly vertical and in a continuous line, the general shape thus assumed being tliat of an archer's bow. The Secondary should be about half, and the Tertiary about one quarter, of the length of the Principal, supposing all to be straightened out : and these two lines are arranged on different sides of the Principal in graceful tlouble curves of varied character. As a general rule, the Sccoftdary has a more vertical, and the Tertiary a more lateral tendency ; the former being on the outside of the arched bow formed by the Principal, and the latter making a counterpoise on its hollow side. According as the hollow of the Principal faces right or left, the arrangement is called a right or left composition. By changing the direction and giving a different character to the curves of these three lines a great number of designs are produced. Some of these arc shown in Plate XXII u.. the more violent curves being favoured by the Ettshiji School. To produce a live-lined arrangement, two addition.il lines are introduced between the three previously named. The one placM between the Principal and the Secondary is called the Support, and that between the Principal and Tertiary is called the Snb-principal. Tlie Support, in its length and value, approaches more to the Secondary than to the Pr,ncifal: while the Sni-principal, as its name would imply, in si^e and importance approaches more the Principal than the Tertiary. In this way, it may be observed a proper lineal balance and harmony is obtained. For supposing figures are used to indicate relative s,^e and mtportance, and supposing the three elementary lines to be valued 4 . and .. according .0 their respective lengths and degrees of importance, then, to preser've a proper balance w,th the addition of two extra lines, that introduced between'4 an^ 0 imte r:: T'-" '''"' " ' "™ *" "''''-" ^ ■•'-' - -^^^ =>^™'=' approximate more the dmiensions and character of , Tl, j i- • , ,. .-ing different intermediary lengths, have ^^L cuv^ gi .I le'":!, ' '^''^ so as h,«. t., cu .1.- :_._ .... ' vu.vtb given to them, and are arranged even-li the ot Ae Si^.li,u- being placed^et;'"™" ■■-""'^"""' °™"" ''°^= °" ''*^^ ^'''"^ °f ">' h.,, ,„ CI, ., . , -i-..^.». vu.vtb given to them, and arc ..,ri::r:r::::it;'xr'.i;ri,"-™r The different members of the above ll„»,l , above hneal arrangements have curious fancy LINEAL DISTRIBUTION. bestowed on them by the different Schools. For the triple style such classifications as that of Father, Mofhcr, and Self, or that of Heaven, Earth, and Mankind, are used ; and for the five-lined style the terms Centre, North, South. East, West; or Earth. Fire. IVa'er, Metal. Wood: and sometimes Vcllow. Red. Black, White, and Blue are employed. The Eitshin School apply the following curious ideas to the different lines in an arrangement, namely -.— The Heart. Help, The Guest, Skill. The Finishing touch ; referring to the diflfercnt sentiments which should inspire the designer in his treatment of the different lines. This School maintains that there are three secrets of arranging flowers. First, the art of giving expression and feeling to compositions; Second, the art of showing the character of the materials, whether plants or trees ; Third, the art of keeping in mind the season , of the arrangement by avoiding incongruous combinations. The general form of the above groups of three, fivi mainly upon the amount of curvature given to the Principal the simpler and less affected styles, the bow-like curvature of the strong, but in the more exaggerated compositions this governing li ways from a point a few inches above the springing, and turned in a quick curve back again so as to bring the upper extremity vertically above the base, and to preserve the centre of gravity of the whole. The general form thus imparted is, as mentioned above, somewhat like that of a strung bow. From such a shape the transition is not great to that produced in the arc of a bow by drawing its string, a more violent lateral cur\'ature with less vertical height being pro- duced. This latter character Is given to the Principal chiefly when used in positions where too much height would meet with actual or optical obstructions and be detrimental to a good effect. Such treatment is often followed in floral ai- rangements placed below a shelf or in front of a hanging picture which must not be hidden. This modification in the character of the Principal necessitates corres- ponding changes in the direction and curvature of the other lines of the composition. Up to the present, slight NGEMENT OF FLOWERS. be the bow-like < general direction.— that imparted to tlie P>-huipaL die direction of a line joining .ts base enclosed in a right-angled i-lineal composition it has been always presumed that its id top, — is veitical. iangle, such triangle with the Principal. ik^^^^ Thus, supposing a m-„.,... ^-••."^ |„,po,enuse, corresponding would be standing on ils point, with the n,p placed vertically (sec Fig. t). There is. however, another style of design applied to a large class of flower arrangements in which the Principal line of the composition has a hori- zontal or almost horizontal direction ; and, supposing a tri-lineal group of this stjie enclosed in a right-angled triangle, the hypotenuse of the tri- angle would lie horizontally (see Tig. 2). This latter stj>le is chiefly ap- |)Hed to flowers arranged in hanging vessels, or in standing vases when ^"^ =■ placed on raised shelves, the intention of such compositions being to suggest floral growths on the edges of clHTs or banks which lean over laterally. In such elevated arrangements it often happens that one of the auxiliary lines on the side towards which the Principal bends over receives a decided droop and proportionate lengthening in order to emphasize the droop. Such drooping lines are technically called Streamers, The Streamer character may be imparted to either of the au.\iliary lines, but redundancy must be avoided, and it is regarded as a fatal error to introduce Streamers on both sides of the Principal. The dreamer is very much used for floral arrangements in suspended vessels, in tall bamboo vases having mouths in their sides or in receptacles placed upon the edges of raised shelves. Tlie prevailing idea in each of these cases is that the composition must suggest the wild growth on the edge of a bank or precipice over which the Streamer droops (sec Plate XXIII. a). The above description has been Single line and double line compositions, a sometimes made, but their use is very ran ally for the simplest of all flow :onfined to three, Ave, and seven-linei well as those of nine, eleven, or more y rare. The double-line form is employed ngements. namely, that of one flower and o The di/ferent lines of a composition have hitherto been spoken of as if existing in •crtieal plane parallel to the spectator, but actually, in addition to the directions LINEAL DISTRIBUTION 49 mentioned to the riKh,. left. „p„ari., and downwards, these li„e. have also directions of varying degrees forwards or backwards. In other words, tlteir extreme points would require a sohd and not a plane hgurc for their enclosure. These directions are best explained by supposing a bundle of stems placed in a vase of octagonal plan, and designating the eight different facets of the vessel respectively as north, north-east, east, south-east soud,, south-west, west, north-west: then, imagining the south face of the vessel ,mmod,ately ui front of the spectator, and bearing in mind that all d,e stems coincide for some litde distance from their origin, the cardinal directions which they take after separation would be as follows (see Plate XXIII d.) :-Tlie Pyindpal bends north-east, the Stcondary south-east, the Tertiary south-west, the Snb-primipaL which is between the Primipal and the Tertiary, turns east, and the Support, which lies between the Principal and Secondary. terminates centrally over the vase. Of the two extra lines used fn seven-lined arrange- ments, the Trunk-line bends north-east, and the Side-line bends west. In this manner a pleasing variety back and front, as well as laterally, is given to the compositions, and they are not tlie flat arrangements which might at first sight be supposed from explanatory drawings. Though designed principally with the object of being seen from a point of view immediately in front, they obtain by the above treatment solidity and variety, and their effect when regarded from points to the right or the left are also taken into consideration. CerUiin errors in arranging the lines of floral designs are pointed out to be strictly avoided. The first is that of Cross-cnltiug. which is produced by allowing two or more lines visually to intersect one another, so as to form angles. A similar fault, called Vici'-cutting. exists when a stem or twig cuts across its parent stem or branch ; but this is allowed for certain trees, as for example the Plum, with which such inter-crossing is a characteristic feature of the growth. Another error, called Parallelism, occurs when two or more adjacent stems or branches are exactly parallel to one another, a fault much aggravated when the lines are, in addition, of equal or nearly equal length. Wiudow-cutling, so named after the curved or cusped windows of the temples of the country, is the name given to an error occasioned by allowing stems to cross and re-cross in curves so as to form loop-like openings. Lattice-culling is an exaggerated form of Cross-cntting. and this defect stems cross in parallel directions so as to suggest the appearance of lattice work. 50 ARRANGEMENT OF FLOWERS. Another fatal error is that of employing the Double slreamcr. or drooped branch, on both sides of the same composition. Tlie above rules of prohibition, it will be observ- ed, are for the most part similar to those followed in floral and other ornamental designs in the best styles of the architectural arts, being intended to prevent harsh, conflicting, or redundant effects and to be productive of general harmony of line. They are illustrated in Plate XXIV. The various directions of line imparted to the stems of plants and branches of trees on the above principles are obtained, first, by a carcfti! selection of suitable material • then, by twisting, bending, building together, and fi.xing at the base ; and. lastly, by means of cutting and clipping away defective and superfluous parts. Some special methods ol manipulation will be afterwards considered. SELECTION OF MATERIAL. SJ^^'^ ^'^"^ general lines of composition already indicated, flower arrangements are ^^J made, sometimes with one species of tree or plant alone, and sometimes with a '*^J' combination of two or more species. The use of many different kinds of flowers in ^ one composition, though followed in the earlier styles, is opposed to the principles of the purer styles afterwards developed. Combinations of two or three difi'erent species are, however, very common, and especially applied to arrangements in vessels having two or three openings. In all com- positions, single or combined, the special nature of the different materials employed is carefully kept in mind, anything at all suggestive of the inappropriate being most scrupulously avoided. Important distinctions are made between trees and plants, and between land and water plants. The locality of production, whether mountain, moor, or river, considerably influences the arrangement adopted. Each flower has its proper month or season, and many flowers which are common to more than one season have special characteristics of growth, or of form, during the different seasons. These points of distinc- tion are carefully studied, and are expressed in the artificial arrangements, within the limits of the art. Second flowerings, or flowers blooming out of their proper season, are discarded in flower compositions. As an example of this may be mentioned a late kind of peach blossom, appearing in the Summer, which, beautiful as it is, may not be employed, because the peach blossom is specially a flower of the Spring time. In arranging two or more species in one composition, variety must be sought by combining branches of trees with plants. In the case of three lines being used, 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. This fault is called by a term which will be better understood if freely translated as sandwiching. In a ARRANGEMENT OF FL O WERS. triple arrangement it is plain that two brandies of tlic same kind of growth must be used, but these must adjoin, and not saitdwich the remaning one. As an example of a defective arrangement may be taken a composition witli irises {f/aiils) in tlie centre, and branches of azalea and camellia {Irecs) on either side. A correct composition would be one with a plum branch [Iren] in the centre, a pine branch [tree) on one side, and a bamboo stem [plan/) on the other. For e-xamples of the above correct and incorrect arrangements see Plate XXV. Some Schools allow occasionally the violation of this rule, and permit the sii/'/ror/hig of a tree on either side by a plant, provided that the tree is a mountain tree and that one of the plants is a land and the other a valley or water plant. The above rules were no doubt made principally to prevent the weak and insipid arrangements likely to be produced by the careless violation of the principles which they express, especially in the hands of the inexperienced. Plants, as before mentioned, are regarded ss. female with respect to trees, which are considered male, because the former are weaker and more graceful in character than the latter. A slender plant flanked on either side by tree branches would give a weakness of effect to the centre of the composition, and the reverse arrangement would give too much strength to the centre and weakness to the sides. In addition to this, such arrangements would have a more or less symmetrical character, and symmetry is disliked throughout the whole of the art under consideration L,ke most arbitrary rules, such directions were often departed from by the more advanced professors, and there are even recognized exceptions which are universally admitted as correct For example, two kinds of pine branches may be used together with a plum -ed together, and the Oloua ar.enlea is often employed with the Serissa^ida. ous .J:"::^^ 't ^-^-^^^ -■' -^"^^ -^-^'^-n^. -d eve„ of decidu- single blossom. t r^ „ W 7'"'''°'" '"^ "™^="'^"' °^'^" ^^^^ -■"-' ^ is .0 be employed witl, ^ves l! nolsT 1 ' "'" '"" "° ""^-^^"""^ "'-' 'ime be used with flowers alone The fl °' "'" "'"''' ^"' '""''== '" '''°^=°'" i-ved Chinese orchid has 1 ower bu 1^:™' "=.^r"°" '" ""' ^"'^ ^"^"^ '^^^ P>ant is therefore technically treated 'as I ZlZ T" T ^f ^""'^ '^""'' '"' ""^ arranged for its leaves only before ,h. a J«ponica is sometimes The leave, of the Summ r n ^ ' """" ''^'''- ^' '' *- --ves a special name. //»< are faded and witheLXrir a""' "' f^ ''"'' "^'^ °' '''"'" ^'"- and discarded. "°""'^ ='PP'=^'-' ''"'^ they may therefore be removed SELECTION OF MATERIAL. 53 All flower compositions must partake as much as possible of the spirit of the seasons in which they are used. Spring arrangements should be strong and powerful in line, like the growth of early vegetation; Summer arrangements must be full and spreading •. whilst those of Autumn should be spare and lean : and those of Winter, withered and Mention has been made above of certain fatal errors in combining the stem-lines of a flower composition, which are to be carefully avoided. There are other faults in arrangements which concern the distribution of leaves and flowers. Large blossoms should not be allowed to occur in regular steps or rows in a composition, and this error is called the supped arraiigcmmt. Another fauk called the Nail/umI s/y/e. after the stiff metal flower ornaments used to cover nails in Japanese buildings, consists in a flower turned exactly full view to the spectator with leaves on either side. The term Cohiir-atltittg is given to the error of placing blossoms of the same colour on either side of a single blossom of another colour ; as, for example, a white chrysanthemum between two red ones. This is only another e.xample of the prejudice prevailing against sandwiching of any kind. The term Dcia-dropping leaf is given in a composition to a leaf which droops down in a feeble manner so that it could not support a drop of water : this is greatly objected to. The above errors are illustrated in Plate XXIV. Three distinct s ag of 1 j ai observed both in flowers and leaves. In flowers, there are the full bios oms 1 e half op n blossoms, and the buds ; and in leaves, the young green leaf, th f II I af d 1 e ed lening or falling leaf. In flower arrange- ments with one material a fo anpl 1 cherry or peach blossoms alone, a difierent character of blossom is sele d fo 1 h f 1 n s of the composition. For the Primipal, full blown flowers will be used ■, for the Scamdai-y, half open flowers ; and for the Tertiary, buds are employed. Some designers, on the principle that the half open flower is more powerful than the full blown blossom, use the half open flowers for the Principal, and the full blown blossoms for the Secondary. Straight leaves are considered strong, and curled or bent leaves weak ; the strong flowers should be near the weak leaves, and the strong leaves should adjoin the buds or over-blown flowers. A flower below a leaf is weaker than one above. In thinning out leaves in a composition, two strong leaves must remain for every FLOWER VESSELS. STANDING VASES. m^AVING classified the differenl rl^Tjapancse floral designer, it is ^!^ vessels which are employed for i plants and trees which supply material for tlie leccssary to describe the various sorts of flower -,. . ^ eiving the compositions. The form and character ">" of such vessels considerably influence the nature of the floral arrangements placed in them. These receptacles are of a diversity of shapes and of different materials, such as wood, porcelain, pottery, bronze, brass, iron, and basket-work. Without attempting to trace the development of the different art-industries as appllc;d to vessels for receiving flowers, it will be necessary to refer u< the various shapes, proportions, material, and decoration of such vessels, so far as they control or are governed by the floral ar- rangement adopted. The most ancient receptacle used was a long-necked earthenware or bronze vase of considerable height, and the flower composition placed therein was made proportion- ately tall. The difficulty of balancing such high arrangements led to the use of shorter and broader vessels and to a cor- responding lowering of the compositions. This fact sliows that from the earliest times a recognized connection of proportion existed between tlic floral f^rnup and the vessel in which It was which the flowers j It is important to note that the surface of the wa placed is technically regarded as the soil from which the growth springs, and the designer must here convey the impression of a stable origin. With this principle in view, and guided also by the necessity previously mentioned of avoiding too great a height mi flower 56 compositions, a sort of broad-moutlied va there are many shapes, generally in bron, trumpet-shaped form, supported castings representing sucll sulyect ARRANGEMENT OF FLOWERS. became the favourite form used. Of this kind and varying from a low saucer-like vessel to a on short legs, and sometimes upon ornamental water, spray, or an animal group. the ordinary vases employed in the also much used. Among these, the Other kinds of vessels, corresponding n West, having necks and oval or cylindrical bodi vases with tall narrow necks are employed for the simplest arrangements, such as are displayed in the tiny tea rooms where rules of austerity necessitate very light and quiet Horal compositions. Vases intended for elaborate flower arrangements are always necessarily of the wide-mouthed kind, to ensure an appearance of stability at the base of the flower stems. A few of these different vases are shown in Plate XXVI., but there exist a number of other shapes in common use, besides several fancy forms which are occasionally employed. With the ordinary tall vase, whether of wide or narrow mouth, the height of the flowers is generally ■ fixed as approximately one and a half times that of the vase. Some Schools increase this proportion, giving double the height of the vase for the floral composition. V'EHSELS FOR WATER PLANT.S. ranner. water plants and There are two principal I. The Sand-bmid is a I'or the purpose of displaying, in a suitable and suggestivt grasses, low tub-like vessels came into use from quite eariy times kinds employed, called respectively the Sand-baitil and the Horse-. broad shallow vessel, oblong, polygonal, or sometimes oval in plan, made of bronze or porcelain, and contaning a layer of pebbles or sand covered with water. The Harse-tnb is, as its name implies, a shallow tub of wood, circular in plan, and generdly lacquered black. Its use as a flower vessel is said to have originated during the exigencies of war tmie, when a famous general of Esthetic tastes, in the leisure of a long campaign, employed a comnipn horse-tub for arrangint; flowers in. Whereas it is a rule with other kinds of flower ™es t,,at the water shall not be visible, the water ,„ vessels of the Sand L,\.^ Hor. wl* re t° : r'T T """'^ ^™"""' ^"^ "- P'»- ="-• '-- -«> - only those a,e assocated w,th the propinquity of water. Water plants are chiefly en,plo>l,, but FLOWER VESSELS 57 somclimcs plants or trees which grow on thp Innl-c „f ^ I ■ S *v on uie banks of streams are allowed The iKr- t^\ such water vessels is, moreover, chiedy confined to tlin ... , 1 ■ w f k I ^ . --"niinea to the warmer months of the year when the s,ght of a broad surfaee of water is gratelul and refreshing to d.e eve H'-fT rule of proportion between the flower com- ^ ^ position and the vessel is followed when these broad shallow receptacles are employed. The height of the floral composition is made about one and a half times the breadth of the vessel, and is not regulated by its height as with the ordinary standing vases. It is customary with the above-named water-bowls to use fancy fasteners of metal, to hold, or give the appearance of holding, the base of the flower stems. These will be described afterwards when the whole question of fastenci-s is discussed. Examples of Sand- bmols and Horse-tubs are shown in Plate ^ XXVII A. A special water vessel requiring mention is that which goes by the name of the Long-boat, not from any particular resemblance j- in form to a boat, but from the fact that it is very long m propoilion to its \ made of white wood. In shape, the Long-boat resembles a Sand-bml, and \ a similar manner, with sand, pebbles, rocks, and water. Another form of standing vessel sometimes used for plants is the Well-frame, a soit of box-shaped vessel of worm-eaten wood, with a capping piece crossing at the angles like an Oxford-frame, the whole resembling the wooden framing round a Japanese well (see ^'^%- S)- The rustic character of this kind of vessel requires that the flowers placed therein should be of the simplest kind. In the example illustrated, a plant called Togiri {Clero- Hcndron sqitamatutn) is used In combination with a long slender grass called Susuki {Etilaria japoniea). ARRANGEMENT OF FLOWERS. The famoii! plaited basket as a plants, cane, or ban- FLOWER BASKETS. Yoshimasa is said to have been the first :plac]e for flowe Baskets, made of reecli „„ of Chinese manufacture, were much prized prices were given for antique specimens. ploy tlie items of creeping Japan, and high To the present day tlie moie mellowed with age these vessels appear, the more they are \ahied. A Chinese artizan, named Hokoji, is said to have intro- duced their manufacture into this country. He presented one of his own make to tlie retainers of Yoshima.sa, with a humble request that it should be embellished with an ornamental stand when placed before the Regent Yoshimasa is said to have been so pleased widi its simple elegance that he ordered it to be put at once oh the dais without any stand or tray. From this it is said arose the custom of dispensing with a tray under Flowt-r-haskels, though used under other flower vessels. A special kind of Ftoiver-baskel, with a large oval handle arching over tlie top. is still called the Hokoji diape, from the name of its first .-naker : and anotlier kind, with a straight neck and no handle, is called the ReisJiojo shape from the name of his daughter. Reishojo. The Hokoji-^^^tt basket is shown in Fig. 6. arranged with a convolvulus twined round the handle. Flowers placed in such baskets are fi.\ed in bamboo tubes containing hidden within. .\notIier popular story, in connection with the use of baskets as flower vessels, is that the famous philosopher Rikiu started the fashion on the occasion of a visit to the cherry blossoms on the banks of the river Katsura, near Kioto, when he made use of a common trout-basket to arrange gathered flowers in. There is a special basket still in use called either the KaUm-baskd or the T,-o,il-bmkel. Besides the orthodox shapes alluded to, there are various fancy forms of baskets employed in both standing and hanging positions. Of these the following principal examples may be mentioned :- The Hatf.plailMa,kel. a cylindrical basket in which the vertical threads project two or three inches above the horizontal plaiting, as if unfinished in making. The Rai,,.,oal-bmhl. a hemispherical basket with a frayed top hanging over the edge of the mouth, and somewhat resembling the straw collar of a Japanese farmers rain- FLOWER VESSELS. The ,fW-fo.X.,. a ™u„,y ,,„p,, ,j,i„^^,^^, ■ used ,n collecung tl,e wool of tlie cotton plant. * ""'"'• ''"'' ^ Th. Z^,„y.to,., a .„,a„ ,jai„ ba,k« „;,„ _., ,,_,„^,|^ [■ lishine-bait. ""utr m tu it usi:cl for carr The IIor„Ma,hcl, a basket of tall cylindrical form, with two horn-likc projections on the top as handles. The Spuire-baskct, a basket of simple cubical shape witli no handle. The Loiig-bttshl. a tall, diin, tube-like The Soscn-baskd. a basket of pyramidal shape, haviny four sloping sides gathered to a circle at the mouth, and with a high arched handle. The name Sosen is that of its in- ventor. It is shown arranged widi chrysanthe- mums in Fig. 7. Among special baskets for hanging or hooking may be mentioned the following :— The Horn-shapcd-baskd, a basket shap- ed like a bull's horn. The Cicada-ihapctt-baskd. so called from ' the body of ; The SnUcrJly-slinped-bashl. a Ijasket whicli lias a short cylindrical neck, and a broad arched body curving out to points at the bottom, llie ivhole form being suggestive of a butterfly with open wings. The Hooii-shapL-d-baskcl , a lj.isket of an irregular oval shape below with a tup opening towards one end, somewhat resembling in shape a baby's sock and, to the NGEMEXT OF FLOWERS. Japanese, sufgesuve of the hoods worn by woman in the cold seri Fig. 8, arranged with Willow and Narcissus. The Gmini-sluipaUaskd. a basl'"™"»S<= - -l^o attributed the original use of flower vases formed out of bamboo tubes. As first introduced, these were simple cylinders of thick bamboo, cut more m height, and four or five inches in diameter, the I division. The facility with which such vessels could be 1 the invention of a variety of forms, each bearing a fancy near the root, about bottom beinj; dosed by cut into different sliap FLOWER VESSELS. and specially adapted to different styles iM ^=-= we. netted ^^l;*™ ^^r i J^T 1 ^^ -veral stages, so a. to allow of ,«":." '" one vase. The different kinds employed 1 To ™"""""°"^ '" q"ire tabulation, and many of the n^ , ™"'"" "" '° "■ ai-e therefore mv.n • T ^'"'°" ''='>' "='"*'ion I they nerelore given m Japanese. The meanings of these names are iiuniDLr 01 tilt apertures to ntli,..- „ .• i ■ follow:- ' ""'™ °''J""'- ■''l«=>' "■= a^ «a/.>./„V„,„._Uo„s.mouth-shape; a cylinder from ten to fifteen .nches in height with a sqnare side-month about 3 inches ^*./;':.^/^„^.-Rampant-lio„.sl,ape; a higher cylinder with siIi vase with Wo small side openings one above the &/V,.-^«/,7.— Dislilling-vessel-shape . a liii;h vase other. ^.. . 11 1 r.-«m itc ri-scmblance to a half cylindrical cappiiii' A-,rM7ra-jr.i/^.— Tile-shape i so called from its resenioiance lo , i i i, tile. 7?ve1 f , , -, rail !,:„,:„„ 1 51-MioiL ine newel of a wooden bridge ra,l. having a deep square slit in the middle. /I//V»-.f//-Af,«',j.— Two-storey-shape ; a vase with two si.le „„»„„ 1 ' '"' '"osiue openintjs one above the other, in addition to the top opening. i'my.,c,m„g-Mp. the Becal,„cd-Mp. and the Bra„ch-ladm-Mp. These different fancies are conveyed first, by the direction, right or left, and backward or forward, given to the prow of the vessel; and secondly, by the distribution of the different lines of the flower con,pos,t,on. Even the length of the suspending chain and the distance or pro.vimi.y of ARRANGEMENT OF FLO HERS. These different styles of composition are XXXIV. Other special rules for hanging boat- vase the general question of the position of flower arrangei shown in a skeleton form in Plate ■> will be considered afterwards, when nents in a chamber is discussed. Suspended vessels called WeU-bncktis are often used in pairs Iiiing over a pulle by a thick silk cord. One of the buckets is allowed to rest on tlic Hoor, or in some cast ii|Jon a frame designed in imitation of the railing or boxing round a well, and the other suspended in the air. lilar To Rikiu is attributed the first use of such flower vessels, the idea coming to hilst he was observing a convolvulus twining round the bucket of an old well. A pair of buckets are occasionally employed without the pulley and suspending rope, being placed balanced on the edge of the other so as to leave only a portion of the ncovered for the insertion of flowers. In this case the rope is arranged in a I stand for the lower vessel. Buckets used in tliis way are always flat-sided, to ensure stability, but for the ordinary suspended arrangements, cylindrical as well as square buckets are employed. These vessels are of plain wood, of wood lacquered black, or of worm- eaten or decayed timber. For the most handsome kind in black lacquer, a chain of silver or a red silken cord should be used ; to those in ordinary wood a plainer cord may be attached ; and in the case of the rustic buckets of decayed wood, a common hemp rope or even an iron chain may be substituted. Single buckets are occasionally to be seen standing upon a low table or decayed slab of wood, or hung by a single bamboo rod. (Sec rlate XXII.a.) Porcelain buckets and pulleys, although not uncom- : of quite modern introduction, and not accordin