Floriculture: Designing &

Merchandising 4th Edition Dr. Charles

P. Griner - eBook PDF
Go to download the full and correct content document:
https://ebooksecure.com/download/floriculture-designing-merchandising-ebook-pdf/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

(eBook PDF) Global Business Today 5th Canadian Edition

by Charles W. L. Hill Dr

http://ebooksecure.com/product/ebook-pdf-global-business-
today-5th-canadian-edition-by-charles-w-l-hill-dr/

Designing and Managing the Supply Chain 4th Edition

David Simchi-Levi - eBook PDF

https://ebooksecure.com/download/designing-and-managing-the-
supply-chain-ebook-pdf/

MKTG4 4th Edition Edition Charles W. Lamb - eBook PDF

https://ebooksecure.com/download/mktg4-ebook-pdf/

(eBook PDF) Macroeconomics 4th Edition by Charles I.

Jones

http://ebooksecure.com/product/ebook-pdf-macroeconomics-4th-
edition-by-charles-i-jones/
(eBook PDF) Outcome Assessment in Advanced Practice
Nursing 4th Edition by Dr. Ruth M. Kleinpell

http://ebooksecure.com/product/ebook-pdf-outcome-assessment-in-
advanced-practice-nursing-4th-edition-by-dr-ruth-m-kleinpell/

(eBook PDF) MKTG 4th Canadian Edition by Charles W.

Lamb

http://ebooksecure.com/product/ebook-pdf-mktg-4th-canadian-
edition-by-charles-w-lamb/

Textbook of histology 4th Edition Leslie P. Gartner -

eBook PDF

https://ebooksecure.com/download/textbook-of-histology-ebook-pdf/

Applied Numerical Methods with MATLAB for Engineers and

Scientists 4th Edition Steven C. Chapra Dr. - eBook PDF

https://ebooksecure.com/download/applied-numerical-methods-with-
matlab-for-engineers-and-scientists-ebook-pdf/

(eBook PDF) MKTG4, 4th Asia-Pacific Edition by Charles

W. Lamb

http://ebooksecure.com/product/ebook-pdf-mktg4-4th-asia-pacific-
edition-by-charles-w-lamb/
FLORICULTURE
Designing & Merchandising
FOURTH EDITION

Charles Griner

Australia ● Brazil ● Mexico ● Singapore ● United Kingdom ● United States

 Floriculture: Designing & Merchandising,
Fourth Edition
Charles Griner
SVP, GM Skills & Global Product Management:
Jonathan Lau
Product Director: Matt Seeley
Product Manager: Nicole Robinson
Executive Director, Content Design, GPM:Skills:
Marah Bellegarde
Learning Designer: Jennifer Starr
Product Assistant: Nicholas Scaglione
Vice President, Marketing Services:
Jennifer Ann Baker
Marketing Manager: Abigail Hess
Senior Production Director: Wendy Troeger
Production Director: Patty Stephan
Senior Content Manager: Betsy Hough
Digital Delivery Lead: Jim Gilbert
Design Director: Jack Pendleton
Cover and interior design credits:
Cover Image: shutterstock.com/image-photo
/closeup-dahlia-blossom-4402318
Interior design images:shutterstock.com/image
-photo/pink-lilium-bouquet-75363994
shutterstock.com/image-photo/artificial-flowers
-bouquet-wedding-image-95851819
shutterstock.com/image-photo/blue-flowers-on
-white-background-30834439
shutterstock.com/image-photo/bouquet
-flowers-167128271
shutterstock.com/image-photo/bouquet-flowers
-copy-space-blank-greetings-394999423
shutterstock.com/image-photo/colorful-blossom
-flowers-banner-web-design-451255561
shutterstock.com/image-photo/flowers-pattern
-pink-orange-lilies-isolated-108553361
shutterstock.com/image-photo/lilac-flowers
-bunch-over-white-wooden-278801207
shutterstock.com/image-photo/pink-flowers
-vase-96876382
shutterstock.com/image-photo/sunflowers-on
-gray-stone-background-copy-397642510
shutterstock.com/image-vector/flower-icon
-set-321078362
Printed in the United States of America
Print Number: 01 Print Year: 2018
© 2019, 2011 Cengage
ALL RIGHTS RESERVED. No part of this work covered by the copyright herein
may be reproduced or distributed in any form or by any means, except as
permitted by U.S. copyright law, without the prior written permission of the
copyright owner.
For product information and technology assistance, contact us at
Cengage Customer & Sales Support, 1-800-354-9706.
For permission to use material from this text or product, submit all
requests online at www.cengage.com/permissions.
Further permissions questions can be e-mailed to
permissionrequest@cengage.com.
Library of Congress Control Number: 2018932072
ISBN: 978-1-337-39070-5
Cengage
20 Channel Center Street
Boston, MA 02210
USA
Cengage is a leading provider of customized learning solutions
with employees residing in nearly 40 different countries and sales in more
than 125 countries around the world. Find your local representative at:
www.cengage.com.
Cengage products are represented in Canada by Nelson Education, Ltd.
To learn more about Cengage, visit www.cengage.com.
To learn more about Cengage platforms and services, register or access
your online learning solution, or purchase materials for your course, visit
www.cengage.com.
Notice to the Reader
Publisher does not warrant or guarantee any of the products described
herein or perform any independent analysis in connection with any of
the product information contained herein. Publisher does not assume,
and expressly disclaims, any obligation to obtain and include information
other than that provided to it by the manufacturer. The reader is expressly
warned to consider and adopt all safety precautions that might be indicated
by the activities described herein and to avoid all potential hazards. By
following the instructions contained herein, the reader willingly assumes
all risks in connection with such instructions. The publisher makes no
representations or warranties of any kind, including but not limited to, the
warranties of fitness for particular purpose or merchantability, nor are any
such representations implied with respect to the material set forth herein,
and the publisher takes no responsibility with respect to such material. The
publisher shall not be liable for any special, consequential, or exemplary
damages resulting, in whole or part, from the readers’ use of, or reliance
upon, this material.
CONTENTS

Preface ix Résumé 10
Acknowledgments xv Letter of Recommendation 16
Follow-Up Call or Email 16
The Interview 17
SECTION 1 After the Interview 17
An Introduction Summary 18
to the Floriculture Review Questions 18
Student Activities 18
Industry 3
UNIT 2 l The History of Floral Design 19
UNIT 1 l Exploring Careers in the Retail Introduction 20
Flower Business 4 Classical Period 20
Introduction 5 Egyptian Period (2800–28 bc) 20
Types of Flower Shops 5 Greek Period (600–46 bc) 20
Full-Service Shop 5 Roman Period (28 bc–ad 325) 21
Specialty Shop 5 Byzantine Period (ad 320–600) 21
Carriage Trade Shop 5 European Periods of Floral Design 22
Stem Shop 5 Middle Ages (ad 476–1400) 22
Studio Operation 5 Renaissance (ad 1400–1600) 22
Franchise Shop 5 Baroque Period (ad 1600–1775) 23
Mass-Market Shop 6 Dutch-Flemish Period (ad 1600–1750) 23
Wholesale Florist 6 French Period (ad 1600–1814) 23
Job Opportunities in the Retail Flower Shop 6 English-Georgian Period (ad 1714–1760) 24
Managerial and Supervisory: Victorian Period (ad 1820–1901) 24
Owner or Manager 6 American Periods of Floral Design 24
Technical: Designer 7 Early American Period (ad 1620–1720) 24
Technical: Designer’s Assistant 7 Colonial Williamsburg Period
Service Worker: Salesperson 8 (ad 1714–1780) 25
Service Worker: Office Worker 8 American Federal Period (ad 1780–1820) 25
Service Worker: Delivery Person 8 Twentieth-Century American Flower
Training for a Job in the Retail Flower Shop 9 Arrangements 25
Locating Job Opportunities 9 Oriental Flower Arranging 25
Employability Portfolio 10 Summary 26
Letter of Introduction 10 Review Questions 26
Table of Contents 10 Student Activities 27
Letter of Application 10
Job Application Form 10

iii
 Loss of Food 49
SECTION 2 Disease 49
Getting Started: Ethylene Gas 49
The Basics of Water Quality 51
Design 29 Conditioning Flowers 51
Antitranspirants 55
Summary 55
UNIT 3 l Principles of Design 30 Review Questions 56
Introduction 31 Student Activities 56
Design Principles 31
Balance 31 UNIT 6 l Mechanics and Supplies
Proportion and Scale 32 Used in Floral Design 57
Focal Point 33 Introduction 58
Emphasis 34 Containers 58
Rhythm 34 Texture 58
Harmony 35 Shape 58
Unity 35 Size 58
Design Elements 35 Color 59
Line 35 Floral Foam 59
Form 37 Adhesive Materials 60
Texture 37 Cutting Tools 61
Color 37 Picks 62
General Guidelines 42 Summary 66
Summary 42 Review Questions 66
Review Questions 42 Student Activities 66
Student activities 43
UNIT 7 l Selecting Wire and Wiring
UNIT 4 l Selection of Cut Flowers
Flowers 67
and Greens 44
Introduction 68
Introduction 45 Selecting Wires 68
Flower and Foliage Classification 45 Sizes and Uses of Wire 68
Line Flowers 45 Methods of Wiring Flowers 69
Mass Flowers 46 Floral Taping 73
Filler Flowers 46 Summary 74
Form Flowers 46 Review Questions 74
Summary 46 Student Activities 75
Review Questions 47
Student Activities 47 UNIT 8 l Selecting Ribbons and
UNIT 5 l Conditioning and Storing Cut Tying Bows 76
Introduction 77
Flowers and Greens 48
Selecting Ribbons 77
Introduction 49 Ribbon Sizes 78
Common Reasons for Early Flower Tying a Bow 79
Deterioration 49 Summary 84
Low Water Absorption 49
Loss of Water 49

iv CONTENTS
Review Questions 85 The Isosceles Triangle 137
Student Activities 85 Centerpiece Designs 139
The Asymmetrical Triangle 141
The Scalene Triangle 143
SECTION 3 The Right Triangle 144
Basic Summary 146
Arrangements 87 Review Questions 146
Student Activities 147

UNIT 13 l Line Arrangements 148

UNIT 9 l Boutonnieres and Corsages 88 Introduction 149
Introduction 89 Inverted-T Arrangement 149
Boutonnieres 89 L-Pattern Arrangement 151
Corsages 91 The Vertical Arrangement 153
Corsage Design 92 Crescent Arrangements 155
Net Tufts 100 The Hogarth Curve Arrangement 157
Football Mum Corsages 103 Contemporary Freestyle Arrangements 160
Designing Corsages Using Floral Adhesive Summary 165
and Hot Glue 105 Review Questions 165
Summary 107 Student Activities 165
Review Questions 107
Student Activities 108
SECTION 4
UNIT 10 l Bud Vases 109 Specialty
Introduction 110 Arrangements 167
Selecting Flowers For Bud Vases 110
Foliage for Bud Vases 110
Accessories 111
Designing Bud Vases 111 UNIT 14 l Constructing Wreaths 168
Summary 116 Introduction 169
Review Questions 116 Evergreen Wreath 172
Student Activities 116 Permanent Evergreen Wreaths 178
Eucalyptus Wreath 179
UNIT 11 l Circular Arrangements 117 Summary 180
Introduction 118 Review Questions 180
The Circular Mound Design 118 Student Activities 180
The Conical Design 122
The Oval Arrangement 126 UNIT 15 l Holiday Arrangements 181
The Fan Arrangement 130 Introduction 182
Summary 133 Valentine’s Day 182
Review Questions 133 Easter 186
Student Activities 133 Mother’s Day 189
High School Proms 189
UNIT 12 l Triangular Arrangements 134 Thanksgiving 191
Introduction 135 Christmas 193
The Equilateral Triangle 135 Topiaries 196

CONTENTS v
Minor Holidays 197 UNIT 18 l Drying Flowers 238
Holiday Balloons 198 Introduction 239
Equipment 198 Hanging Method 239
Inflating Balloons 199 Desiccant-Drying 239
Summary 200 Fine Sand and Borax 240
Review Questions 201 Cornmeal and Borax 240
Student Activities 201 Kitty Litter 240
Silica Gel 240
UNIT 16 l Wedding Flowers 202 Microwave Drying 240
Introduction 203 Glycerin 242
Bridal Consultations 203 Bleaching and Dyeing 243
The Wedding Order Form 203 Summary 243
Bridal and Attendant Bouquets 206 Review Questions 243
Arm Bouquets 206 Student Activities 244
Hand-Tied Bouquets 209
Colonial Nosegay in a Bouquet Holder 212 UNIT 19 l Arranging Permanent
Cascading Bouquets 215 Flowers 245
Corsages and Boutonnieres 219
Introduction 246
Ceremonial Decorations 219
Silk Flowers 246
The Entry and Vestibule 219
Paper Flowers 247
Aisles and Pews 219
Dried and Preserved Flowers 247
The Altar 220
Freeze-Dried Flowers 247
Reception Decorations 222
Identifying Dried and Preserved Flowers 247
Serving Tables 222
Mechanics For Permanent Flowers 247
The Cake Table 223
Contemporary Arrangements 250
Groom’s Cake Table 223
Summary 252
Punch and Champagne Tables 224
Review Questions 252
Additional Reception Hall
Student Activities 253
Decorations 224
Rehearsal Dinner 225
Delivery of the Wedding Flowers 225
SECTION 5
Summary 226
Review Questions 226 Indoor Plants 255
Student Activities 226

UNIT 17 l Sympathy Flowers 227

Introduction 228
UNIT 20 l Selecting Indoor Plants 256
Basic Sympathy Designs 228
Introduction 257
Casket Sprays 228
Plant Names 257
Sprays 228
Light Requirements 257
Wreaths 232
Watering 258
Baskets 235
Fertilization 259
Other Floral Designs 235
Permanent or Temporary Plants 259
Summary 236
Identifying Potted Plants 260
Review Questions 237
Summary 260
Student Activities 237

vi CONTENTS
Review Questions 260 Sending Flowers by Wire 285
Student Activities 261 Benefits of a Wire Service 285
Using a Wire Service 286
UNIT 21 l Decorating Potted Plants 262 Selling Over the Internet 286
Introduction 263 Summary 287
Poly Foil 263 Review Questions 287
Preformed Pot Covers 266 Student Activities 287
Jardinieres 268
Decorating Dish Gardens 269 UNIT 24 l Displays 289
Care of Potted Plants in the Shop 270 Introduction 290
Light 270 Primary Purposes of Displays 290
Watering 270 Attract Attention 290
Temperatures 271 Arouse Interest 290
Summary 271 Create Desire 290
Review Questions 271 Initiate Buying 291
Student Activities 271 Secondary Purposes 291
Artistic Display 291
Categories of Display 292
SECTION 6 Theme Displays 292
Business Operations Product-Oriented Displays 292
Designing Display Arrangements 293
and Professional Repetition Arrangement 293
Development 273 Step Arrangement 293
Zigzag Arrangement 294
UNIT 22 l Pricing Strategies 274 Pyramid Arrangement 294
Introduction 275 Radiation Arrangement 295
Determining the Unit Summary 295
Cost of Goods 275 Review Questions 295
Standard Ratio Markup Pricing 276 Student Activities 296
Retail Cost of Goods Plus Labor 277
Divisional Percentage Pricing Method 277 UNIT 25 l Delivery 297
Leader Pricing 278 Introduction 298
Summary 278 The Delivery Person 298
Review Questions 278 Training 298
Student Activities 279 The Delivery Vehicle 299
Delivery Categories and Charges 299
UNIT 23 l Selling in the Flower Shop 280 Processing an Order for Delivery 300
Introduction 281 Loading the Delivery Vehicle 300
Characteristics of a Professional Salesperson 281 Making the Delivery 301
A Friendly, Helpful Attitude 281 Delivery Pools 301
Thorough Product Knowledge 281 Summary 301
Effective Selling Skills 282 Review Questions 302
Selling by Telephone 284 Student Activities 302
The Telephone Sales Presentation 284

CONTENTS vii
UNIT 26 l Professional Organizations 303 APPENDIX A l Cut Flowers 309
Introduction 304
Trade Organizations 304
APPENDIX B l Cut Foliages 321
SAF (Society of American Florists) 304 APPENDIX C l Dried Materials 328
AAF (American Academy of
Floriculture) 305 APPENDIX D l Foliage Houseplants 333
AIFD (American Institute
of Floral Designers) 305 APPENDIX E l Permanent Flowering
AFMC (American Floral Marketing Potted Plants 343
Council) 305
PFCI (Professional Floral
APPENDIX F l Temporary Flowering
Communicators–International) 305 Potted Plants 347
Allied Florists’ Associations 305
APPENDIX G l Flower Arrangement
State Florist Associations 305
Wholesalers’ Open Houses
Rating Scale 351
and Design Schools 305 APPENDIX H l Supervised Agricultural
Trade Publications 306
Experience 353
Student Organizations 306
Certification Programs 306 APPENDIX I l Floral Design-Related
Summary 308 Websites 365
Review Questions 308
Student Activities 308
Glossary/Glosario 366
Index 380

viii CONTENTS
PREFACE
F
loriculture Designing & Merchandising was written
to introduce students to the career possibilities
in the floral industry and to provide basic
instruction in the techniques of floral design and
merchandising. This new fourth edition expertly
blends basic techniques with current trends to offer a
fresh perspective as students build their skills.
Everyone can be taught to make beautiful
floral arrangements, and this book was written
to accomplish that goal. By following the step-
by-step procedures outlined in this book, you
will be able to make lovely arrangements, which
hopefully will spark your creativity in designing
floral arrangements and your interest in pursuing a
career in the floral industry. Learning is a lifetime
process. Should you choose a career in this area,
there will always be workshops and design schools
to challenge you to expand your knowledge and
creative talents.
The designs pictured throughout the book
are simple and easy to follow. As you build the
arrangements, please keep in mind that there are many
different ways to make the same floral arrangement.
Different designers have their own unique styles.
Learn as many of these as you can.
The flowers used in the illustrations are the most
inexpensive flowers that are readily available anywhere
in the country. Feel free to substitute flowers and add
your own creativity to each of the designs.
The information in this book can be reinforced
and expanded on by your instructor and guest
speakers. Put forth a dedicated effort, and challenge
yourself to expand your knowledge and express
your creativity. Remember that flower arranging
is a skill that you can learn, but it will take hard
work and lots of practice to become accomplished
at that skill.
NEW TO THIS EDITION
■ New section on handheld bouquets for proms—
featuring vibrant photos of handheld bouquets,
this section illustrates the handheld bouquet as an
accessory for this event and offers ideas on how
to arrange.
■ Expanded chapter on wedding flowers—new
designs utilizing a variety of flowers and foliage
for bouquets, table adornments, and reception
decorations offer you a fresh look at different de-
sign ideas for weddings.
■ A summary concludes each chapter—each chapter
includes closing thoughts to help summarize key
concepts presented in the chapter and provide
overall context for how those concepts are
applied in the floral industry.
■ New designs based on basic techniques—step-by-
step “Procedures” were meticulously reviewed
and revised as needed to reflect the variety of
flowers and foliage utilized in the industry so that
you can practice and become comfortable with
these materials.
■ Exploring your creativity—this all-new feature
highlights alternate arrangements utilizing
different flowers or foliage for some of the step-
by-step “Procedures” introduced in the book.
This feature is designed to spark your creativity
and encourage you to experiment with different
design ideas.
■ All new design and full-color photos—this edition
is rich in hundreds of vibrant new photos illus-
trating mechanics, techniques, skills, and stunning
flowers, plants, and foliage, all captured in a fresh,
modern design.
ix
 UNIT 16

FEATURES OF THIS EDITION

Wedding Flowers

Objective and Competencies

to Develop
Each chapter opens with a goal
and a list of competencies to
develop based on the chapter
content. These help you focus on
the concepts and skills required to
U NI T 1 successfully complete the lesson.

OBJECTIVE TERMS TO KNOW

Careers in the
To design decorations for a wedding and reception. arm bouquet
cascading bouquet colonial nosegay
handheld bouquet or dripless candles
COMPETENCIES TO DEVELOP
clutch bouquet
After completing this unit, you should be able to:

ower Business Complete a wedding order form.

●●

●● Design a bridal bouquet.

●● Design a bouquet for the bride’s attendants.
●● Identify the areas decorated for a wedding.
●● Identify decorations used for the reception
and rehearsal dinner.

Terms to Know
A list of terms in each chapter highlights the terms
presented in the chapter and those that you should be
202 able to define, in context, upon completion of the lesson.

TERMS TO KNOW
carriage trade shop résumé
designer salesperson
designer’s assistant specialty shop
employability portfolio stem shop
franchise studio operation
iness. full-service shop wholesale florist
ower mass-market shop work sample

e retail

x
Tools and Materials
Chapters (as applicable) include a list of basic tools and
materials identified or utilized in the chapter. OBJECTIVE TERMS TO KNOW
To receive a shipment of flowers and treat them in a manner antitranspirants photosynthesis
that extends the keeping quality of the flowers. bactericide respiration
botrytis stomata
COMPETENCIES TO DEVELOP conditioning flowers succulent
ethylene gas total dissolved solids
After completing this unit, you should be able to:
floral preservative transpiration
●● Identify the causes of premature flower deterioration.
hydration xylem
●● Identify the steps in handling a shipment of flowers.
pH
●● Demonstrate proper stem treatment.
●● Describe the benefits of floral preservatives.
TOOLS AND MATERIALS
●● Identify storing requirements of flowers and greens.
●● Assorted flowers as they are received from
●● Identify how flowers should be handled in the home.
wholesaler
●● Flower containers
●● Floral preservative
●● Floral knife

48

Introduction
An introduction to each chapter
INTRODUCTION sets up and explains the importance
of the knowledge and skills
W EDDINGS ARE ONE of the most interesting and challenging segments of the florist business. In the past, tradition
has dictated the planning of flowers and the ceremony. Tradition is still important, but modern brides are planning
weddings that reflect their individuality and taste. Generally, couples are older and more educated when they decide to get
presented in the chapter.
married, and have more definite ideas about what they want in their wedding. The retail florist must recognize the needs
of the couple to plan flowers that reflect their individuality. ✽

BRIDAL CONSULTATIONS Before discussing details for the wedding flowers,

the florist must have an idea of what the bride can
The florist may have a number of consultations afford. Encourage the bride to set a budget prior
with the bride. The first interview is usually the to the consultation, or ask probing questions that
most important. This consultation should be will help you determine the needs of the bride. The
conducted at least six months prior to the wedding, following are suggested as probing questions. When
with a follow-up meeting closer to the wedding asked tactfully, these questions assist the florist in
date. These consultations are normally handled by suggesting flowers for the wedding.
the head designer or the owner-manager of the
shop. ■● What type of bridal gown will be worn?
Creating the proper setting for the consultation ■● What type of wedding is being planned?
is important. An area should be set aside where ■● How large will the wedding be?
the bride and the florist may meet undisturbed ■● Will the wedding be formal or informal?
EASTER hydrangeas, but the Easter lily is the most popular
(FIGURE 16-1). The area should be located away from ■● Where will the service take place and at what
potted plant during this season.
the flow of traffic and the ring of telephones, and time of the day?is a religious holiday that occurs between
Easter Accessories for Easter include Easter baskets,
should contain a table with seating for three or ■● Will theearly
ceremony
Marchfollow
and latereligious
April. Itcustoms?
is also the beginning the Easter bunny, colored eggs, chicks, and ducks.
more people. Often the bride is accompanied by her ■● of the
Where and how spring
largeseason. Forreception
will the this reason,be?spring flowers, Frequently used colors include bright shades of
mother and/or the groom. Items such as selection ■● Who will be paying for the flowers? popular cut flowers
such as tulips and daffodils, are purple, green, yellow, and pink.
guides, wedding forms, examples of ribbons, and and potted plants. Customers also enjoy potted
Answers to these questions help establish the size
photograph albums of wedding work designed by and budget for the wedding. This is a sensitive area
the shop should be present. and one that the florist must approach tactfully. After
Procedures
The florist must learn as much about the wedding obtaining answers to these questions,
PROCEDURE the florist
Constructing will Arrangement
an Easter
plans as possible. This information will be helpful in be better equipped to make suggestions relative to
In chapters
planning theexplaining
wedding flowershow to
and decorations. flower choices and other possible decorations. Materials
Tools and
build specific floral arrangements In this unit, we are not able You to will need the following tools and materials to complete this procedure:
become
knowledgeable about every aspect of a Aparticular
low container that
●●
Stems of small purple
●●
Covered wire or ●●

step-by-step “Procedures” combine wedding, so we concentrate on those coordinates

areas that with the chrysanthemums string
color of the flowers
would be most helpful to the beginning designer. Pittosporum ●●
Floral knife ●●

straightforward instruction ●●
⅓ block of floral foam ●●
Small Easter and/
Floral tape or spring accessories,
with demonstrative photos and THE WEDDING ORDER FORM
●●

●●
3 stems of lilies such as butterfly
illustrations to walk you through the A wedding order form is most helpful in planning
the floral decorations for a wedding (FIGURE 16-2).
creation of your own arrangement. It lists the majority of items needed for a wedding.
A list, with an accompanying photo, 1 Prepare
These forms, which
wholesale floral the
thebe
can container.
container.
suppliers,
Placefrom
purchased floralmost
assist in organizing the
foam into the container with 1 or 2 inches showing above the rim of

of tools and materials required for wedding order. The form has space for notes on Group three stems of lilies together to form a tight cluster.

the procedure is also

FIGURE 16-1 l A bridal included
consultation area. for
2
the style and types of flowers used for each part of the Wire them together just below the cluster of flowers. Press
wedding.When completed, it can serve as a contract the stems deeply into the center of the floral foam, as shown.
ease of reference. UNIT 16 WEDDING FLOWERS 203

FEATURES OF THIS EDITION xi

186 SECTION 4 SPECIALTY ARRANGEMENTS

Stunning Imagery
Hundreds of vibrant photos and illustrations accompany the text
and facilitate learning by providing an authentic and visually
appealing introduction to the tools, materials, and techniques of
floral design.

A B

SUMMARY

Most retail flower shops are small businesses, so jobs
within the shop are not usually limited to one area.An
employee may be asked to perform a variety of tasks.
A career in the retail flower business is an excel-
lent choice for those individuals who enjoy work-
ing around flowers and plants. Work in a retail florist
is highly seasonal, with flowers in especially great
demand on holidays. Employees are expected to
work long hours during these times. Because most
weddings take place on weekends, employees may be
asked to work longer hours during these events also.
Even though flower shop employees are often re-
quired to work long hours, most florists love their work
and receive great personal satisfaction from their job.

REVIEW QUESTIONS

1. Why is it important that the delivery person
for a flower shop be well groomed and well
mannered?
2. What is the difference between a full-service
florist and a mass-market florist?
3. How can the national or state FFA association
help you train for a job in the retail flower shop?
4. Why is a friendly service attitude an important
attribute of a salesperson?
C D
5. How can designers gain more experience in
floral design and learn the latest techniques? FIGURE 15-2 A through D l A variety of prom nosegays.
Courtesy of Ronnie Barrett; Courtesy of Ronnie Barrett; Courtesy of Ronnie Barrett; Courtesy of Ronnie Barrett
6. List five items that should be included on
the résumé.
7. List five dos and five don’ts of interviewing. 190 SECTION 4 SPECIALTY ARRANGEMENTS

STUDENT ACTIVITIES

1. Visit a flower shop and question the employees
about their jobs.
2. Ask your teacher to invite the owner-manager
or designer from a local flower shop to talk to
the class about careers in the retail florist industry.
5. Prepare an employability portfolio for a
specific job.
6. Make a list of possible questions that might be
asked on an interview.
7. Role-play a job interview situation, with one

Summary, Review Questions and Student Activities

3. Select one job opportunity and make a list
of the duties performed on that job and the
requirements for employment in that area.
4. Write about a situation where you used
flowers or saw flowers being used. How did
they make you feel?
student playing the role of the interviewer and
one the role of the job applicant.
8. Ask your teacher to assist you in planning a
supervised agriculture experience program.
See Appendix I for ideas. A Summary, along with end-of-chapter questions and activities

18 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY provide a method of evaluating your knowledge of the information
presented in the chapter.

Visual appendices are included to help you identify cut flowers,

cut foliages, potted plants, and dried materials of the floral
industry. Additional Appendices also contain other pertinent
information as you further explore the floral industry.

© Bayanova Svetlana/Shutterstock.com.
© LaNKS/Shutterstock.com.

Aster Bells of Ireland

Callistephus chinensis Molucella laevis
Family: Compositae Family: Labiatae
Use: Mass Use: Line
Color: Blue, lavender, pink, white Color: Green
Available: Summer, autumn Available: Winter, spring, summer
Packaged: Bunch (10 stems) Packaged: Bunch (10 stems)
Vase Life: 5 to 10 days Vase Life: 7 to 10 days
© Melica/Shutterstock.com.

Baby’s Breath Blue Hydrangea

Gypsophila species Hydrangea macroehylla
Family: Caryophyllaceae Family: Hydrangeaceae
Use: Filler Use: form, mass
Color: White Color: Blue, pink
Available: Year-round Available: Year-round
Packaged: Bunch (number of stems varies) Packaged: Individual
Vase Life: 7 to 10 days Vase Life: 4 to 10 days

310 APPENDIX A CUT FLOWERS

xii FEATURES OF THIS EDITION

EXTENSIVE TEACHING/LEARNING
PACKAGE
This package was developed to achieve two goals:
1. To provide students with an engaging
experience as they embark on the learning
pathway through their floriculture course
2. To assist instructors in planning and
implementing their instructional program
for the most efficient use of time and other
resources
COMPANION SITE
NEW! The Companion site to accompany
Floriculture: Designing & Merchandising, 4th
Edition, features tools to support learning and
facilitate teaching:
■ Answers to Review Questions, appearing at the end
of each chapter, allow teachers to track and validate
student learning.
■ Lesson Plans provide an outline of the key topics
in each chapter and correlate to the accompany-
ing PowerPoint® presentations.
■ PowerPoint presentations align with the Lesson
Plans and include photos and illustrations to
visually reinforce the key points in each chapter.
■ Testing powered by Cognero, a flexible online
system, provides chapter-by-chapter quizzes and
enables teachers to:
■ Author, edit, and manage test bank content
from multiple sources
■ Create multiple test versions in an instant
■ Deliver tests from teacher- or school-specific
learning management systems (LMSs) or class-
rooms
■ Image Gallery offers full-color photos and illustra-
tions from the text to enable teachers to further
enhance classroom presentations.
For these instructor-specific resources, please visit
CengageBrain.com at http://login.cengage.com,
and follow the prompts for obtaining access to this
secure site.
MINDTAP FOR FLORICULTURE:
DESIGNING & MERCHANDISING, 4E
NEW! The MindTap for Floriculture: Designing &
Merchandising, 4th Edition features an integrated
course offering a complete digital experience for
the student and teacher. This MindTap is highly
customizable and combines assignments, step-by-step
videos, interactivities, and auto-graded quizzing along
with the enhanced ebook to enable students to directly
analyze and apply what they are learning, and allow
teachers to measure skills and outcomes with ease.
■ A guide: Relevant interactivities combined with
prescribed readings, featured multimedia, and
quizzing to evaluate progress, will guide students
from basic knowledge and comprehension to
analysis and application.
■ Personalized teaching: Teachers are able to control
course content—hiding or rearranging existing
content, or adding and creating their own content
to meet the needs of their specific program.
■ Promote better outcomes: Through relevant and
engaging content, assignments and activities,
students are able to build the confidence they
need to ultimately lead them to success. Likewise,
teachers are able to view analytics and reports
that provide a snapshot of class progress, time in
course, engagement, and completion rates.
FEATURES OF THIS EDITION xiii
ABOUT THE AUTHOR
D
r. Charles P. Griner received an associate’s
degree in science from Abraham Baldwin
Agricultural College. At the University of
Georgia, he earned a bachelor of science degree in
agriculture, a master’s degree in education, and an
education specialist degree. Dr. Griner received a
doctorate of education from Virginia Polytechnic
Institute and State University.
Dr. Griner began his teaching career at Webster
County High School, where he remained for two
years. He then moved to Douglas County High
School and taught for four years before joining the
faculty at the University of Georgia. He remained
at UGA until moving to Virginia Tech to pursue his
doctorate. Upon the completion of his doctorate,
he returned to the University of Georgia for one
year and then made his final move back to Colquitt
County. Dr. Griner taught agricultural education at
Colquitt County High School for over twenty years.
Over the course of his career, Dr. Griner
guided numerous students toward success in the
agricultural industry, including 180 Georgia FFA
State degree recipients, thirty-four American FFA
Degree recipients, nine State FFA officers, six State
Proficiency winners, fifteen District Public Speaking
winners, four National Chapter Bronze Awards,
thirteen National Chapter Silver Awards, and nine
xiv
National Chapter Gold Awards. As the horticulture
instructor at Colquitt County High School, Dr.
Griner coached two state winning teams, one
National Gold Emblem team, three State Floral
Design Contest winners, and twelve District Land
Judging winners.
Because of his strong beliefs in sharing the
benefits of his experience and knowledge to further
agricultural education, Dr. Griner has supervised
and mentored several student teachers, served on
three state curriculum committees, and served two
terms as district director of the Georgia Vocational
Agriculture Teachers Association. Additionally, Dr.
Griner has taught many statewide staff development
workshops in landscaping, greenhouse management,
and floral design.
Due to his outstanding service Dr. Griner was
awarded the honorary Georgia State FFA degree,
the honorary American FFA degree, the National
Vocational Agriculture Teachers Association Teacher
of Teachers Award, and the Abraham Baldwin
Agricultural College Alumni’s Outstanding Educator
Award. Dr. Griner was chosen as the Colquitt
County High School Teacher of the Year and the
National Association of Agricultural Educators
awarded him the Southern Region Lifetime Service
Award in 2003.
ACKNOWLEDGMENTS

S
everal individuals have assisted in completing Moultrie, Georgia, for their assistance in this fourth
this edition of Floriculture: Designing and revision.
Merchandising. Foremost of these is my wife, I am thankful to Adrienne Smith, Horticulture
Brenda, who has spent many hours doing a variety Instructor at Colquitt County High School, Moultrie,
of tasks. This revision would not be possible without Georgia, and several FFA members for staging a FFA
her assistance and encouragement. floral design competition for a photo shoot for this
Special appreciation and thanks is given to revision.
Ronnie Barrett, Flowers by Barrett, Moultrie, Thanks to Jill Stringfellow, Jill Stringfellow
Georgia, and his staff, Theresa Clayton, Robin Ward, Photography, Moultrie, Georgia, for her
and Charlotte Young, who were always extremely photoshopping skills.
helpful. Ronnie spent hours of his time with me, I would like to thank the team at Cengage,
discussing the current trends in the floral industry. especially Jennifer Starr for her help on a variety
He shared his wisdom of the floral world and many of tasks and her encouragement, which ensured the
of his personal photographs of arrangements and completion of this edition. Also, thank you to Betsy
displays of different holidays and seasonal events. Hough and Manoj Kumar for their guidance during
Special thanks go to Jimmy Singletary, Singletary’s the production process.
Flowers & Gifts,Thomasville, Georgia, for his advice A special thank you to the following reviewers
and critique of photographs of floral designs. who spent hours of their time and shared their
I am grateful to Marie and Brett Johnson, Marie’s thoughts and comments regarding the new edition:
Flower and Gift Shoppe, Moultrie, Georgia. They
Kendall Green
were always helpful in answering questions regarding
Agriculture Teacher
arrangements or trends.
Patterson High School
Thank you to Jim Womack, owner of Tri-State
Patterson, CA
Wholesale Florist, Albany, Georgia, and to Scott
Hogan and the remainder of the staff for their always Nan Hamilton
friendly assistance in whatever the task at hand, Agriscience Teacher
whether it was using their inventory for a photo Northern Burlington Country
shoot or ensuring the order was filled for corsages, Regional High School
arrangements, or other items for this revision. Columbus, NJ
Also, thank you to Megan Hinson, Tammy
Cassie J. Miles
Johnson, and the remainder of the staff of Hornbuckle
Agriculture Department Head
Wholesale Florist, Omega, Georgia, for their always
Plant City High School
friendly and helpful assistance no matter the task in
Plant City, FL
completing this fourth revision.
Thank you to Susan Mullis, The Flower Gallery,
Valdosta, Georgia, and Bobbie Harris,Artistic Flowers,

xv
2
 SECTION 1
An Introduction
to the Floriculture
Industry
1 l Exploring Careers in the Retail Flower Business
2 l The History of Floral Design

3
 UNIT 1

Exploring Careers in the

Retail Flower Business

OBJECTIVE TERMS TO KNOW

To explore careers in the retail flower business. carriage trade shop résumé
designer salesperson
designer’s assistant specialty shop
COMPETENCIES TO DEVELOP
employability portfolio stem shop
After completing this unit, you should be able to:
franchise studio operation
●● Identify the jobs available in the retail flower business. full-service shop wholesale florist
●● Describe the duties of various jobs in the retail flower mass-market shop work sample
business.
●● Identify two types of florists.
●● Describe the training requirements for a job in the retail
flower shop.
●● Prepare an employability portfolio.
●● Identify dos and don’ts for a job interview.

4
INTRODUCTION

W ELCOME TO THE EXCITING world of floral design. Whether you are interested in a career in the floral industry or want
to learn to make floral arrangements for your own enjoyment, you are going to be challenged and rewarded by the activ-
ities included in this book. You will also develop a greater appreciation for the artistry and creativity that go into a floral design.
As you read this book, you will realize that America is becoming more conscious of flowers. Think of all the places or oc-
casions you have seen flowers used: weddings, hospitals, parties, receptions, homes, banquets, funerals, and many others.
During happy and sad times, Americans express their feelings with flowers.
The retail florist industry has been promoting the use of flowers, not just on special occasions but also for regular pur-
chase for the home. Flowers add a feeling of warmth and welcome unlike that of any other room accessory.
If you have abilities as a creative designer, you may want to consider floristry as a career. To the person who enjoys work-
ing with flowers, this career is appealing and rewarding. Not only will you be selling flowers, but you will also be selling the
feelings that go with flowers. Ask a young lady how she felt when she received her first bouquet of roses. Flowers have a
message—whether it be love, excitement, or sympathy—and a florist shares in the emotional response created by the flowers.
If you like working with flowers but are not a talented designer, you may want to consider a job in the florist industry
other than designing. ✽

TYPES OF FLOWER SHOPS
Different types of shops serve different groups of the
population. A florist shop should tailor its services to
the needs and desires of the clientele in its area. The
different types of flower shops and a brief explanation
of each are listed below.
Full-Service Shop
A full-service shop is the traditional retail shop
offering a wide variety of services and products.
Products available at a full-service shop include fresh
flowers, blooming plants, balloons, novelty giftware,
and silk and dried arrangements. Such a shop also
offers regular and special delivery, setups for special
events, charge accounts, and wire service.
Specialty Shop
A specialty shop targets a particular need in the
market by specializing in one segment of the
industry. A shop may specialize in weddings, potted
plants, or some other area. Specialty shops are often
located adjacent to another business that services the
same need in a different area. For example, a specialty
wedding shop might locate next to a bridal shop.
Carriage Trade Shop
A carriage trade shop caters to an elite clientele, such
as wealthy private-party accounts and corporate
accounts. It may offer the same services as a full-
service florist, but caters to the special tastes of its
clients.The prices of goods are higher, corresponding
to the elite services, product lines, and designs
offered. It is important for the carriage trade shop to
understand the lifestyles of its clients.
Stem Shop
Stem shops are cash-and-carry operations that offer
a wide variety of flowers by the stem or bunch.They
do not usually offer design services or delivery. Such
shops are usually located in high-traffic areas in larger
cities, either inside a building or on the street.
Studio Operation
A studio operation concentrates on specialty and
party work for an exclusive client base. The studio
may operate out of a warehouse without a storefront
because most sales are made by appointment at the
customer’s home or business.
Franchise Shop
A franchise is usually purchased from a parent
company and operated according to that company’s
rules and regulations. The prospective owner
purchases or builds a shop. Sometimes the products
for resale must be bought from the parent company.
The price of a franchise is usually high, and the owner
may have to pay a percentage of gross sales to the
parent company. In spite of its higher cost, a franchise
provides the business with instant recognition.

UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS 5


FIGURE 1-1 l A wholesale florist employee is pulling an
order of flowers for a retail florist.
Mass-Market Shop
A mass-market shop is located in a general
merchandise chain store or grocery store. These
shops usually offer fresh arrangements, potted plants,
balloons, and cut flowers by the stem or bunch. Mass-
market shops are cash-and-carry operations and do
not offer delivery service.
Wholesale Florist
The wholesale florist is an important link between
the grower and the retail florist. The wholesaler
purchases flowers from all around the world and
supplies them to the local retail shops. FIGURE 1-1
shows a wholesale florist employee filling an order for
a retail florist. In addition to cut flowers and greens,
the wholesaler supplies plants, giftware, and related
supplies, such as ribbon, wires, and accessories.
JOB OPPORTUNITIES IN THE RETAIL
FLOWER SHOP
Retail flower shops are present in nearly all towns
of any size throughout the United States. Most of
these are individually owned or family-operated
shops employing fewer than ten people (FIGURE 1-2).
An employee in one of these shops may be asked to
perform numerous and varied duties.
6 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
FIGURE 1-2 l Most flower shops in the United States are
small shops with fewer than ten employees.
© Gandy Photographers
In large shops with many employees, an individual
is hired to perform a specific job. These shops may
be individually owned or may be part of a chain of
retail shops in which each store has its own manager.
Whether a small or large retail flower shop,
work in a flower shop is highly seasonal. Holidays,
weddings, and funerals are times when flowers are in
great demand. Employees may be expected to work
long hours during these times.
Job opportunities in the retail flower shop may
be divided into three areas, as listed in FIGURE 1-3.
Managerial and Supervisory:
Owner or Manager
Whether you own or manage a flower shop, your
responsibilities are similar. These include hiring,
training, and supervising designers, salespersons,
and delivery persons. Other responsibilities include
1. Managerial and supervisory
A. Flower shop owner
B. Flower shop manager
2. Technical
A. Designer
B. Designer’s assistant
3. Service workers
A. Salesperson
B. Office worker
C. Delivery person
FIGURE 1-3 l Jobs in retail flower shops.
FIGURE 1-4 l Retail flower shop owner-manager.

planning work schedules, ordering supplies and

flowers, coordinating sales promotion and advertising,
and supervising or keeping shop records. Pricing
products or training others to do so is another duty of
the owner-manager (FIGURE 1-4).
Because of the nature of their duties, owner-
managers must have a good business background.
In most small flower shops, the owner-manager also
works as a designer and/or salesperson. Often the
owner-manager may not handle routine sales, but
is responsible for planning and pricing weddings,
receptions, and large parties.
FIGURE 1-5 l Floral designer.
determines the level of customer satisfaction, and a
happy customer means repeat business.
Technical: Designer’s Assistant
The designer’s assistant is a person training to
become a designer (FIGURE 1-6). Designer’s assistants
work with a designer and thereby are able to observe
the construction of a variety of floral designs. They

Technical: Designer
The floral designer arranges flowers and plant material
in an artistic manner and so must have an understanding
of the principles of design. Designers must also have
extensive knowledge of flowers and their care, as well
as of the supplies used in a flower shop. They must be
able to construct arrangements for the home, hospital,
funeral parlor, and various special occasions.
Most shops usually designate one person as
the head designer, often the manager or owner
(FIGURE 1-5). In very large shops, someone else
may be assigned this task. The head designer assigns
specific work to the other designers and is usually
responsible for making sales that involve special
work, such as a wedding or large party.
In many shops, the head designer orders flowers and
supplies. This is a difficult job because the buyer must
predict in advance the quantity of materials that will be
needed. If the shop runs out of flowers, it costs the shop
in lost sales. If too many are ordered, they go to waste.
Designers hold an important position in the
flower shop. The quality of their workmanship FIGURE 1-6 l Designer’s assistant.

UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS 7

usually coordinate the designer’s orders, keeping
adequate materials on hand. The assistant may
prepare containers, select and wire flowers, and
construct bows for arrangements. After the designer
has completed an arrangement, the assistant fills out
a card or delivery tag, places it on the arrangement,
and prepares the product for delivery.
As assistants gain experience, they will be
allowed to make bud vases, corsages, and smaller
arrangements. The difficulty of the orders given to
the assistant will increase as the assistant receives
further training and experience. The assistant may
become a designer after one to two years.
Service Worker: Salesperson
The salesperson possesses skills in the art of selling.
The first encounter a customer has in a flower shop
is often with a salesperson (FIGURE 1-7). For this
reason, the salesperson’s job is vital. Having the best
designs in town is of little good if the salespeople
are turning away customers. Customer satisfaction
that leads to repeat flower buyers is necessary for a
successful flower business.
In very large flower shops, salespeople may be
assigned to either telephone sales or direct customer
sales. However, in most shops, the salespeople
perform both services. For this reason, they must
have versatile and effective selling skills.
It is not realistic to think you can walk into a
flower shop and instantly become a salesperson.
Selling requires training and daily preparation.
Salespeople must have a thorough knowledge of
flowers, flower care, and floral designs. They must be
able to offer customers appropriate suggestions.
FIGURE 1-7 l Salesperson.
© Syda Productions/Shutterstock.com.
8 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
In addition to having a good sales presentation,
the salesperson should have a friendly attitude.
Attitude communicates to the customer how you
feel about yourself, the company you represent, and
the customer. Remember, you are not only selling
flowers; you are selling yourself as well.
Service Worker: Office Worker
In most small flower shops, the owner-manager also
completes the duties of an office worker. Larger
shops usually have a designated office worker who
keeps the flower shop records and sends out the
monthly statements.
Service Worker: Delivery Person
Most retail flower shops are full-service florists,
offering delivery services. Delivery is a convenience
to the customer and makes it possible for the customer
to shop by telephone. This service distinguishes full-
service florists from mass-market florists, such as
those in grocery stores.
Delivery personnel should always be well
groomed and well mannered (FIGURE 1‑8). They
come into contact with many people while making
deliveries. The image that they present reflects on
FIGURE 1-8 l Delivery person.
© Stephen Coburn/Shutterstock.com.
the shop. For this reason, it is important that they
make a good impression.
Duties performed by delivery personnel may
include packaging orders and loading flowers into the
delivery truck. These employees should be familiar
with the delivery area so that they can make deliveries
quickly and efficiently. Delivery personnel should be
capable of repairing damaged arrangements so that
flowers do not have to be returned to the flower
shop, causing delays in delivery. In most small flower
shops, delivery personnel are asked to perform other
tasks in their spare time.

TRAINING FOR A JOB IN THE RETAIL

FLOWER SHOP
Most employees of retail flower shops receive their
training on the job. Many of these begin as a salesperson
or designer’s assistant and work their way up to
designer, head designer, or owner-manager. Trainees
in a flower shop usually attend many of the designer
schools and workshops provided by their state florist
association or other groups. Even skilled designers
participate in these workshops to sharpen their skills
and keep abreast of the latest design techniques.
FIGURE 1-9 l Many designers, such as this one, began
The greatest prerequisites to a career in the retail
their career in a high school horticulture class.
flower shop business are some artistic ability and
a love for working with flowers. A good business
want to wait until you graduate and then seek full-time
background is also helpful. If you possess these
employment? Examine the employment opportunities
characteristics, you can begin preparing right now in
in your area. If you live in a small town with a limited
the floral design class offered in your school. Many
number of florists, you may have to move to a larger
designers today began their career in a high school
town, where employment opportunities are greater.
floral design class and then receive additional training
on the job (FIGURE 1-9). Many state FFA (Future
Farmers of America) associations offer flower shows
LOCATING JOB OPPORTUNITIES
and competitions in flower arranging. Participating Once you have established your goal, you need to
in these will help you gain experience and further find a florist with a job opening. There are many
develop your flower-arranging skills. You may also ways to identify openings and employers. Your
want to enroll in some business classes offered in agricultural education instructor is a great place to
your high school. start. Share your goals with your instructor. Many
A number of floral design schools are located floral design teachers know the florists in the area
throughout the nation. If you are interested in and may know of employment opportunities.
receiving further training at one of these, talk to your Go to your local state employment office. Many
instructor about schools in your area. Should you companies rely on them for all of their personnel
decide to attend, examine the school, its curriculum, resources.
and instructors very carefully. You may want to check with private employment
If you have decided to pursue a career in the floral firms. They make their money by charging for their
industry, then set some goals for yourself. Do you want services, usually a percentage of the annual salary.
to work part time while you are still in school, or do you Sometimes the company pays, and sometimes you pay.

UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS 9

 Go online to find a list of the florists in your area,
on websites such as Monster.com and Indeed.com.
Then prepare for a personal visit to the shops to
inquire about job possibilities. The remainder of this
unit will help you prepare to make these inquiries.
EMPLOYABILITY PORTFOLIO
A popular trend for people seeking employment
is the development of an employability portfolio,
a collection of documents that shows you have
knowledge, mastery, and job readiness in a particular
occupational area.This portfolio gives your potential
employer immediate proof of your qualifications.
The employability portfolio should include, but
not be limited to, the following:
■■ Letter of introduction
■■ Table of contents
■■ Letter of application
■■ Completed job application form
■■ Résumé
■■ Letter of recommendation
■■ Work samples
Letter of Introduction
The letter of introduction introduces the reviewer
to the portfolio (FIGURE 1-10) and should be both
personal and informative. Tell about yourself. List
your personal and career goals and how you plan
to reach those goals. Write about your strengths and
weaknesses. Describe some of your achievements
and how your work has improved.
Table of Contents
After completing all the sections of your employability
portfolio, develop a table of contents to assist
reviewers in locating different portfolio sections.
Letter of Application
A letter of application is written to fit a specific job
with a specific employer. It states your skills and
abilities as they apply to a particular job. It should be
sent as a part of your portfolio, or if you choose not
to complete a portfolio, it should be sent with your
résumé. Your letter of application expresses your
interest in both the job and the company.
Keep the letter brief and to the point. Sell the
employer on the idea of granting you a job interview.
Express your reason for contacting the company, and
10 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
expound on your qualifications for the job. At the
closing of your letter, state a time that you will call to
schedule an appointment to discuss your qualifications.
See FIGURE 1-11 for an example of a letter of application.
Job Application Form
The job application may be a general job application
(see FIGURE 1-12) or an actual application from industry.
If you have not included one in your portfolio, you
may be asked to complete a job application before
your interview or on arriving for the interview.
Although most companies have their own version of
an application, they ask basically the same questions.
Come prepared to answer the questions on the
application. Have a record of former employers, their
addresses, and the dates you were employed. Include
summer work and volunteer work if you have not
been previously employed at a regular job. Also, be
prepared to give reasons for leaving the employment.
Fill out the job application form legibly and
neatly. Print your responses on the application. Fill
in every blank. If a question does not apply to you,
write in N/A for “not applicable.”
The job application form gives the potential
employer a first impression of you. Make certain that
it is a good one. A neat and complete job application
form shows that you know how to follow directions
and that you are thorough.
Résumé
When applying for a job, you will need a résumé, and
it should be a part of your employability portfolio. A
résumé is a list of your experiences relating to the kind
of job you are seeking (FIGURE 1-13). There are many
styles or forms of résumés.The Internet has a number
of sites dedicated to résumé writing, and computer
programs are available at many stores that sell software
programs. These programs are available to help you
create a résumé that will attract employers’ attention.
Most résumés are done in an outline form, but
remember to keep your résumé short and simple. A
résumé is not an autobiography; it is a sales brochure.
You are selling yourself and your ability to do the
job. As a general rule, include only those items that
demonstrate your ability to do the work. If a résumé
is too long, too wordy, or too disorganized, it often
gets thrown in the wastebasket. The best résumés are
usually only one page in length.
 Lindsay Kilgore
2222 South Main Street
Anytown, US 00000

June 20, 2018

TO WHOM IT MAY CONCERN:

This letter is to introduce myself and to tell you a little about my career
goals. I have always loved flowers and plants. My career goal is to
work in the floriculture industry and I am particularly interested in the
floral design area.

Lindsay Kilgore As I was growing up, my parents were very interested in flower
gardening and I have inherited their love of flowers. They grew flowers
and always had a fresh bouquet of flowers in our home during the
growing season. They also shared their flowers with friends and
neighbors. This love of flowers is why I enrolled in a floral design class
Strong Creative Design
Communication Oriented at my high school as well as other floriculture related classes.

My employment at Walmart Garden Center further enhanced my

interest in flowers and potted plants. Caring for these plants on a
daily basis stimulated my interest in a career in the floriculture area. I
enjoyed the floral design class in high school. During my employment at
Walmart, I practiced making floral arrangements at home with flowers
from my parents’ garden. I enjoyed sharing them with family and
friends as well as making arrangements for church. I feel I have some
talent in this area. This is why I am pursuing a job in floral design.

Sincerely,

Contact Me
Lindsay Kilgore
2222 South Main Street
Anytown, US 00000

(229) 999-0000

ljk43@gmail.com

FIGURE 1-10 l Sample letter of introduction.

UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS 11

 Lindsay Kilgore
2222 South Main Street
Anytown, US 00000

July 15, 2018

Mrs. Brooke Sassy

Owner
Sunny Side Florist
Anytown, US 31768

Dear Mrs. Sassy:

Lindsay Kilgore Today when I visited your shop, John, one of your salespersons, told
me about the opening your florist has for a designer’s assistant. He
gave me your name so that I could write to you directly.

I have been enrolled in the Environmental Horticulture program at

Colquitt County High School for the past two years. One of those years
Strong Creative Design
Communication Oriented has been in Floral Design Class and I have decided to pursue a career
in this area. I am particularly interested in working at your shop because
Samantha, one of your designers talked to our class this past semester
and demonstrated how to do several designs. I was most impressed with
her work and her friendly attitude. I have some work experience as a
sales associate in the garden center of the local Walmart.

Mrs. Sassy, I ask that you review my enclosed employability portfolio

and consider me for employment for the designer’s assistant opening
at Sunny Side Florist. My work ethic, knowledge and experience will
be an asset to your shop. I sincerely hope you will consider me for
employment. I will be in contact with you on May 22nd to confirm
receipt of my cover letter and resume, and to schedule a convenient
time for an interview should my work experience and skills be suitable
for the position. Thank you for your time and consideration, and I look
forward to hearing from you.
Contact Me
Sincerely,
2222 South Main Street
Anytown, US 00000

(229) 999-0000
Li d
Lindsay Kil
Kilgore
Enclosure

ljk43@gmail.com

FIGURE 1-11 l Sample letter of application.

12 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY

FIGURE 1-12 l Sample application for employment.

UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS 13

FIGURE 1-12 l (continued)

14 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY

 Lindsay Kilgore

OBJECTIVE
Seeking an entry-level position in Floral Industry

EDUCATION
Strong Creative Design
Communication Oriented Colquitt County High School, Anytown, US
• Floral Design Program
• Expected Date of Graduation, May 30, 2018
• Relevant Courses: Floral Design, Greenhouse Production

SKILLS
Floral Design
• Know procedures for conditioning cut flowers and greens.
• Construct boutonnieres and corsages.
• Construct basic floral arrangements.
Floriculture
• Can identify 35 different plants sold in floral shops.
• Can advise customers on plant care.

EXTRA CURRICULAR ACTIVITES

Contact Me
• Vice-President, Colquitt County FFA Association
• First place, state FFA floral design contest
2222 South Main Street • Future Career and Community Leaders of America (FCCLA)
Anytown, US 00000

(229) 999-0000

REFERENCES
ljk43@gmail.com Available upon request

FIGURE 1-13 l Sample résumé.

UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS 15

 There is no official format for writing a résumé.
You may use the following outline as a guide in
completing your résumé. Alter, expand, or modify it
to suit your wishes.
Heading
Give the employer your name and where you can be
reached. Make sure to include your name, address,
phone number with area code, and email, in a place
that is clearly visible on the résumé.
Job Objective
State what kind of job you are seeking. Keep this to
one short sentence. If you have no experience, state
that you are “Seeking an entry-level position as a
designer’s assistant.”
Education
On one line, give the date you will be graduating, the
type of diploma you will be receiving, the school’s
name, and the city-state address. Under the name of
your school, list a few of the courses you have taken
that would help you qualify for the job.
Skills and Abilities
This area may or may not be a part of your résumé.
If you do not have any work experience, then listing
any skills or abilities that would qualify you for the
job will be helpful. List any workshops, trade shows,
seminars, or self-study courses that you have taken.
Work Experience
If you have work experience—full time, part time,
volunteer, or charitable—put it in your résumé. List your
most recent job first. On one line, list the date you left
that job or write “Present” if you are still employed, your
job title, the name of the company, and the company’s
address. Directly under that line, briefly describe the
duties you performed while you were in this job.
Extracurricular Activities
Extracurricular activities show leadership capabilities,
team spirit, interest, and experiences that you have
had. If you do not have work experience, these can
be particularly important.
References
References are people who can give information
about you, your attitudes, and your abilities. Try to
16 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
select people who know you from different activities.
Be sure to ask the individuals for their permission
to use them as references. For each reference, you
will need the person’s name, job title, organization,
address, and telephone number.
The notation “References available on request”
is often included on the résumé instead of listing
individual references. However, you always need to
have the list available in case it is requested.
If you are using a word processor on your
computer to type your résumé, choose a font that
is easy to read. Use only standard abbreviations, and
spell out any acronyms. For example, instead of using
FCCLA, spell it out: Future Career and Community
Leaders of America.
Letter of Recommendation
Your employability portfolio should contain one or
more letters of recommendation. At least one letter
should be from a credible source that has knowledge
of your specific skills. Other letters of recommendation
may be from other sources, to represent your character
traits and other personal or academic accomplishments.
Work Sample
Your work sample should showcase your best work.
Take pictures of your work, and add a caption
describing the work sample, steps taken to complete
the work sample, skills demonstrated by your work
sample, and what you learned or how you could
improve the work sample.
FOLLOW-UP CALL OR EMAIL
The follow-up call or an email to the shop owner
is most important. Shop owner-managers receive
many inquiries about the availability of jobs, and
they are probably not going to call you. They figure
that if you really want to work for them, you will do
more than send them a copy of your employability
portfolio or résumé.
Practice what you are going to say before you
call. Be friendly and speak clearly. Do not be put
off if the manager says there is no opening at the
present time. Ask if he or she can meet with you and
discuss your qualifications for future job openings.
Sometimes shop owners will create a position if the
right person comes along.
THE INTERVIEW
The interview is an opportunity for you to meet
with a representative of the florist to which you
have applied. It is a chance for you to sell yourself.
If you are going to do well on the interview, you
must show the interviewer that you are capable of
doing the job or learning it quickly and that you
are reliable and do not need constant supervision.
Interviewers also look for workers with a good
attitude, who can work well with other people in
the shop.
Interviews at most flower shops are usually very
informal, but they can also be scary. Prepare ahead of
time so that you do well on the interview. Make a
list of potential questions the interviewer might ask.
Here are some suggestions; you can search online for
additional suggested questions:
■■ Tell me about yourself.
■■ Tell me about your education.
■■ Tell me about your previous jobs.
■■ What are your goals?
■■ Why do you want this job?
■■ What are your strengths?
■■ What are your weaknesses?
■■ How would you (or someone else) describe your
personality?
■■ With so many applicants, why should I hire you?
■■ What do you plan to be doing in five years?
Ten years?
■■ Do you plan to continue your education?
■■ Why did you leave your previous job?
■■ Why would you like to work here?
■■ What did you like and dislike about your last job?
■■ Can you work well under pressure?
■■ How long will you stay with us?
■■ Do you have any questions?
Seek the advice of others who have been on
interviews to help you compile your list of questions.
Then practice your answers. Ask a friend to play the
role of manager. Practice until you are relaxed and
confident with your answers. Now you are ready for
your interview. The following dos and don’ts will
help you make a good impression.
Do
■■ Be clean and neatly dressed. Appropriate dress is
the same as that worn on the job.
UNIT 1 EXPLORING CAREERS IN THE RETAIL FLOWER BUSINESS
■■ Learn all that you can about the florist and the
job for which you are applying.
■■ Be prepared to talk about yourself—your accom-
plishments, skills, and abilities.
■■ Arrive a few minutes early.
■■ Be alert and enthusiastic.
■■ Be friendly.
■■ Maintain good eye contact.
■■ Speak clearly and in a pleasant voice.
■■ Answer questions as completely and truthfully as
possible.
■■ Maintain good posture.
■■ Ask questions about the job.
Don’t
■■ Be late.
■■ Chew gum, smoke, or eat candy.
■■ Slouch or slump when sitting.
■■ Bring a friend with you to the interview.
■■ Be dishonest when answering questions.
■■ Ask about salary and benefits. Wait for the man-
ager to bring up the issue of wages.
Interviewing for a job with a floral shop can
be different from interviewing for most other jobs.
You may be asked to demonstrate certain skills such
as making a corsage or an arrangement. This can
be scary, but it also gives you the opportunity to
showcase what you can do.
When the interview is about over, offer a closing
statement. Summarize your strengths, and ask for the
job. Many people interview and never ask for the job.
Also ask when you might expect to hear from
the interviewer. Regardless of the outcome, smile
and thank the manager for talking with you. Give
a firm handshake. Ask when you might call and
inquire about the decision.
AFTER THE INTERVIEW
It is good manners to send a typed follow-up letter or an
email after the interview. These could make you stand
out from the competition, and it keeps your name alive
in the manager’s mind. It also tells the manager that you
really want the job. Write the letter or email as soon as
you get home from the interview. If you have not heard
from the manager in a few days, call or email to inquire
about the position. If he or she has not made a decision,
this lets the manager know that you are still interested
17
 SUMMARY
Most retail flower shops are small businesses, so jobs
within the shop are not usually limited to one area.An
employee may be asked to perform a variety of tasks.
A career in the retail flower business is an excel-
lent choice for those individuals who enjoy work-
ing around flowers and plants. Work in a retail florist
is highly seasonal, with flowers in especially great
REVIEW QUESTIONS
1. Why is it important that the delivery person
for a flower shop be well groomed and well
mannered?
2. What is the difference between a full-service
florist and a mass-market florist?
3. How can the national or state FFA association
help you train for a job in the retail flower shop?
STUDENT ACTIVITIES
1. Visit a flower shop and question the employees
about their jobs.
2. Ask your teacher to invite the owner-manager
or designer from a local flower shop to talk to
the class about careers in the retail florist industry.
3. Select one job opportunity and make a list
of the duties performed on that job and the
requirements for employment in that area.
4. Write about a situation where you used
flowers or saw flowers being used. How did
they make you feel?
18 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
demand on holidays. Employees are expected to
work long hours during these times. Because most
weddings take place on weekends, employees may be
asked to work longer hours during these events also.
Even though flower shop employees are often re-
quired to work long hours, most florists love their work
and receive great personal satisfaction from their job.
4. Why is a friendly service attitude an important
attribute of a salesperson?
5. How can designers gain more experience in
floral design and learn the latest techniques?
6. List five items that should be included on
the résumé.
7. List five dos and five don’ts of interviewing.
5. Prepare an employability portfolio for a
specific job.
6. Make a list of possible questions that might be
asked on an interview.
7. Role-play a job interview situation, with one
student playing the role of the interviewer and
one the role of the job applicant.
8. Ask your teacher to assist you in planning a
supervised agriculture experience program.
See Appendix I for ideas.
 UNIT 2

The History of Floral

Design

OBJECTIVE TERMS TO KNOW

To relate how designs from historical periods influence American federal period Gothic period
contemporary designs. Baroque period Greek period
Byzantine period line arrangement
COMPETENCIES TO DEVELOP chaplets line-mass style
Colonial Williamsburg period Louis XVI period
After completing this unit, you should be able to:
cornucopia mass designs
●● Identify the origins of many of the floral designs that are
Dutch-Flemish period Middle Ages
popular today.
Early American period nosegay
●● Identify the characteristics of mass, line-mass, and line
Egyptian period occidental style
designs.
Empire period oriental style
English-Georgian period Renaissance period
faience Roman period
French Baroque period tussie-mussie
French Rococo period Victorian period

19
INTRODUCTION

F LOWER ARRANGEMENT IS CONSIDERED an art. How do we arrange flowers so that they become a work of art?
In Unit 3, we will learn that design principles guide us in creating arrangements that are works of art. What are these
principles, and where did they originate? They are fundamental truths proved by master artists over the centuries. To
understand the principles of design and their origin, we need to look at the history of the art of flower arranging.
A knowledge of the floral arts of earlier cultures is important to better understand the flower arrangement styles used today.
In addition, designers are sometimes required to create flower arrangements that depict a specific period or style of design. For
example, a customer with a Victorian home would want arrangements that complement the Victorian period in history.
A study of the history of floral design reveals that two different concepts of floral design developed independently of
each other. Our sources of inspiration have been the occidental style, which evolved in Egypt and was further developed
by the Europeans, and the oriental style, which began in China and was later developed by the Japanese. ✽

CLASSICAL PERIOD The Egyptians liked to wear wreaths of flowers,

The remains of many ancient cultures provide us
with ample proof that people have always appreciated
the beauty of flowers. They show that flowers were
a source of inspiration for decorating the home or
were presented as offerings.
Egyptian Period (2800–28 bc)
Ample evidence exists to show that the ancient
Egyptians decorated with cut flowers placed in vases.
The usual Egyptian container was a basin or a wide-
mouth bowl that tapered to a narrow base. Such
bowls of gold, silver, pottery, and faience (ware made
of finely ground silicate) were fitted with devices for
holding flowers and fruit.
Floral arrangements of the Egyptian period were
simplistic, repetitious, and highly stylized. Flowers
were set in regimented rows around the edge of
the vase, an ample 2 inches above the rim. These
blossoms were flanked by leaves or buds on slightly
lower stems. There was no bunching or overlapping
of material.
Faience bowls for flowers had holes around the rim
through which flowers were inserted. Blossoms in tall
spout vases came straight from the opening with no
stems visible.
The primary colors of red, yellow, and blue, as
well as other vibrant color combinations, were used
predominately in floral designs. Because the lotus,
or water lily, was the flower of the goddess Isis, and
therefore considered sacred, it was used often. Bowls
of fruits and flowers were also used but always in
orderly sequence of color and shape.
as well as flower collars, and made chaplets for their
hair. They liked to carry bouquets of flowers made
of lotuses, with buds and blossoms of other flowers
threaded into them.
Clarity and simplicity were characteristic of
Egyptian floral designs. The Egyptians did not
care for confusion or complexity. Two artistic
functions prevailed in these designs: repetition and
alternation—one flower around the rim of a vase
and alternation of color, blue followed by green,
then by blue again.
Greek Period (600–46 bc)
The ancient Greeks were so dedicated to beauty
that their art heritage has lived through the ages and
influences today’s art. However, the Greeks did not
arrange their flowers in vases or bouquets. FIGURE 2-1
has been reproduced from a very rare Grecian example
of decorated terracotta showing plant material in vases.
Yet flowers are lacking here as in all examples from
the Greek period. The leafy branches are probably of
olive, for this is part of a bridal scene, and the olive
was associated with weddings.
Flowers were commonly scattered on the ground
during festivals and used to make garlands worn
around the neck and wreaths or chaplets worn on
the head. Because the wreath was the symbol of
allegiance and dedication, it was awarded in honor
to athletes, poets, civic leaders, soldiers, and heroes.
Funeral graves were decorated with garlands of
flowers, as were banquet tables. Wreaths were so
much a part of the Greek way of life that books were

20 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY

FIGURE 2-1 l The Greeks placed branches of foliage into
vases but did not include flowers.
written to describe the appropriate flowers, forms,
and etiquette for wearing them.
Greek designs expressed grace and simplicity.
Color was not important. Instead, the flowers,
fragrance, and symbolism associated with each
flower were of foremost importance. Flowers were
often symbolic of a god or hero.
The cornucopia, or horn of plenty, was first
introduced by the Greeks (FIGURE 2-2). Originally,
it was placed in an upright position, whereas today
it is laid on its side, with contents overflowing and
spilling out. As the symbol for abundance, we often
associate it with our Thanksgiving celebrations.
Roman Period (28 bc–ad 325)
The Romans contributed little that was new in the
use of flowers but continued the customs of the
Greeks.Wealth and power, however, led the Romans
to greater luxury in the use of flowers, and they were
used in abundance at religious rites and banquets. At
banquets, roses were strewn on the floor to a depth
of two feet, and flowers “rained” from the ceiling.
The fragrance of so many flowers was said to be
suffocating. So customary was the use of roses at the
evening meal that it was called “the hour of the rose.”
FIGURE 2-2 l The cornucopia.
© IngridHS/Shutterstock.com.
One custom that appears in the Roman period is
the use of scarves for carrying flowers. Flowers were
carried on a scarf and offered at an altar as a part of
Roman religious ceremonies. The use of wreaths and
garlands was continued from the Greeks. However,
the Roman wreaths and garlands were heavy and
elaborate. Wreaths, like high crowns, came to a point
over the forehead. Garlands were even more elaborate,
being wide in the center and tapering toward the ends.
There is evidence that the Romans actually
arranged flowers in baskets.These baskets were high at
the back and flattened in front.The flowers were placed
low between feathery branches so that the flowers
were clearly visible. This required adequate spacing of
the branches. The flowers used in these arrangements
were highly fragrant and bright in color.
Byzantine Period (ad 320–600)
In the fourth century, Byzantium was chosen by the
first Christian emperor, Constantine, as the Eastern
capital of the Roman Empire. Soon afterward, the
Western Roman Empire was overrun by barbaric
UNIT 2 THE HISTORY OF FLORAL DESIGN 21
tribes and entered that period of turmoil that we
call the Dark Ages. Byzantium was able to protect
itself from foreign conquest until 1453, when it was
captured by the Ottoman Empire of the Turks.
In the Byzantine period, Greek and Roman
flower usage styles were continued, but the garland
was constructed differently. The background was of
foliage into which tiny flowers were set in arching
lines, to give a twisted effect.
Byzantine flower compositions were distinguished
by height and symmetry. Containers were filled with
foliage to resemble symmetrical, conical trees. These
were decorated at regular intervals with clusters of
flowers or fruit (FIGURE 2-3).
FIGURE 2-3 l This conical tree design was inspired by
the conical designs of the Byzantine period.
22 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
EUROPEAN PERIODS
OF FLORAL DESIGN
Several important periods of floral history have
influenced European floral art. As you study these
periods, you will begin to see floral styles that have
influenced the styles popular today.
Middle Ages (ad 476–1400)
The centuries between the fall of Rome in 476 and
the dawn of the Renaissance in the fifteenth century
are called the Middle Ages.These were years of unrest
and confusion in Europe. Order and security were
slow to emerge.
We know little of the uses of flowers in Europe
from the seventh century to the thirteenth. Monks
grew herbs for medicine, and fruits and vegetables
for eating. Flower gardening as such did not exist.
We know, however, that monks were familiar with
many wildflowers, for glimpses of them appear in
the manuscripts on which they worked.
During the later part of the Middle Ages, known
as the Gothic period, flowers began to take a more
important role in daily life. Borders of manuscripts,
as well as altar pictures and their frames, blossomed
with painted plants and flowers.
Renaissance (ad 1400–1600)
The Renaissance period saw a rebirth of many
interests, particularly in the arts. The Renaissance
began in Italy but quickly spread to all of Europe.
The Renaissance style was greatly influenced by the
Byzantine, Greek, and Roman periods. Flowers in
vases are often shown in paintings from this period,
as great emphasis was placed on flower symbolism.
Characteristic floral arrangements of the
Renaissance were flowers arranged in vases so that
only the blossoms were visible. Stems were covered,
creating a massed, symmetrically stiff arrangement.
Even though the flowers were compactly arranged,
each flower stood out because of the variety of
bright colors and kinds of flowers that were used.
The Renaissance was given to pageants and
festivals, and artists were commissioned to design
floral pieces for them. Fruits, blossoms, and leaves
were woven into garlands to decorate walls and
vaulted ceilings. Petals were piled into baskets to
strew on floors and streets or to float down from
balconies into rooms below.
 Many traditional floral designs created today are
styled from the Renaissance arrangements, such as
the Christmas wreath of fruit, cones, and flowers.
Baroque Period (ad 1600–1775)
The baroque style, like that of the Renaissance,
originated in Italy and spread to the rest of Europe.
In the works of Michelangelo and Tintoretto, we
see examples of this new style emerging. By 1650,
baroque arrangements could be seen in paintings
and tapestries of the period.
Early in the Baroque period, arrangements were
typically massed and overflowing. They were often
created as symmetrical, oval-shaped designs. Later
in the period, asymmetrical curves in the shape of
an S or a crescent became popular. The S curve
(FIGURE 2-4) was created by an English painter
named William Hogarth. The Hogarthian curve is
still quite popular in modern floral designs.
Dutch-Flemish Period (ad 1600–1750)
We also gain insight into the baroque style of
arrangement through flower paintings by the
FIGURE 2-4 l The “S” curve became popular during the
Baroque period.
© 7th Son Studio/Shutterstock.com.
Dutch and Flemish artists. Traditional baroque styles
were refined as they created floral designs for their
paintings. These arrangements were not as loose and
open as those in the contemporary baroque style, but
they were better proportioned and more compact.
A major distinguishing characteristic of the Dutch-
Flemish period is the great variety of flowers within
one bouquet.
It is important to understand that many of these
early artists never actually arranged the flower
bouquets or painted their pictures using an actual
arrangement. This explains why short-stemmed
flowers are often positioned high and flowers from
all seasons are placed side by side.
French Period (ad 1600–1814)
The French styles for decorating changed often
during this period of history. Four basic periods are
discussed here.
The first of these is called the French Baroque
Period. This period occurred during the seventeenth
century during the reign of King Louis XIV. The
French Baroque style was directly influenced by
traditional baroque art. However, certain features
made it purely French in origin. The court society
during the reign of Louis XIV had become idle
and effeminate, with extravagant tastes for luxury.
Feminine appeal became an important characteristic
of the floral designs of this period in France. The
emphasis in flower arrangements was on refinement
and elegance as compared to the flamboyance of the
Dutch-Flemish period.
The second artistic period in France is known as
the French Rococo period. This style began in France
but quickly spread throughout Europe and the
European colonies. This change in style occurred
during the reign of King Louis XV. The informal
designs of the French Baroque gave way to the more
formal, feminine designs that are characteristic of the
French Rococo period. These floral arrangements
were predominantly asymmetrical and curvilinear in
form, with the crescent (C curve) used more often
than the Hogarthian curve (S curve).
Flowers used in Rococo designs were delicate
and airy. The predominant colors were subtle rather
than contrasting.
The third artistic period in France is referred to
as Louis XVI period (late eighteenth century). This
UNIT 2 THE HISTORY OF FLORAL DESIGN 23
period, which showed a continued movement to
femininity in design styles, was brought about by
Queen Marie Antoinette, who favored delicate, cool
colors highlighted with gold.
The fourth artistic period in France was called
the Empire period (1804–1814). Following the
French Revolution in 1789, a new artistic movement
evolved across Europe known as the Classical Revival
period or Neoclassical period.
Nowhere else in the Western world were
neoclassical styles as they were during the rule of
Napoleon Bonaparte in France. Under the guidance
of two of his architects, the Empire design style was
created. These were masculine designs characterized
by militaristic themes. Femininity was dropped from
French design. Empire arrangements were massive
in size and weight. They were more compact than
those of earlier French periods, with simple lines
in a triangular shape and strong color contrasts. A
typical Empire design would be arranged in a heavy
urn containing an abundance of large, richly colored
flowers.
English-Georgian Period (ad 1714–1760)
The English-Georgian period in England was named
after the three English rulers, Kings George I, II,
and III, who ruled England during the Baroque
period. Most English-Georgian arrangements were
formal and symmetrical, often tightly arranged with
great varieties of flowers. During this period, floral
designs were significantly influenced by the Chinese
arts because of active trading between Europe and
the Orient. The Chinese style was incorporated
into Georgian arrangements by the creation of
symmetrical forms, usually triangular-shaped floral
designs.
During the later years of the Georgian period,
floral designs moved away from formality and
symmetry. The fragrance of flowers became
important because it was believed that their perfume
would rid the air of diseases. Because of this belief,
the English created the nosegay, a small handheld
bouquet to carry the sweet scents. Nosegays also
helped mask the smells of body odors in a society
where bathing often was not believed to be healthy.
These small, handheld bouquets are often called
tussie-mussies, sometimes spelled “tuzzy-muzzy.”
The word tuzzy refers to the old English word for
24 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY
a knot of flowers. These bouquets were first used
solely for fragrance but soon became a fashion
trend. Women of the Georgian period wore flowers
in their hair, around their necks, and on their gowns.
Victorian Period (ad 1820–1901)
Flowers were considered fashionable during the
Victorian period, named after Queen Victoria of
England. However, floral designs during this era
were generally poorly proportioned. Large masses
of flowers were placed tightly into a container to
create a compact arrangement. A typical flower
arrangement would have an asymmetrical balance
and a massed, tightly compact effect. No definite
style of arrangement was prevalent. Designs were
often a blending of the art of previous periods. So
many different colors and flowers were used that the
arrangement appeared unplanned.
The nosegay, introduced during the English-
Georgian period, was very popular. These bouquets
were used as air fresheners, and the flowers conveyed
special sentiment as well.
Toward the end of the Victorian period, attempts
were made to establish rules for floral arranging.
The art of flower arranging was taught by skilled
designers. Hence, flower arranging became a
professional art.
AMERICAN PERIODS
OF FLORAL DESIGN
The early settlers in America brought with them a
European heritage of floral design. As the settlements
became established and trade began to take place, the
arts began to emerge.
Early American Period (ad 1620–1720)
During the Early American period, the early settlers
brought the styles of the Renaissance with them to
America, but life was hard in the new colonies and
they had little time to devote to art and flowering
arranging. The colonists were gardeners, but their
attention was focused on providing plants and herbs
for food and medicine.
As the early settlements became established, the
colonists placed wildflowers, grains, and grasses into
everyday jars, simple pottery, and pewter and copper
kettles and pans.
Colonial Williamsburg Period (ad 1714–1780)
By the time Williamsburg became the capital of the
Virginia colonies, active trading was taking place
with England, Europe, and Asia. The artistic styles
from these areas were adapted into the New World
art. The typical floral arrangement of the Colonial
Williamsburg period was a massed, rounded, or fan-
shaped bouquet that was casual and open in style.The
arrangements were constructed so that the flowers
were lightly arranged at the top while flowers with
greater visual weight were placed above the rim of
the container.

American Federal Period (ad 1780–1820) FIGURE 2-5 l European design was generally a large,
The American Federal period was equivalent to the round, or oval mass of flowers.
English-Georgian period in England. This period
was greatly influenced by the neoclassic and Empire
designs that evolved in Europe at that time. The
colonies had just received their independence from
England, and the American people wanted to break
away from the traditions of England.
The arrangements from this period were often
pyramidal or fan-shaped, influenced by the French
design style. The floral designs were little different
from those found in the neoclassic movement and
gradually gave way to the ornate and stuffy design of
the Victorian period.

Twentieth-Century American Flower

Arrangements
The artistic styles of American flower arrangements
changed little during the early part of the twentieth
century. The Victorian era was coming to a close by
the end of World War I. Flower arrangement styles
were copies of preceding periods or blends of several
design styles. The corsage became popular in the
1920s, to be worn for special occasions. This custom
has survived to the present time.
Major changes were brought about in American
floral art at the end of World War II. This occurred
because of a renewed interest in Japanese culture.
While continental Europe continued the tradition
of the loosely arranged mass designs (FIGURE 2-5),
American flower arrangements incorporated the
line-mass style (FIGURE 2-6). The line-mass designs
combined both oriental and European ideas.
American floral designs used more materials than
the oriental design, but far fewer than the European,
FIGURE 2-6 l A line-mass design combines oriental and
European ideas.
and were often built around a linear pattern, further
showing the oriental influence.
ORIENTAL FLOWER ARRANGING
The oriental style of flower arranging actually began
in India where Buddhist priests scattered branches
and stems on altars or placed them in pottery urns
as decorations. The practice was quickly picked up
and modified by the Chinese priests during the first
century ad. They arranged the flowers in massive
bronze ceremonial vessels, and because they felt it

UNIT 2 THE HISTORY OF FLORAL DESIGN 25

improper to place flowers carelessly on the altar, they
created symbolic arrangements. Chinese arrangements
Heaven
were usually large and symmetrical, with only one or
two types of foliage and flowers placed around a central
branch or main axis. Bright colors contrasting with Man

the color of the urn were favored. The flowers of the

lightest colors were used at the outer portions of the
design, whereas darker ones were kept nearest the base.
Around the sixth century ad, the Japanese adopted
Earth
many aspects of the Chinese culture, including that
of floral arrangement. A Japanese Buddhist priest
named Ikenobo refined that art and ritual, and his
instruction was sought by other Buddhist priests. He
is credited with having begun the first school of floral
art in Japan, which bears his name—Ikenobo. This
school still exists. The name was later changed to FIGURE 2-7 l Oriental design is characterized by minimum
Ikebana, which means “giving life to flowers.” Many use of plant materials, and each placement has meaning.
other schools of Japanese floral design have evolved
from this original one, but the basic principles can be has meaning, as does the angle of placement
traced back to the teachings of the Ikenobo school. (FIGURE 2-7). This type of design came to be known
The Japanese designs are characterized by as line arrangement. If you have an interest in this style
minimum use of plant material and the careful of design, ask your instructors whether they have any
placement of branches and flowers. Each placement books on Ikebana, or check with your local library.

SUMMARY

The history of floral design reveals that two different con- and the oriental style, which began in China and was
cepts of floral design developed independently of each further developed by the Japanese. A look at these two
other. These were the occidental style, which evolved styles reveals that American floral design evolved from a
in Egypt and was further developed by the Europeans; blending of these two different styles of design.

REVIEW QUESTIONS

1. Explain how the oriental and European floral 2. Why is it important for floral designers to have
design styles have influenced the types of knowledge of the history of floral design?
flower shop arrangements sold today.

26 SECTION 1 AN INTRODUCTION TO THE FLORICULTURE INDUSTRY

 STUDENT ACTIVITIES
1. Go online to look for examples of
arrangements that identify with the various
floral design periods.
2. Select pictures of period arrangements
from websites or from interior and home
furnishings magazines. Make a posterboard
display of the arrangements, identifying the
artistic period.
3. Divide into small groups. Each group should
choose an artistic period and prepare an oral
presentation on that period, with emphasis on
floral arrangements of the period.
UNIT 2 THE HISTORY OF FLORAL DESIGN 27
28
 SECTION 2
Getting Started:
The Basics of Design
3 l Principles of Design
4 l Selection of Cut Flowers and Greens
5 l Conditioning and Storing Cut Flowers and Greens
6 l Mechanics and Supplies Used in Floral Design
7 l Selecting Wire and Wiring Flowers
8 l Selecting Ribbons and Tying Bows

29
 UNIT 3

Principles of Design

focal point rhythm

OBJECTIVE form scale
To use principles and elements of design to critique floral designs. harmony secondary color
intermediate color shade
COMPETENCIES TO DEVELOP line split-complementary
monochromatic color color harmony
After completing this unit, you should be able to: harmony tertiary color
●● List and define the principles and elements of design. polychromatic color texture
●● Identify the basic designs used in flower arranging. harmony tint
●● Identify the basic color schemes used in floral design. primary color tone
●● Determine combinations for various color schemes, using principles of design transition
the color wheel. progression triadic color harmony
●● Critique an arrangement, using a rating scale based on the proportion unity
principles of design. radiation value
repetition

TERMS TO KNOW
TOOLS AND MATERIALS
analogous harmony color wheel
balance complementary color ●● A selection of flowers differing in color and texture
chroma harmony ●● Floral arrangements
color emphasis ●● Floral design magazines and/or floral design–
color harmony facing related websites
30
INTRODUCTION

I F YOU WERE GIVEN a dozen roses or carnations in a gift box, you would probably place them casually in a vase. Grouped
together this way, they are beautiful because individual flowers are beautiful. However, this casual placement of flowers
is not an arrangement. These same flowers placed in a vase in a planned pattern take on a greater beauty: the flower ar-
rangement then becomes a work of art.
We arrange flowers so that they become a work of art by using certain guidelines called principles of design. These
are basic laws, fundamental truths, or methods of operation that have been tested and proved by master artists for many
centuries. Good flower arrangements are judged by these principles, which are tools that will guide you in planning and
evaluating your arrangements.
Although these interrelated principles have been developed over many years and are used as guidelines in all types of
designs, artists individualize their application. Such variations depend on many factors. For example, the choice to employ
one principle may affect the way several other principles are expressed in the arrangement. ✽

DESIGN PRINCIPLES
The design principles presented in this unit are
balance, proportion and scale, focal point, emphasis,
rhythm, harmony, and unity.

Balance
Balance refers to the stability of an arrangement.
When all of the design elements are composed so
that the arrangement appears secure and stable, then
balance has been achieved.
Balance must be both visual and actual. Visual
balance refers to the way an arrangement appears to the
eye, and is achieved by the proper use of color and the
placement of plant materials according to size.
Visual weight refers to how heavy an object
appears in the arrangement. Flowers of dark colors
appear to be heavier than flowers of lighter colors,
even if they are the same size. Likewise, flowers
or objects of coarse texture appear heavier than
similarly sized objects of smooth texture. Because
darker colored and coarsely textured flowers appear
to be heavy, they must be placed near the base of the
arrangement. Lighter, smoother ones are placed near
the edges. This helps give the arrangement visual
balance.
Actual balance or mechanical balance is achieved
by the proper placement of flowers so that there is
an equal amount of weight on both sides of a central
axis in the arrangement. If mechanical balance is not
achieved, the arrangement may topple.
Two kinds of balance, symmetrical and
asymmetrical, are commonly used (FIGURE 3-1).
Symmetrical Asymmetrical
FIGURE 3-1 l Balance.
Symmetrical or formal balance is characterized by
equal visual weight on each side of an imaginary,
central, vertical line.This equal visual weight does not
have to be expressed in identical materials, but the
materials are usually very similar. Many traditional
styles of arrangements are based on this type of
balance.
Arrangements that are symmetrically balanced
give a feeling of dignity and formality.They are poised
rather than moving, and passive rather than active.
Symmetrical arrangements should be displayed
against a symmetrical background and accessories
displayed in a symmetrical way. Arrangements placed
before the altar in a church or on the head table at
a banquet hall are usually symmetrically balanced.
Asymmetrical, or informal, arrangements have
equal visual weight on both sides of a central axis,

UNIT 3 PRINCIPLES OF DESIGN 31

Another random document with
no related content on Scribd:
 In der Tiefe.

D er Einsiedlerkrebs ging auf dem Meeresgrunde spazieren.

Schwerfällig zog er das Schneckenhaus hinter sich her, worin
sein Magen und sein ganzer Hinterleib steckten. Er hatte gerade
genügend gefressen, so daß er nicht hungrig war; freilich hätte er
deswegen einen besonders guten Happen nicht verschmäht, falls
ihm einer in die Quere gekommen wäre.
Aber dazu war keine Aussicht vorhanden. Der Einsiedlerkrebs
sah nichts als eine alte Krabbe, die, in Gedanken versunken, mit
seitlichem Gange daherkam, ferner eine Meerschnecke, die sich im
Wasser wiegte, und endlich ein lächerlich-runzliges,
eingeschrumpftes Ding, das auf dem Grunde lag und einer Feige
glich.
„Du bist mir eine lächerliche Schnecke,“ höhnte die
Meerschnecke.
„Ich bin gar keine Schnecke,“ erwiderte der Einsiedlerkrebs. „Ich
bin ein Krebs.“
„Dann bist du ein lächerlicher Krebs,“ sagte die Krabbe. „Scheren
hast du ja und einen Panzer auf der Stirn und Stielaugen, aber mit
was für einem Schneckenhaus schleppst du dich in aller Welt
herum? Ist vielleicht etwas Gutes darin?“
„Das sollt’ ich meinen! Mein M a g e n ist in dem Schneckenhaus.“
„Wo ist denn aber die Schnecke?“
„In meinem Magen,“ erwiderte der Einsiedlerkrebs freundlich.
 „Pfui,“ sagte die Meerschnecke und wiegte sich durchs Wasser
weiter.
Gedankenvoll sah ihr der Einsiedlerkrebs nach:
„Wie ärgerlich, daß sie Reißaus genommen hat! Ihr Haus hätte
so gut für mich gepaßt. Na ... es eilt nicht. Dann behelfe ich mich
eben noch eine Weile mit dem alten.“
„Hast du vor, die Wohnung zu wechseln?“ fragte die Krabbe.
„Das muß man ja von Zeit zu Zeit,“ entgegnete der
Einsiedlerkrebs. „Man wächst ja.“
„Ja, das bleibt ewig wahr. Die Wachstumsgeschichte ist das
größte Unglück. Die anderen Geschöpfe wachsen n a c h u n d n a c h
und merken es nur daran, daß sie größer werden und mehr Appetit
bekommen. Aber wir armen Krebse müssen es unsrer harten
Schalen wegen auf einmal abmachen. Es ist noch gar nicht so lange
her, seitdem ich die alte Schale abgeworfen und ganz weich und
unglücklich dagestanden habe. Das kleinste Sandkorn, das ich
berührte, tat mir weh. Oh, wie verdrießlich war ich da; und Appetit
hatte ich auch nicht! Volle vierzehn Tage lang hab’ ich unter einem
großen Stein gehockt und wäre vor Angst beinah gestorben. Wäre
der kleinste Stichling gekommen, so hätte er mich umbringen
können. Es ist eine aparte Sache.“
„Ja, mit meinen Scheren ist es genau so,“ sagte der
Einsiedlerkrebs.
„Mit deinem Hinterleib verhält es sich wohl auch nicht anders,“
sagte die Krabbe.
„Mein Hinterleib hat keinen Schild,“ erwiderte der Einsiedlerkrebs.
„Was sollte er auch damit? Er liegt ja wohlverwahrt im
Schneckenhause. Für ihn brauche ich keinen Kalk und kann meine
Scheren desto stärker machen.“
„Wie apart!“ sagte die Krabbe. „Es interessiert mich
außerordentlich, das zu hören. Ich bin auf alles Aparte versessen.
Ich bin selber apart. Onkel Hummer geht rückwärts, und Cousine
Garnele hüpft. Mich lachen sie aus, weil ich einen seitlichen Gang
habe. Aber nun sage mir einmal Vetter ... denn
ich darf dich doch wohl Vetter nennen?“
„Ja, was liegt mir daran!“
„Sag’ mir einmal, Vetter ... wenn du nun
umziehst, suchst du dir dann einfach ein neues
Schneckenhaus?“
„Natürlich,“ erwiderte der Einsiedlerkrebs.
„Und dann ziehst du um?“ fragte die Krabbe
weiter. „Das ist apart. Du hast es in Wirklichkeit
viel besser als wir. Du kannst dir dein Haus selber
aussuchen; und sobald du darin bist, ist alles in
Ordnung.“
„Allerdings. Mein Hinterleib muß sich freilich
erst ein bißchen an die neue Wohnung
gewöhnen. Beim Umzug ergeben sich stets
allerhand kleine Unzuträglichkeiten.“
„Höchst apart!“ sagte die Krabbe. „Willst du
denn nicht bald umziehen? Ich würde mir die
Sache gern einmal ansehen.“
„Das könntest du ja,“ entgegnete der
Einsiedlerkrebs. „Freilich nur, wenn du gerade
selbst die Schale wechselst; sonst fürchte ich, daß du meinen
leckeren Hinterleib mit deinen Scheren attackierst.“
„Na, na. Wir sind doch anständige Leute. — Ist er denn wirklich
so lecker?“
„Anständige Leute e s s e n , wenn sie hungrig sind.“
„Und dann gehören wir doch auch zu derselben Familie. Selbst
wenn wir beide apart sind.“
„Familie ist Blödsinn. Da lobe ich mir einen rechten, guten
Freund. Aber den findet man auf dem Meeresgrunde nicht so leicht.“
„Ich denke, wir könnten uns recht gut Freunde nennen, nachdem
wir uns so voreinander ausgesprochen haben,“ sagte die Krabbe.
 „Findest du?“ meinte der Einsiedlerkrebs. „Ich finde, nur
Dummriane sprechen gleich von Freundschaft, sobald sie eine
Stunde miteinander geplaudert haben, nachdem sie sich satt
gefressen. Sollte ich einen zum Freunde wählen, so müßte es einer
sein, der mir nützlich wäre, und dem auch ich Nutzen brächte. An
andre Freundschaft glaube ich nicht.“
Da machte die Krabbe den Vorschlag: „Ich will dein Freund sein.
Ich will daneben stehen, wenn du in ein andres Schneckenhaus
einziehst, und achtgeben daß niemand dir etwas antut. Das wird
apart.“
„Du alter Schwätzer!“
„Beschimpfst du mich?“
Die Krabbe wurde plötzlich wütend und ging auf ihren Vetter los.
„Nimm dich in acht,“ sagte der
Einsiedlerkrebs. „Es mag sein, daß du ein
bißchen behender bist als ich, aber dafür sind
meine Scheren auch doppelt so groß.“
„So ein Wichtigtuer!“ rief die Krabbe. „Du
glaubst, du seist besser als wir, weil dein Gesäß
in einem Schneckenhause steckt. Und doch bin
ich überzeugt, daß du der dümmste Wicht im
ganzen Meere bist.“
„Und vorhin sprachst du von Familienzusammengehörigkeit,“
spottete lachend der Einsiedlerkrebs.
„Ich begreife nicht, wie ich mich überhaupt mit dir einlassen
konnte,“ sagte die Krabbe. „Treff’ ich dich einmal mit bloßem
Hinterleib, so ist es um dich geschehen.“
„Und soeben hast du noch von Freundschaft geschwatzt!“ rief der
Einsiedlerkrebs und lachte noch mehr.
„Warte nur,“ sagte die Krabbe und lief dreimal nach der Seite um
ihn herum.
„Gutnacht!“ sagte der Einsiedlerkrebs.
 Er zog die Scheren ein und legte sie so, daß sie die Öffnung zum
Schneckenhause ganz verdeckten. Da schimpfte die Krabbe noch
ein wenig, und dann schwamm sie auf und davon.
Gleich nachdem die Krabbe fort war, steckte der Einsiedlerkrebs
Kopf und Scheren wieder heraus.
Er konnte nicht einschlafen. Er dachte an das, was er selber von
Freundschaft und Verwandtschaft gesagt hatte. Es war ihm nicht nur
vorübergehend eingefallen, sondern er hatte schon oft darüber
nachgegrübelt.
Wenn er so auf dem Meeresgrunde dahinkroch oder sich im
Wasser in seinem Schneckenhause wiegte, dann d a c h t e er mehr
nach als die meisten andern dort unten in der Tiefe. Und vor allem
dachte er, wie schön es sein würde, wenn er irgendeinen guten
Freund oder Kameraden hätte, auf den er sich ganz verlassen, mit
dem er Plaudern und schweigen könnte, ganz nach Belieben.
Angehörige hatte er nicht. Seine Frau hatte er am Hochzeitstage
zum ersten- und letztenmal erblickt. Kinder hatte er zu Tausenden in
die Welt gesetzt, ohne sie je gesehen zu haben und ohne zu wissen,
wo sie sich aufhielten. Niemals ließ er sich in Schwärmen sehen, wie
die Garnelen und Fische. Darum war es nicht so verwunderlich, daß
er sich zuweilen einsam fühlte.
„Könnte ich doch einen guten Freund ausfindig machen!“ dachte
er. „Einen, der mir Nutzen brächte, und dem ich gleichfalls nützen
könnte.“
Wie er nun seine Scheren im Wasser vorstreckte, stieß er auf
das seltsame, verschrumpelte Ding, das da unten lag und wie eine
Feige aussah.
„Gott weiß, was das für ein Kerlchen sein mag,“ dachte er. „Daß
er hübsch sei, kann man nicht gerade sagen. Aber darauf kommt es
auch nicht an. Vielleicht ist er tot. Vielleicht ist es ein einsamer
Kavalier wie ich.“
Er stieß mit den Scheren daran, aber das Wesen regte sich nicht.
 „Auf mit dir,“ rief der Einsiedlerkrebs. „Ich bilde mir ein, daß
Leben in dir ist, und daß du dich bloß totstellst. Auf mit dir, oder ich
beiße!“
Er schnappte ein klein wenig zu, um zu zeigen, daß er es ernst
meinte. Im selben Augenblick fuhr er aber erschrocken zurück und
retirierte, so schnell er es mit seinem Schneckenhause konnte.
Das unbekannte Geschöpf schwoll plötzlich an
und faltete sich mit fabelhafter Geschwindigkeit
auseinander. Im Augenblick hatte es sich in eine
wunderbare, bunte Blume auf dickem Stengel
verwandelt, der unten mit breiter Scheibe auf dem
Meeresgrunde festsaß.
„Wer bist du?“ fragte der Einsiedlerkrebs.
„Woher kommst du? Was willst du hier? Warum
entfaltest du dich so? Warum hast du vorher wie
ein sonderbarer Klumpen dagelegen?“
„Ich bin die Seeanemone,“ sagte der Fremdling.
„Das klingt hübsch,“ rief der Einsiedlerkrebs ihr zu. „Es deutet
darauf hin, daß du eine Blume bist. Wir haben hier unten nicht
gerade viele Blumen. Schön bist du auch. Und nun will ich noch mit
deiner Erlaubnis feststellen, wie du duftest.“
Er streckte seine Fühlhörner mitten in die Krone der
Seeanemone hinein, zog sie jedoch mit lautem Gebrüll wieder
zurück.
„Ja, ich bin eine Brennessel,“ sagte die Seeanemone. „Du hättest
mir fernbleiben sollen.“
Da schüttelte der Einsiedlerkrebs seine Fühler und putzte sie
ächzend. Die Seeanemone aber freute sich und fächelte munter mit
ihren schönen Blättern.
„Was wolltest du von mir? Warum warst du so naseweis?“
„Warum sollte ich zurückhaltend sein? Ich konnte ja nicht wissen,
ob du nicht ein guter Happen für mich wärest. Noch bin ich eigentlich
nicht hungrig, aber für einen guten Bissen habe ich stets Platz.“
 „Mir geht es genau so,“ sagte die Seeanemone seufzend. „Ich
weiß mich gar nicht mehr zu entsinnen, daß ich jemals richtig satt
geworden bin. Sähest du nicht so verflucht hart aus, dann fräße ich
dich.“
„Na, nur immer sachte,“ sagte der Einsiedlerkrebs. „Ich lasse
mich denn doch nicht so mir nichts dir nichts fressen. Aber wenn ich
auch außen hart bin, in meinem Innern bin ich dafür um so weicher.
Du kannst dir keinen Begriff davon machen, was für einen leckeren
Schwanz ich in dem Schneckenhause habe!“
„Laß mich ihn sehen!“ sagte die Seeanemone.
„Pah!“ rief der Einsiedlerkrebs. „Du würdest ihn mit deinen
Brennesseln einklemmen und fressen.“
Die Seeanemone leugnete es nicht: „Natürlich. Dazu hab’ ich ja
meine Brennesseln; das sind übrigens meine Fangarme, denn ich
bin gar keine Pflanze, sondern ein richtiges, gefräßiges Tier wie du
selber.“
„Ich mag dich gut leiden,“ sagte der Einsiedlerkrebs. „In dir steckt
keine Hinterlist.“
In diesem Augenblick kam ein Fisch daher, den die Seeanemone
einfing und fraß. Und bald darauf trieb eine tote Muschel mit offenen
Schalen heran. Sie segelte gerade auf den Einsiedlerkrebs zu, der
ein Stück von ihr fraß und den Rest zur Seeanemone hinüberschob.
„Bitte schön,“ sagte er.
„Schmeckt sie nicht?“ fragte die Seeanemone.
„Ganz gewiß. Ich hab’ nur keinen Hunger mehr. Sonst hätte ich
sie natürlich selber gefressen.“
„Natürlich.“
Als die Seeanemone gefressen hatte, zog sie die Arme ein, so
daß sie wieder einer Feige glich.
„Jetzt bist du nicht mehr so schön wie vorher,“ sagte der
Einsiedlerkrebs.
 „Jetzt bin ich satt,“ sagte die Seeanemone. „Dann ist kein rechter
Grund vorhanden, sich zu putzen. Und du bist gleichfalls satt; darum
brauche ich keine Angst vor dir zu haben.“
„Wie vernünftig du sprichst! Dich möchte ich zum Freunde
haben.“
„Was ist Freundschaft?“ fragte die Seeanemone. „Befreundet ist
man, wenn man einander nützen kann.“
„Genau dasselbe sage ich,“ fiel der Einsiedlerkrebs voll
Entzücken ein. „Ich sagte es noch vorhin zur Krabbe, diesem
Rindvieh.“
„Ich habe es gehört.“
„Ja richtig, du warst ja hier. Erzähle mir ein bißchen von dir!“
„Soll ich mit der Jugend beginnen?“ fragte die Seeanemone.
„Ach ja; die Jugend ... die wunderschöne Jugend,“ erwiderte der
Einsiedlerkrebs.
„Hast du auch eine Jugend gehabt?“
„Und ob. Du würdest mich ganz und gar nicht wiedererkennen,
wenn du mich in meiner Jugendgestalt sähest. Hier geh’ ich jetzt
Schritt für Schritt als bedächtiger, alter Knabe umher, der ein großes
Schneckenhaus auf dem Rücken trägt. Als ich jung war, da hab’ ich
im wilden Meere umhergeschwärmt und mir keine Sorgen gemacht.“
„Genau wie ich,“ meinte die Seeanemone.
„Wie ulkig!“ sagte der Einsiedlerkrebs. „Es besteht wirklich eine
merkwürdige Übereinstimmung zwischen uns. Wünschest du dir
nicht oft die frohen Jugendtage zurück? Es war herrlich, so frei
umherzuschweben. Man sah sich um. Und man erlebte etwas!“
„Das tat man,“ sagte die Seeanemone. „Aber es hatte auch seine
Unzuträglichkeiten. Man riskierte z. B. überaus leicht gefressen zu
werden.“
„Das ist wahr. Die allermeisten meiner Geschwister sind von den
Fischen gefressen worden. Die Fische haben sie zu Hunderten in
einem Mundvoll genommen und gleich verschlungen. Wenn ich
nachdenke, so ist es das reine Wunder, daß ich entwischt bin.“
„Dasselbe sage ich. Also in dieser Hinsicht sind wir jetzt
eigentlich besser daran. Man hat Lebenserfahrung. Man kann sich
vorsehen. Man hat Waffen und kann um sich beißen, wenn ein Feind
herankommt.“
„Das sind wahre Worte,“ sagte der Einsiedlerkrebs.
„Und dann ist da noch etwas,“ fuhr die Seeanemone fort. „Man
kann viel mehr fressen als damals, und man frißt mit viel mehr
Verstand.“
„Sehr richtig,“ sagte der Einsiedlerkrebs. „Das ist mir aus der
Seele gesprochen.“
„Streng genommen, weiß man nicht, was fressen heißt, bis man
großjährig wird und seine endgültige Gestalt annimmt.“
„Nein. Alles in allem ist der ruhige Tagesverlauf viel mehr wert als
das Getümmel und Vergnügen der Jugend.“
Dann sprachen sie noch eine Weile zusammen und erfreuten
sich mehr und mehr aneinander. Aber ein jeder hält sich sorgsam für
sich und war stets auf dem Posten. Und durch diese Vorsicht stiegen
sie noch höher in der gegenseitigen Achtung. Dann gingen sie zur
Ruhe und schliefen. —
Sie ruhten so lange, bis sie sich wieder frisch fühlten, denn da
unten auf dem Meeresgrunde gibt es weder Tag noch Nacht; dort
scheint nicht Sonne, nicht Mond. Als sie also erwachten, schloß der
Einsiedlerkrebs sein Haus auf und steckte Haupt und Scheren
heraus, und die Seeanemone entfaltete ihre ganze, strahlende Blüte.
„Guten Morgen,“ sagte der eine.
„Guten Morgen,“ die andere.
„Schönen Dank für den gestrigen Tag,“ sagte der Einsiedlerkrebs.
„Gleichfalls,“ sagte die Seeanemone.
 „Ich habe in meinem Schneckenhaus gelegen und mir etwas
überlegt,“ erzählte der Einsiedlerkrebs. „Siehst du ... nicht alle Tage
trifft man jemand, mit dem man so vernünftig reden kann, wie wir
beide gestern geredet haben.“
„Das ist wahr,“ gab die Seeanemone zu. „Mit den meisten, mit
denen ich spreche, ist kein Staat zu machen. Außerdem sind da
natürlich die, die man frißt. Aber mit denen spricht man ja nicht. Und
die, die einen fressen. Aber die sprechen ja auch nicht mit einem.“
„Findest du nicht, daß wir zusammenbleiben sollten?“ schlug der
Einsiedlerkrebs vor.
„Tja — —,“ sagte die Seeanemone. „Das könnte ja recht
amüsant werden. Aber ich weiß nicht recht, wie es zugehen sollte;
denn es besteht eigentlich kein sonderlicher Unterschied in unserer
Ernährungsweise. Wenn dann eines Tages nicht genug für uns beide
vorhanden ist, könnten wir leicht aneinander geraten; und das Ende
vom Liede wäre vielleicht, daß der eine den andern auffräße.“
„Ja, das wäre allerdings nicht schön.“
„Für den, der gefressen würde, wäre es nicht schön. Für den
andern wäre es ja, streng genommen, nicht so schlimm.“
„Du bist furchtbar spaßig,“ sagte der Einsiedlerkrebs.
Die Seeanemone fächelte mit ihren bunten Armen ins Wasser
hinein und ließ sie mit dem Strome hin und her wogen. Sie sah
hübsch und heiter aus, wie die Blumen auf dem Lande. Aber auf
einmal ergriffen die bunten Arme einen kleinen Fisch, der in den
Magen hinabglitt und sofort verzehrt war.
„Den kleinen Fisch hättest auch du essen können,“ sagte die
Seeanemone. „Da siehst du es.“
„Ich hab’ auch meinen Fisch im Leibe,“ erwiderte der
Einsiedlerkrebs. „Hast du nicht gesehen, daß es zwei waren?“
„Nein,“ sagte die Seeanemone. „Ich habe nur einen gesehen,
und den habe i c h gepackt.“
 „Es war noch einer da. Er schwamm direkt auf mich los, ohne
mich zu sehen; denn deine Arme verbargen mich von der Seite, von
der er kam.“
Als er das gesagt hatte, machte er einen gewaltigen Sprung auf
die Seeanemone zu, die sofort alle ihre Brennesseln gegen ihn
kehrte.
„Au, au,“ schrie der Einsiedlerkrebs.
„Ist das eine Art, auf die Leute loszufahren?“ zeterte die
Seeanemone. „Besonders wenn man weiß, daß du noch nichts
gefressen hast.“
„Du hast mich gänzlich mißverstanden,“ sagte der
Einsiedlerkrebs und putzte seine Fühlhörner. „Ich bin vor Freude so
gesprungen; denn jetzt hab’ ich eine Methode ausfindig gemacht,
wie wir ewig zusammenbleiben können.“
„Dann solltest du dich deutlicher ausdrücken.“
„Hör’ einmal. Worauf sitzest du?“
„Augenblicklich sitze ich auf einem Stein,“ sagte die
Seeanemone. „Aber ich möchte mich nicht verpflichten, bis zu
meinem Tode hier sitzenzubleiben, obwohl es mühselig genug ist,
sich von der Stelle zu bewegen. Es ist noch nicht lange her, da saß
ich auf einem Schiffsanker, der untergegangen war. Einmal hab’ ich
auch auf einem Hai gesessen, der sich hier unten zur Ruhe gelegt
hatte und so lange liegen blieb, daß ich annahm, er würde nicht
mehr fortgehen. Aber er hat sich nur ein bißchen ausgeruht, und
eines Tages suchte er das Weite. Es war höchst unbehaglich, auf
wie stürmische Weise das geschah.“
„Nun will ich dir was sagen,“ meinte der Einsiedlerkrebs. „Ich
habe eine Methode ausfindig gemacht, wie du ganz glatt von der
Stelle kommen kannst. D u s o l l s t d i c h a u f m i r f e s t s e t z e n . “
„Auf dir?“
„Auf mir. Auf meinem Schneckenhaus. Dann trag’ ich dich mit mir
herum. Ich bin ein gesetzter Bursche, der keine Luftsprünge mehr
macht; und andererseits komme ich viel schneller vom Fleck als du.“
 Die Seeanemone zog sich mit grauenhafter Geschwindigkeit
zusammen. Weg war die ganze Blume, und nur die kleine Feige war
noch da, die so unglaublich mißtrauisch aussah.
„Du scheinst nicht an meine ehrlichen Absichten zu glauben,“
sagte der Einsiedlerkrebs.
„Was kostet das Billett?“ fragte die Seeanemone.
„Ach so. Deinen eigenen Profit bei der Sache erkennst du recht
wohl, und nun willst du wissen, was i c h dabei verdiene. Ja, siehst
du, ich denke an den kleinen Fisch von vorhin, der mir direkt ins
Maul rannte.“
„Aha, du meinst, ich soll dich verstecken, wenn du auf Beute
ausgehst.“
„Ganz recht,“ sagte der Einsiedlerkrebs. „Wir können ganz famos
zusammen jagen. Der Fisch, der sich vor mir fürchtet, rennt dir direkt
in den Rachen. Und wer d i r entgehen will und sich schon gerettet
glaubt, der ist m i r verfallen.“
Die Seeanemone dachte nach: „Hm, das hat allerdings manches
für sich.“
„Nicht wahr? Und dann werden mir deine Brennesseln großartige
Dienste gegen meine Feinde leisten. Die großen Fische sind sehr
hinter mir her, aber vor deinen Brennesseln nehmen sie sich in acht.“
Die Seeanemone entfaltete wieder ihre Blüte. Sie leuchtete, daß
es eine Lust war, sie anzusehen.
„Komm doch,“ sagte der Einsiedlerkrebs ungeduldig.
„Laß uns erst essen,“ entgegnete die Seeanemone. „Ich glaube
nicht, daß es zuträglich ist, einen solchen Freundschaftsbund mit
nüchternem Magen zu schließen. Ich nehme den Fall an, wir säßen
beieinander, und der Hunger quälte uns, dann könnten leicht böse
Gedanken in uns auftauchen.“
„Wie vorsichtig du bist! Ich versichere dir: es könnte mir niemals
einfallen, dich zu fressen.“
 „Ja, aber mir könnte es vielleicht einfallen, dich zu fressen,“ sagte
die Seeanemone.
Nun kam eine Schnecke heran, die der Einsiedlerkrebs mit seiner
Schere fing, zerdrückte und sofort fraß. Gleich darauf kam noch eine
und noch eine und wiederum eine. Die letzte stieß der Krebs zur
Seeanemone hinüber, die nichts mitbekommen hatte.
„Glaubst du, daß du nun satt genug bist, um auf mein Haus
hinüberziehen zu können?“ fragte der Einsiedlerkrebs.
„Ich weiß nicht,“ erwiderte die Seeanemone. „Aber du bist
jedenfalls satt, und das ist die Hauptsache. Dreh’ dich ein bißchen
nach der Seite, denn jetzt komme ich!“
„Setz dich über die Mündung des Schneckenhauses! Wir müssen
uns von Anfang an so praktisch wie möglich einrichten.“
„Weg mit der Schere!“
Die Seeanemone bewegte sich auf ihrem Fuße fort, der nichts
als eine große Saugscheibe war, bis sie sicher und gut saß.
„Nun reisen wir ein bißchen,“ sagte der Einsiedlerkrebs. „Breite
die Arme tüchtig aus, damit alle Leute sehen können, daß eine
prachtvolle Seeanemone kommt, und damit niemand ahnt, daß ein
böser Einsiedlerkrebs darunter liegt.“
Der Einsiedlerkrebs kroch weiter, und die
Seeanemone fächelte mit ihrer Blüte.
„Dir werd ich schon aus dem Wege gehen,“
sagte ein kleiner Fisch, der ihnen entgegenkam.
Er machte einen flotten Purzelbaum, tauchte
unter die Seeanemone hinab und lief dem Krebs
unmittelbar in den Schlund.
„Nimm die Hälfte,“ sagte der Einsiedlerkrebs.
„Wir haben ihn ja zu zweien gefangen. Jetzt
segeln wir ein bißchen.“
Nun schaukelte das Schneckenhaus mit den
beiden Passagieren durchs Wasser dahin; und
überall, wohin sie kamen, erweckte die Seeanemone unter allen
Bewohnern der Meerestiefe großes Aufsehen.
„I, du Allmächtiger,“ rief der Seeigel. „Wer hat je eine
Seeanemone so schnell daherkommen sehen! Ich gehöre mit zur
Familie; und ich muß sagen, daß mir die Sache ganz unbegreiflich
ist.“
„Es muß etwas dahinter stecken,“ äußerte eine große Auster, die
gähnend im Tang saß.
„Ich stecke dahinter,“ sagte der Einsiedlerkrebs und streckte
seine große Schere zwischen die Schalen der Auster.
„Au,“ sagte die Auster und preßte ihre Schalen zusammen.
„Es hilft dir nichts. Ich bin dir zu hart. Eine herrliche Auster,
Seeanemone! Nun sollst du deine Hälfte abbekommen, sobald ich
sie aufgedrückt habe.“
„Behalte sie nur,“ erwiderte die Seeanemone. „Ich hab’ meinen
Magen noch nie im Leben so voller Würmer und kleiner nackter
Schnecken gehabt. Sie gehen mir noch nicht einmal aus dem Wege;
denn sie glauben ja nicht, daß ich mich so schnell von der Stelle
bewegen kann.“
„Da siehst du es,“ sagte der Einsiedlerkrebs. „Es lebe unser
Kompagniegeschäft!“

*
Eines Tages ging es dem Einsiedlerkrebs nicht recht gut. Er
fühlte einen unangenehmen Druck im Magen und konnte fast gar
keine Luft kriegen.
„Was ist denn mit dir los?“ fragte die Seeanemone. „Du hast dir
soeben einen Fisch entgehen lassen.“
„Ja,“ versetzte der Einsiedlerkrebs. „Es geht mir jämmerlich. Ich
werde nicht anders können, ich muß umziehen.“
„Du willst umziehen?“ rief die Seeanemone.
 „Ja, ich muß. Ich kann in diesem Hause nicht mehr bleiben. All
das gute Essen hat mich zu dick gemacht.“
„Das ist ja eine schöne Geschichte. Und es ging uns doch gerade
so gut.“
„Es wird uns auch weiterhin gut gehen. Wir wollen uns nach
einem neuen, großen Schneckenhaus umsehen.“
Da machten sie sich auf die Wanderung; und noch am selben
Tage fanden sie eine wunderschöne große Königsschnecke, die auf
dem Meeresgrunde lag. Der Einsiedlerkrebs wandte und drehte sie,
klopfte mit der Schere darauf und sah nach, ob sie dicht sei.
„Sie ist gut,“ sagte er. „Die nehme ich.“
„Und obendrein ist sie leer,“ sagte die Seeanemone. „Das ist ein
Vorzug mehr.“
„Das kann ich nun freilich nicht finden,“ sagte der
Einsiedlerkrebs. „Wäre eine Schnecke darin gewesen, so hätten wir
sie ja fressen können. Und dann wäre das Haus auch rein gewesen.
Jetzt ist es vermutlich voller Sand und kleiner Steine, und ich muß
vor dem Einzug ein gehöriges Reinemachen veranstalten.“
„Wie genau du es nimmst!“
„Ich bin dazu gezwungen. Wenn auch nur das kleinste Sandkorn
drinnen zurückbliebe, so würde es meinen Hinterleib furchtbar
martern, daß ich gleich wieder ausziehen müßte.“
„Ja, es ist wahr ... dein Hinterleib,“ sagte die, Seeanemone. „Den
hab’ ich ja noch gar nicht zu sehen gekriegt. Heraus mit ihm, damit
ich mich davon überzeugen kann, ob er wirklich so weich und lecker
ist, wie du sagst.“
„Er kommt schon, wenn es Zeit ist,“ erwiderte der
Einsiedlerkrebs.
Und nun fing er mit dem Reinemachen an. Er stülpte das
Schneckenhaus um, schüttelte es, beklopfte es mit den Scheren und
steckte seine langen Beine hinein, um in allen Winkeln
herumzuscharren. Dann drehte er es mit der Mündung nach der
Richtung, aus der der Strom kam, so daß das
Wasser gehörig hindurchspülen konnte. Zuletzt
schnüffelte er mit seinen Fühlhörnern nach, ob
noch ein wenig Sand oder Fäulnisstoff darin war.
Das Ganze dauerte über zwei Stunden, und der
Seeanemone fing die Sache an langweilig zu
werden.
„Jetzt genügt es, glaube ich,“ sagte sie. „Man
kann auch z u sorgfältig sein.“
„Nicht, wenn es sich um den Schwanz
handelt,“ sagte der Einsiedlerkrebs.
Er saß eine Weile in Gedanken versunken da, betrachtete sein
neues Haus und betrachtete auch die Seeanemone.
„Bist du wirklich satt, lieber Freund?“ fragte er dann.
„Nicht allzusehr,“ erwiderte die Seeanemone. „Hast du einen
Leckerbissen für mich, so soll’s mich freuen.“
„Allerdings habe ich einen,“ sagte der Einsiedlerkrebs. „Ich habe
meinen Schwanz. Und es würde mir außerordentlich leid tun, wenn
er den Anlaß zur Beendigung unserer Freundschaft geben würde.“
Er sah die Seeanemone scharf an, und die Seeanemone
erwiderte seinen Blick. Dem Einsiedlerkrebs kam es so vor, als ob
sein lieber Freund einen sehr hungrig-gierigen Ausdruck im Gesicht
hätte.
„Tu’ mir den Gefallen und dreh’ dich nach der andern Seite um,
wenn ich den Schwanz aus dem alten Schneckenhause
hervornehme,“ sagte er. „Ich muß dir gestehen, deine Anwesenheit
ist mir äußerst peinlich. Ich glaube, ich habe mein Hinterteil noch
niemand gezeigt.“
„Ach was, ich bin doch dein bester Freund,“ sagte die
Seeanemone.
„Ganz richtig,“ sagte der Einsiedlerkrebs. „Aber ich kann trotzdem
nicht. Hör’ einmal ... ich hab’ eine Idee. Ich will dir zuerst auf das
neue Schneckenhaus hinüberhelfen. Das ist das Allervernünftigste.“
 Sie machten sich an die Arbeit, und nach Verlauf einer geraumen
Weile saß die Seeanemone da, wo sie sitzen sollte.
„Du bist nicht hungrig,“ sagte sie.
„Das bin ich allerdings nicht,“ sagte der Einsiedlerkrebs. „Ich
kann bloß nicht verstehen, woher du das wissen willst!“
„Ich merke es an der Art, wie du mich mit deinen Scheren
anrührst,“ erwiderte die Seeanemone. „Ich merke es immer an den
Scheren der Leute, ob sie hungrig sind. Aber komm nun ... jetzt ist
die Reihe an dir. Kann ich helfen, so stehe ich zu Diensten.“
Der Einsiedlerkrebs rührte sich nicht von der Stelle.
Er hatte eingesehen, daß er sich sehr dumm angestellt hatte. Er
hätte die Seeanemone zuerst hinabsteigen und in einiger Entfernung
warten lassen sollen. Dann hätte er selbst hinüberziehen können,
und die Seeanemone wäre nachgekommen.
„Ich bin doch nicht recht zufrieden mit dem Schneckenhaus,“
sagte der Einsiedlerkrebs dann. „Bleib du nur so lange sitzen,
während ich umherkrieche und mich nach einem andern umsehe!
Ich werde bald wieder hier sein.“
„Niemals,“ sagte die Seeanemone. „Es kann nicht deine Absicht
sein, daß ich die Unbequemlichkeit noch einmal haben soll. Komm
... sonst ist es vorbei mit uns.“
„Dann schließe dich,“ sagte der Einsiedlerkrebs. „Zieh’ die Arme
mit den Brennesseln ganz ein, wie du es machst, wenn du dich
ausruhst.“
„Schwatz’ nicht so dumm! Nimm einmal an, es käme gerade ein
schöner Fisch heran! Du weißt ja, ich bin hungrig.“
„Dann wart’ ich, bis du satt bist.“
Und dabei blieb es. Die Seeanemone fing ein paar Fische und
fraß sie. Dann zog sie die Arme ein und saß wieder wie eine
trockene, eingeschrumpfte Feige da. Da ließ der Einsiedlerkrebs das
alte Haus fahren und kam heraus.
„Nä —,“ sagte die Seeanemone und guckte heraus.
 „Hinein mit dir,“ schrie der Einsiedlerkrebs. „Wenn du nicht gleich
hineingehst, beiß’ ich dich.“
Die Seeanemone entfaltete sich ganz und fächelte mit den
Brennesseln ganz nah am Hinterleib des Einsiedlerkrebses herum.
„Denk’ daran, wieviel Freude und Nutzen wir noch voneinander
haben können,“ sagte der Einsiedlerkrebs und wand sich
jämmerlich.
„Ich überlege mir das gerade,“ sagte die Seeanemone. „Sonst
hätte ich natürlich längst deinen Schwanz gefressen. Noch nie im
Leben hab’ ich einen solchen Leckerbissen gesehen.“
„Aber es ist nur ein Bissen. Hast du ihn gefressen, so ist er weg.“
Die Seeanemone sagte nichts, fächelte und fächelte nur mit den
Armen und kam dem Hinterleib ihres guten Freundes immer näher.
Der Einsiedlerkrebs krümmte sich in größten Nöten.
„Wenn du das tust, so begehst du eine große Dummheit,“ sagte
er. „Dann mußt du morgen dein altes Leben wieder anfangen, das
nicht entfernt so bequem war wie das, das du führst, seitdem du bei
mir wohnst. Du wirst wieder nur langsam von der Stelle kriechen.
Den einen Tag sitzest du auf einem dummen Stein und lässest alle
Fische entwischen. Den nächsten sitzest du auf einem Hai, der mit
dir auf und davon schwimmt und dich herumwirbelt, so daß du weder
aus noch ein weißt.“
Die Seeanemone fächelte mit den Armen.
„Au!“
„Ich habe dich nicht angerührt.“
„Du warst nahe daran,“ sagte der Einsiedlerkrebs. „Du denkst an
nichts andres. Das kann ich dir ansehen. Wenn du das tust, so
benimmst du dich wie ein junger, unbesonnener Mensch. Als wir
jung waren, da taten wir so etwas. Da dachten wir nie an den
morgigen Tag.“
„Das war eine schöne, schöne Zeit,“ sagte die Seeanemone
fächelnd.
 „Neulich sind wir doch übereingekommen, daß d i e G e g e n w a r t
die bessere Zeit ist,“ sagte der Einsiedlerkrebs verzweifelt. „Jetzt
sind wir ruhiger und verständiger und machen uns zunächst immer
klar, wie es werden wird. Wenn ich alt und hinfällig wäre, würd’ ich
noch nichts dazu sagen. Und wenn einer von uns auf dem letzten
Loche pfiffe, so wäre es nur recht und billig, daß der andere ihn
fräße. Er wäre ja der Nächste dazu. Aber nun stehen wir beide im
kräftigsten Alter und können einander für lange Zeit Nutzen und
Freude bringen. Daran solltest du denken.“
„Ich denke daran. Und ich glaube, du hast recht. Kriech also
hinein ins neue Haus! Ich werde dir nichts tun.“
„Ziehst erst deine Brennesseln ein!“
Die Seeanemone tat es, und der Einsiedlerkrebs schaffte
langsam und vorsichtig seinen Hinterleib in das neue Haus. Das
nahm Zeit in Anspruch; ordentlich mußte es ja gemacht werden, und
während der ganzen Prozedur heftete er das eine seiner Stielaugen
auf die Seeanemone. Aber sie bezwang sich, bis alles überstanden
war.
„Das war keine Kleinigkeit,“ sagte der Einsiedlerkrebs. „Ich hatte
wirklich Furcht vor dir.“
„Dazu hattest du auch allen Grund,“ erwiderte die Seeanemone.
„Ich habe mich sehr zusammennehmen müssen. Erinnerst du dich
daran, was du sagtest: Daß wir einander auffressen sollen, wenn wir
alt und verbraucht sind?“
„Ich erinnere mich meiner Worte recht gut und bleibe auch
dabei,“ sagte der Einsiedlerkrebs. „Es ist auch noch gar nicht so
sicher, daß ich früher alt werde als du. Aber das soll unsre Sorge
einstweilen nicht sein. Jetzt ist die Freundschaft erprobt und wird
desto länger vorhalten.“
Drauf kroch er vergnügt von dannen mit seinem neuen Hause
und seinem Freunde auf dem Nacken. Sie fingen eine Menge Fische
ein und gediehen beide aufs beste.
 *
Einige Zeit darauf war der Seeanemone etwas sonderbar
zumute.
Sie hatte ihre Not mit der Entfaltung ihrer Blüte und ließ einen
kleinen Fisch nach dem andern entwischen.
Der Einsiedlerkrebs sah es wohl, aber er hatte selber ein paarmal
mit seiner Schere daneben gegriffen und sagte darum nichts.
„Wie geht es dir?“ sagte die Seeanemone hierauf.
„Danke, vortrefflich,“ antwortete der Einsiedlerkrebs. „Und dir?“
„Es ist mir noch nie so gut gegangen wie heute. Ich fragte nur,
weil ich sah, daß du nach einem Fisch fehlgriffst.“
„Wirklich? Ich habe selber gar nicht darauf geachtet. Dagegen
hab ich gesehen, wie d u vorhin zwei Fische vorbeisegeln ließest,
außer einer wunderschönen Schnecke. Du fängst doch nicht etwa
an, dich alt zu fühlen?“
„Gott, wie kannst du das glauben!“ sagte die Seeanemone und
fing an, wie toll mit den Armen zu fächeln. „Du fällst wohl eher als ich
zusammen.“
„Ich ... alt?“ sagte der Einsiedlerkrebs und schnitt heftig mit der
Schere vor sich hin. „Nein, ich werde dich ganz gewiß überleben.
Und dann fress’ ich dich auf. Du weißt ja, so haben wir’s verabredet.“
„Gott behüte! Ich werde dich auch auffressen, verlaß dich darauf!
Im Augenblick bin ich leider nicht hungrig, sonst tät’ ich es gerne
sofort.“
„Na, also hungrig bist du auch nicht! Das ist ja ein schlechtes
Zeichen.“
Der Einsiedlerkrebs fing an, das Haus tüchtig zu schütteln, und
bemerkte, daß die Seeanemone nicht so fest saß wie sonst. Aber es
krachte so in ihm selber, daß er einen gehörigen Schreck bekam.
Die Seeanemone ließ ihre Brennesseln auf einen vorbeistreichenden
Fisch gleiten, aber sie brannten nicht mehr. Der Einsiedlerkrebs griff