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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:59:35 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:59:35 -0700 |
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diff --git a/33464-h/33464-h.htm b/33464-h/33464-h.htm new file mode 100644 index 0000000..f44eb5e --- /dev/null +++ b/33464-h/33464-h.htm @@ -0,0 +1,7309 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Roses and Rose Growing, by Rose G. Kingsley. + </title> + <style type="text/css"> + + p {margin-top: .75em; + text-align: justify; + text-indent: 1.25em; + margin-bottom: .75em; + } + img {border: 0;} + .tnote {border: dashed 1px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + ins {text-decoration:none; border-bottom: thin dotted gray;} + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + .copyright {text-align: center; font-size: 70%;} + .blockquot{margin-left: 5%; margin-right: 10%; text-align: justify;} + .blockquot2{margin-left: 0; margin-right: 50%; text-align: justify;} + + .bbox {border: solid 2px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .chaptertitle {text-align: center; font-size: 110%; font-weight: bold;} + table.rose {width: 600px; text-align: center; background-image: + url("images/ill-ad-0248.jpg"); background-repeat: no-repeat;} + .caption {font-weight: bold; font-size: 90%; text-align: right;} + .caption2 {font-weight: bold; font-size: 90%; color: #2554C7; text-align: right; margin-right: 5%; font-variant: small-caps;} + .caption3 {font-weight: bold; font-size: 90%; text-align: right; margin-right: 5%; font-variant: small-caps;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .unindent {margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + .right {text-align: right;} + .poem {margin-left: 30%; text-align: left;} + .poem2 {margin-left: 15%; text-align: left;} + .sig {margin-right: 10%; text-align: right;} + .u {text-decoration: underline;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .fnanchor {vertical-align: baseline; + position: relative; + bottom: 0.33em; + font-size: .8em; + text-decoration: none;} + .hang1 {text-indent: -3em; margin-left: 3em;} + .hang2 {text-indent: -3em; margin-left: 6em;} + + .cap:first-letter {float: left; clear: left; margin: -0.2em 0.1em 0; margin-top: 0%; + padding: 0; line-height: .75em; font-size: 300%; text-align: justify;} + .cap {text-align: justify;} + + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Roses and Rose Growing, by Rose Georgina Kingsley + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Roses and Rose Growing + +Author: Rose Georgina Kingsley + +Release Date: August 18, 2010 [EBook #33464] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ROSES AND ROSE GROWING *** + + + + +Produced by Karl Eichwalder, Emmy and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + +<div class='tnote'><b>Transcriber's Note:</b> If an illustration is provided +in the text, clicking on an underlined rose's name will take the reader to that illustration. Using +the "Back" button will return the reader to the original place in the text.</div> +<p><span class='pagenum'><a name="Page_i" id="Page_i">[i]</a></span></p> + + + +<h1>ROSES AND ROSE GROWING</h1> +<p><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p> +<div class="figcenter" style="width: 572px;"> +<img src="images/ill-0008.jpg" width="572" height="500" alt="Single Hybrid Tea." title="" /> +</div><div class="caption2"><span style="margin-right: 4em;"><span class="smcap">Single Hybrid Tea.</span></span><br /> +IRISH ELEGANCE. +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span></p> +<h1>ROSES<br /> +<small>AND</small><br /> +ROSE GROWING</h1> + +<h3>BY</h3> +<h2>ROSE G. KINGSLEY</h2> + +<div class='copyright'> +OFFICIER DE L'INSTRUCTION PUBLIQUE<br /> +<br /> +AUTHOR OF "EVERSLEY GARDENS," ETC., ETC.<br /> +<br /><br /> +WITH A CHAPTER ON "HOW TO GROW ROSES FOR<br /> +EXHIBITION," BY THE REV. F. PAGE-ROBERTS,<br /> +VICE-PRESIDENT NATIONAL ROSE<br /> +SOCIETY, F.R.H.S.<br /> +<br /><br /><br /> +<i>WITH TWENTY-EIGHT FULL-PAGE COLOURED, AND NINE<br /> +HALF-TONE, ILLUSTRATIONS AND DIAGRAMS</i><br /> +<br /><br /><br /> +<big>WHITTAKER & CO.</big><br /> +2 WHITE HART STREET, PATERNOSTER SQUARE, LONDON, E.C.<br /> +AND 64-66 FIFTH AVENUE, NEW YORK<br /> +</div> + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> + + + + +<div class='copyright'> +<span class="smcap">Richard Clay & Sons, Limited</span>,<br /> +BREAD STREET HILL, E.C., AND<br /> +BUNGAY, <ins title="Transcriber's Note: original reads 'SUFFOK'">SUFFOLK</ins>.<br /></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span></p> + +<h2>PREFACE</h2> + + +<p><span class="smcap">Some</span> time ago it was suggested, by certain rose-lovers +and enthusiasts, that the practical experience +of an amateur, brought up from childhood to love and +cultivate roses, might be of use to other owners of +small gardens, who, like herself, tend their roses +themselves. And in the hope that this might be +the case, I undertook to write this little book. My +text-book in this labour of love has been an old copy, +which belonged to my father when he settled at +Eversley in 1844, of <i>The Rose Amateur's Guide</i>, +by that veteran rose-grower, the late Thomas Rivers. +I am also greatly indebted to the Rev. J. H. Pemberton's +learned and admirable work, <i>Roses, their +History, Development, and Cultivation</i>, published +early this year; and to the various publications of +the National Rose Society.</p> + +<p>As one branch, however, of the cultivation of roses +is a sealed book to me, for I am only an amateur who +does not exhibit, I felt that no work on rose-growing +would be complete without a chapter which should +help those who wish to do so. And here I was indeed +fortunate in obtaining the help of so distinguished an +authority as my friend and neighbour, Rev. F. Page-Roberts, +Vice-President of the National Rose Society. +My grateful thanks are due to him for the delightful +chapter, the last in the book, on "How to grow +Roses for Exhibition." And I feel that to have his<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span> +name on the title-page is an honour of which I cannot +be too proud.</p> + +<p>As to the illustrations, it should be borne in mind +that they are not intended to represent exhibition +roses, but merely ordinary blooms, typical of the +various kinds of garden roses. The colour prints +have been admirably carried out by Messrs. Swain +and Son of Barnet, by their new process of colour-printing. +My friend, Miss Emily Jubb, has supplied +several of the original photographs of roses +and of pruning, from specimens in my own garden; +and to her I offer my warm thanks. Thanks are also +due to Mr. Wm. Paul of Waltham Cross nurseries, +and to Mr. Henry Nicholson of New Barnet, for +their kindness in furnishing Messrs. Swain and Son +with all the other specimen flowers for the plates. +In fact, without Mr. Nicholson's ready help in +a supplying a large proportion of the subjects from +his own garden, it would have been difficult to +carry out the scheme of illustration.</p> + +<p>If this humble record of my own practical experience, +its failures, and its successes, is the means of +encouraging others in the cultivation of roses, I can +only wish them the interest, delight, and healthful +relaxation of tired body and mind, which this pursuit +has afforded me for many a long year.</p> + +<div class='sig'> +<span class="smcap">Rose G. Kingsley</span><br /> +</div> + +<div> +<i>Keys, Eversley,</i><br /> +<span style="margin-left: 2em;"><i>Hants,</i></span><br /> +<span style="margin-left: 4em;"><i>Nov. 6, 1908.</i></span><br /> +</div> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></p> + +<h2>CONTENTS</h2> + + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Contents"> +<tr><td align='left' colspan='2'><small>CHAP.</small></td><td align='right'><small>PAGE</small></td></tr> +<tr><td align='right'>I.</td><td align='left'> MAKING AND PLANTING A ROSE GARDEN</td><td align='right'><a href="#Page_1">1</a></td></tr> +<tr><td align='right'>II.</td><td align='left'> PRUNING AND PROPAGATING</td><td align='right'><a href="#Page_15">15</a></td></tr> +<tr><td align='right'>III.</td><td align='left'> SUMMER-FLOWERING ROSES—OLD AND NEW</td><td align='right'><a href="#Page_37">37</a></td></tr> +<tr><td align='right'>IV.</td><td align='left'> CLIMBING ROSES—SUMMER FLOWERING</td><td align='right'><a href="#Page_52">52</a></td></tr> +<tr><td align='right'>V.</td><td align='left'> CLIMBING ROSES—AUTUMN FLOWERING</td><td align='right'><a href="#Page_68">68</a></td></tr> +<tr><td align='right'>VI.</td><td align='left'> TEA ROSES</td><td align='right'><a href="#Page_80">80</a></td></tr> +<tr><td align='right'>VII.</td><td align='left'> HYBRID TEA ROSES</td><td align='right'><a href="#Page_93">93</a></td></tr> +<tr><td align='right'>VIII.</td><td align='left'> HYBRID PERPETUALS</td><td align='right'><a href="#Page_111">111</a></td></tr> +<tr><td align='right'>IX.</td><td align='left'> BOURBON, CHINA, AND POLYANTHA ROSES</td><td align='right'><a href="#Page_123">123</a></td></tr> +<tr><td align='right'>X.</td><td align='left'> ROSE PESTS</td><td align='right'><a href="#Page_136">136</a></td></tr> +<tr><td align='right'>XI.</td><td align='left'> HOW TO GROW ROSES FOR EXHIBITION</td><td align='right'><a href="#Page_151">151</a></td></tr> +<tr><td align='right'> </td><td align='left'> INDEX</td><td align='right'><a href="#Page_161">161</a></td></tr> +</table></div> + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></p> + +<h2>LIST OF ILLUSTRATIONS</h2> + + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Illustrations"> +<tr><td align='left'> </td><td align='right'><i>To face page</i></td></tr> +<tr><td align='left'>ROSE REQUIRING PRUNING</td><td align='right'><a href="#Page_18">18</a></td></tr> +<tr><td align='left'>RUGOSA—ROSA ALBA</td><td align='right'><a href="#ROSA_ALBA">37</a></td></tr> +<tr><td align='left'>PROVENCE—CABBAGE</td><td align='right'><a href="#Page_38">38</a></td></tr> +<tr><td align='left'>MOSS—COMMON</td><td align='right'><a href="#Page_39">39</a></td></tr> +<tr><td align='left'>GALLICA—RED DAMASK (THE APOTHECARY'S ROSE)</td><td align='right'><a href="#Page_40">40</a></td></tr> +<tr><td align='left'>CLIMBING DAMASK—MRS. O. G. ORPEN</td><td align='right'><a href="#Page_41">41</a></td></tr> +<tr><td align='left'>AUSTRIAN BRIAR—AUSTRIAN COPPER</td><td align='right'><a href="#Page_42">42</a></td></tr> +<tr><td align='left'>LORD PENZANCE HYBRID SWEET BRIAR—JEANNIE DEANS</td><td align='right'><a href="#Page_44">44</a></td></tr> +<tr><td align='left'>SCOTCH BRIAR—STANWELL PERPETUAL (<i>2 plates</i>)</td><td align='right'><a href="#Page_45">45</a></td></tr> +<tr><td align='left'>RUGOSA—CONRAD FERDINAND MEYER</td><td align='right'><a href="#Page_46">46</a></td></tr> +<tr><td align='left'>AYRSHIRE—RUGA</td><td align='right'><a href="#Page_52">52</a></td></tr> +<tr><td align='left'>EVERGREEN—FÉLICITÉ ET PERPÉTUE</td><td align='right'><a href="#Page_53">53</a></td></tr> +<tr><td align='left'>CLIMBING POLYANTHA—BLUSH RAMBLER (<i>2 plates</i>)</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'>WICHURAIANA—DOROTHY PERKINS</td><td align='right'><a href="#Page_61">61</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">" JERSEY BEAUTY</span></td><td align='right'><a href="#Page_62">62</a></td></tr> +<tr><td align='left'>NOISETTE—WILLIAM ALLEN RICHARDSON</td><td align='right'><a href="#Page_71">71</a></td></tr> +<tr><td align='left'>TEA—WHITE MAMAN COCHET</td><td align='right'><a href="#Page_92">92</a></td></tr> +<tr><td align='left'><span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span>HYBRID TEA—BARDOU JOB</td><td align='right'><a href="#Page_94">94</a></td></tr> +<tr><td align='left'>SINGLE HYBRID TEA—IRISH ELEGANCE (<i>2 plates</i>)</td><td align='right'><a href="#Page_96">96</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">" " " </span>IRISH GLORY</td><td align='right'><a href="#Page_96">96</a></td></tr> +<tr><td align='left'>HYBRID TEA—CAROLINE TESTOUT</td><td align='right'><a href="#Page_97">97</a></td></tr> +<tr><td align='left'> " " MADAME RAVARY</td><td align='right'><a href="#Page_98">98</a></td></tr> +<tr><td align='left'> " " MARQUISE LITTA</td><td align='right'><a href="#Page_106">106</a></td></tr> +<tr><td align='left'> " " MADAME PERNET DUCHER</td><td align='right'><a href="#Page_107">107</a></td></tr> +<tr><td align='left'>HYBRID PERPETUAL—FRAU KARL DRUSCHKI</td><td align='right'><a href="#Page_114">114</a></td></tr> +<tr><td align='left'> " " ULRICH BRUNNER</td><td align='right'><a href="#Page_115">115</a></td></tr> +<tr><td align='left'> " " GUSTAVE PIGANEAU</td><td align='right'><a href="#Page_118">118</a></td></tr> +<tr><td align='left'>BOURBON—SOUVENIR DE LA MALMAISON</td><td align='right'><a href="#Page_124">124</a></td></tr> +<tr><td align='left'>CHINA—LAURETTE MESSIMY</td><td align='right'><a href="#Page_127">127</a></td></tr> +<tr><td align='left'>DWARF POLYANTHA—PERLE D'OR</td><td align='right'><a href="#Page_129">129</a></td></tr> +</table></div> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span></p> + +<h2>ERRATA</h2> + +<div class='hang1'>Plates facing <a href="#Page_45">p. 45</a>. <i>For</i> Stanwell Perpetual Scots Briar +<i>read</i> Scotch Briar.<br /><br /></div> + +<div class='hang1'>Plate facing <a href="#Page_53">p. 53</a>. <i>For</i> Félicité Perpétuée <i>read</i> Félicité +et Perpétue.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2>ROSES AND ROSE GROWING</h2> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER I</h2> + +<div class='chaptertitle'>MAKING AND PLANTING A ROSE GARDEN</div> + + +<p><span class="smcap">Happy</span> is the rosarian who is free to choose the +spot in which to make his rose garden—to choose the +ideal position, with ideal soil, in an ideal climate. +Such fortuitous combinations are possible. But +though they do not fall to the lot of one rose-lover +in a hundred, it is still easy to find a bit of ground +in which roses will flourish; for, with proper care, +there are few localities—in England at all events—where +they cannot be made to grow. At the same +time, in choosing the position of our rose garden, +certain dangers must be guarded against, as far as +possible.</p> + +<p><b>Position.</b>—First of all I would say, avoid a +draughty spot; for nothing is so bad for roses as a +draught. Even an exposed garden, if it is quite flat +and open, is preferable to a draughty one, however +picturesquely shaded it may be. The perfect position +should be sheltered from the north and east: but not +closely surrounded by trees. For roses are lovers of<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span> +light and sun; and while they enjoy a little shade +for a few hours in the day, they will not flourish in +stuffy, closely shadowed places, where they cannot +get enough light and air.</p> + +<p><b>Shelter.</b>—If some sort of shelter is absolutely +imperative, there are various ways of producing it +without putting up an unsightly paling, or building +a costly wall in the garden. One of the best is a low +hedge kept closely clipped, of yew, holly, privet, or +beech—the first is, of course, slow in growth. Care, +however, must be taken to plant the hedge at such a +distance from the rose beds that its roots shall not +suck all the nourishment from them. But nothing is +more charming or suitable than to give the choice and +more tender roses a shelter of roses—planting the +strong-growing Wichuraianas, Ramblers and other +vigorous kinds along a screen of wooden lattice-work. +This not only makes a quite sufficient break to the +wind, but forms a delightful background to the beds +of dwarf roses.</p> + +<p>If possible, the ground should slope very gently to +south and west. Flat ground is preferable to any +slope steeper than one in fifty. But some slight fall +is extremely advantageous, as it helps drainage.</p> + +<p><b>Drainage.</b>—This is another most important point +to be considered. For whether the soil be light or +heavy, it is absolutely essential that a rose garden +should be well drained; as roses so deeply resent +wet about the roots, that they promptly show their<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span> +displeasure by dying. If, therefore, on low-lying land—and +unfortunately we cannot always avoid this—there +is any suspicion of water within three feet of +the surface, broken crocks, clinkers, wood ashes, and +such-like materials, must be placed at the bottom of +the beds to keep the subsoil free in times of heavy +rain and floods; and a good drain of ordinary field +pipes must be run from the beds into the nearest +ditch. For let it be remembered that if we intend to +grow good roses, we must be prepared to do our very +best for them, and to spend a little time, a little +money, and a good deal of thought, on preparing the +ground they are to grow in, before we dream of +planting them. Far better to begin our garden with +a dozen roses well planted in properly prepared +ground, than with a hundred put in anywhere +and anyhow.</p> + +<p>This brings us to the next point—</p> + +<p><b>The Soil</b>,—which is far more important than even +the position of our garden. If we are so lucky as +to be able to choose the soil as well as the position, +then let us choose a rich brown loam; for that is +the soil roses revel in and need but little else to +nourish them. Such a soil as this we find in the +famous rose-gardens of Essex, Hertfordshire, Oxfordshire, +and Kent. I have even seen roses growing +superbly, without manure of any kind, in an open +field of this rich loam on one of the most exposed +ridges of Warwickshire. But if such natural soil<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> +cannot be had, we must make it, as I know to my +cost; for in my own garden the ground is so poor +that every rose-bed has to be made three feet deep. +And nothing in this case produces such excellent +results as the top spit of an old pasture. To get +this, the turf should be pared off carefully, and +then the first nine inches of brown fibrous loam +beneath taken out. If the space thus left is filled up +with other common soil, the turf can be relaid, and +no harm is done to the meadow. If, on the other +hand, the turf is not needed in the same spot, it may +be stacked in a heap—grass downward—and kept for +a couple of years till it has rotted down completely; +when, mixed with manure, it makes perfect potting +soil, or the finest possible dressing for our rose beds. +In the neighbourhood of towns and villages, where +building is going on, this turfy loam is often to be +had when new roads are cut out and houses run up. +And it is well worth the rosarian's while to be on the +watch for such opportunities, and secure a few loads +of the top spit from the builder, to stack in the garden +against the time it is needed.</p> + +<p>Having provided the requisite soil, we are now +ready to begin work by making the beds. The +general arrangement of the garden, the shape and size +of the beds has to be determined. And here, of course, +the rosarian must be guided by his own taste. A few +hints, however, from personal experience may be helpful. +As to shape, that is purely a matter of taste.<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span> +But whether they be round or square, straight or +curved, in size they should not be too large or too +wide to allow of our getting easily at their precious +contents. For <i>at all times of the year</i> roses need +constant and watchful care; and the amateur—especially +if a woman, hampered with tiresome petticoats—must +have space in which to move, in order to pick +off caterpillars, cut the flowers whether alive or dead, +and see to all the various needs of the plants, such as +weeding, watering, manuring and pruning. As to +width, I find five feet ample in a small garden; as +that allows of three rows of dwarf plants eighteen +inches to two feet apart; and enables me to reach +those in the centre row without injuring the others.</p> + +<p><b>Making the Beds.</b>—Let us therefore suppose we +are about to make a straight bed five feet wide and +twelve long, in hitherto unbroken ground, to contain +seventeen roses. The first thing to do is to pare off +the turf. The top spit of some eight or nine inches +below it, is sure to be fairly good soil from the fibrous +roots of the grass and clover. We therefore dig it off +a space three feet long and the whole width of the +bed, and wheel it down to the further end. The +second spit in such land as my own garden is much +poorer, with a good deal of sandy marl in it. This +is taken right out and heaped at the side of the bed, +to be taken away later on. The third spit, which +is now exposed, is a cold, sandy marl, with many +stones.<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span></p> + +<p>We have therefore a hole five feet wide, a yard in +length, and two feet deep. If the marl at the bottom +does not show any sign of water, it may be broken up +with the fork, mixing in a little manure at the same +time, and we can leave it as it is. If, on the other +hand, it is full of water, some of it must be carted +away, and crocks, stones, clinkers, wood ashes, and +even bits of turf, grass downwards, put in below to +drain it, as I have already said.</p> + +<p><b>Bastard Trenching.</b>—We then begin the regular +process of bastard trenching, digging up the fourth +foot of top soil, throwing it into the hole, mixing it +with the broken marl and manure at the bottom, +and then removing the second spit as directed +above. This is done along the whole bed; and at +the end we use some of the earth we wheeled down +at the beginning, to fill the hole on the marl at the +bottom.</p> + +<p>We thus have a bed five feet by twelve, but some +fifteen inches below the ground. Over the surface of +this bed we now spread a coating of good rotten +manure; if we can get it from a cow yard so much +the better, as cow manure is cooler than horse +droppings to the roots of the roses. This must be +thoroughly incorporated with the soil already dug in, +with a fork, not a spade, as our object is to keep the +earth as friable as we can. The bed is then filled up +with nothing but the turfy loam mixed with some of +the best of the surface soil, till it rises a little above<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> +the level of the surrounding ground; for it will be +sure to sink.</p> + +<p>But let no one imagine that this bed is ready for +planting. It must be left for at least a fortnight (a +month is better) to settle, and to mellow and sweeten; +while its surface must be left quite rough to aid the +process. If there is a frost during this settling, that +will do it the greatest possible good.</p> + +<p>Let the amateur avoid all artificial manures at first +save a dusting of basic slag (see <a href="#Page_151">Chap. XI</a>); for there +is no need whatever in preparing a new rose bed to +use any manure except sweet stable and cow manure. +This contains all the qualities needful for newly-planted +roses. It should, however, be so worked into +the soil as not to come into actual contact with their +roots, but to lie some two or three inches below them.</p> + +<p>I have, of course, chosen an extreme case here. +Better ground only needs to be thoroughly dug two +spits deep, with manure and fibrous loam worked in. +But, even so, I always think it is advantageous to +break the ground at the bottom with a fork.</p> + +<h3>PLANTING.</h3> + +<p>When the beds are thoroughly prepared and settled, +we may begin to think about planting them.</p> + +<p>The ideal time for this operation is in November +and December. For the plants, lifted as soon as they +have done flowering, and put in their new quarters +with as little delay as possible, have time to settle<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +down before any very severe weather, and suffer far +less than those planted later in the winter. But +roses can be safely planted, if proper precautions are +taken in the process, as late as February and March—open +weather of course being selected for the process; +and I have indeed planted them late in April +without damage: but that was of course taking a big +risk as a matter of necessity.</p> + +<p>Whether we get our roses from British or from +foreign growers, the orders should be sent out as early +as possible in September and October, to secure the +best plants and to ensure their arrival in good time.</p> + +<p>A mild day, if possible without sun, is best for +planting roses. And if the bundles arrive in a frost +it is better not to attempt to open them, but to put +them just as they are into some outbuilding in which +the frost cannot get at them, where they may safely +stay for several days.</p> + +<p><b>Unpacking.</b>—When they arrive, the bundles must +be opened most carefully, and the packing removed +gently. I have seen valuable roses badly broken by a +careless person, who has pulled them roughly out of +the package instead of quietly disentangling the +shoots. If the journey has been a long one, the +plants should be well syringed at once, and the roots +plunged in a bucket of water for half-an-hour before +planting. Great care must also be taken in every +case not to leave the roots of the plants exposed to +the air; for if the roots get dried up, a great and<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> +sometimes fatal check is given to the rose. Those which +cannot be planted immediately should be laid along a +trench and lightly heeled in with soil, until they are +wanted. And even those which are to be planted +immediately, should have a mat thrown over the roots +as they lie beside the bed waiting their turn, especially +if the day is sunny or the wind cold. Many +of the great growers advise dipping the roots in +liquid mud mixed with a little cow manure before +planting.</p> + +<p>Each plant must now be carefully examined, and +any broken shoot, or bruised and broken root, cut off +with a clean cut. For this I prefer a sécateur to a +knife, if the sécateur is a very sharp one.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> A torn, +bruised, or broken root, if left on the plant will decay +right up and do incalculable mischief. Sometimes, in +the case of one's own roses grown from cuttings out of +doors, the roots are so rampant that it is well to +shorten them before replanting; but this is not often +necessary with new stock from the growers.</p> + +<p>The holes must now be dug ready for the reception +of each plant. In well-worked ground, such as the +new bed described above, a hole eighteen inches across +and eight inches to one foot in depth, is sufficient: +but in this we must be guided by the root habit of +each plant. Some have roots of a spreading nature; +others are deep rooting. And the idiosyncrasy of each +individual rose must be studied, if we wish it to be<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> +happy. In an old bed it is well to break the ground +all about the hole with a fork; as the roots can then +penetrate the surrounding soil with ease. And I +would repeat that when the hole is made ready for its +occupant, we should see that no manure is on the +surface upon which the roots will lie.</p> + +<p><b>Planting</b>, to be well done, needs two persons.</p> + +<p>When all is ready, the plant, held in the left hand, +is set exactly in the centre of the hole, while with the +right the roots are spread out flat in all directions, so +that none are bent or twisted or allowed to cross, but +are so arranged that the rose gets proper support on +all sides. In fact they should be regarded as the guy-ropes +of a flagstaff, intended to hold the plant firm +from all points. If a root is too long to lie at its +full length in the hole, instead of trying to fit it in +against its natural inclination by turning it round the +side of the hole, a further little channel must be dug +in which it can lie perfectly flat. And great care +must be taken not to injure the little white, fibrous +rootlets, which mean flowering strength for the +coming season.</p> + +<p>The collar, or point at which the dwarf rose is budded +on to the briar, should be from one to three inches below +the surface of the soil when the planting is completed. +In newly made ground I prefer three inches, as the +soil always sinks a little. This is enough; for the +plant should never be <i>buried</i>, and the roots should be +kept as near the surface as possible. But if the collar<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +is above the ground, the stock begins to throw suckers +which take all its strength, and the scion perishes.</p> + +<div class="figleft" style="width: 370px;"> +<img src="images/ill-0027.png" width="370" height="500" alt="Fig. 1.—Mode of Planting a Standard Rose." title="" /> +<span class="caption">Fig. 1.—Mode of Planting a Standard Rose.</span> +</div> + +<p>When the rose is properly set out and still held +firmly in position, the second planter sprinkles some +fine good soil among the roots—I generally give the<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +plant a little gentle lifting shake at this point, to allow +the fine earth to fall into all the interstices of the +roots. He then fills up the hole gradually, pressing +down the soil firmly at first with the hand, and when +all is on treading it down with the foot, thus making +the plant absolutely firm in its place before number +one lets go his hold on it.</p> + +<p>If their roots have been thoroughly soaked and +swelled before planting, the roses need not be watered. +But if the weather is dry, yet mild, it is well to give +them a good syringing when they are all in place, +especially if they have come a long journey. This, +however, must be done in the forenoon, to allow them +to dry before any chance of a chill during the night.</p> + +<p>In the case of standards, large bushy plants, or +pillar roses, a stake should be put against them before +the hole is filled with earth. This is far the most +satisfactory plan, as it avoids the chance of bruising +or breaking the roots if the stake is forced in among +them after planting. And, as I have said, the more +fine fibrous roots the plant can throw, the better the +flowers it will bring.</p> + +<p>Tarred twine, or Raffia tape, are the best materials +for tying standard and pillar roses. The twine should +be given a double twist round the stake and then tied +firmly round the stem, but not too tight, so as to +allow room for the stem or branch to swell.</p> + +<p>Under no circumstances must wire be used.</p> + +<p>In the case of roses taken out of pots, the question<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +of spreading the roots is one of the utmost importance; +as, if they have been long in a pot the roots are +interlaced in a perfect ball, and need most careful +handling to avoid breaking them.</p> + +<p>When all are safely in place, the tickets must be +taken off and replaced by labels stuck in the ground +beside each plant.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> Many roses, especially from +abroad, come with labels fastened on with wire. +These should be removed without delay; for the +moment the shoots begin to swell the wire eats into +them, and in the course of a few months will either +kill the shoot or break it. This is a most important +matter. And I have had sad experience in it; as +owing to carelessness and hurry in planting a number +of extremely good French roses, I overlooked some of +the wired labels. Eight months later, half—and the +larger half—of a fine plant in full flower of the dwarf +Polyantha, <i>Perle des Rouges</i>, was broken off on a +windy day; and on examination I found that the +stem had swelled to such a size round the corroding +wire, that the weight it was bearing of foliage, flowers, +and branches had broken it clean off. Even a label +tied on with a string is injurious, from the constant +chafing of the bark as the wind blows it to and fro +and tightens the knot.</p> + +<p>Our heavy task being now accomplished, we can<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +await the rigours of winter cheerfully. But let no one +persuade us that the newly planted beds would look +better if raked smooth instead of being left quite +rough. A smooth rose bed means that the soil cakes +hard, preventing the rain penetrating in summer, and +the frost mellowing the ground in winter. And from +early spring to late autumn the hoe should be kept +constantly at work between the plants; not merely to +keep down weeds, but to keep the surface of the +ground open to the influences of rain, sun, and the +watering-pot.</p> +<p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p> + + +<hr style="width: 65%;" /> +<h2>CHAPTER II</h2> + +<div class='chaptertitle'>PRUNING AND PROPAGATING</div> + + +<p><span class="smcap">Of</span> all the many toils and anxieties that beset the +path of the amateur rosarian, I think we may safely +say pruning is the chief. The rules to be observed +are few. The idiosyncrasies of each rose are many. +And the demands upon one's own judgment and +initiative are constant.</p> + +<p>Two things have to be considered before we begin +the puzzling task. Are we growing our roses for +exhibition, or at all events for a very few very +perfect blooms? Or are we growing them for +quantity, for mere enjoyment, on the "cut and come +again" principle, which enables one not only to fill +the house without robbing the garden, but to fill the +hands of every one who comes into the garden and +looks at the masses of blossom with longing eyes?</p> + +<p>As I do not exhibit, the second plan is the one I +have studied most closely. For the other I must refer +my readers to my friend the Rev. F. Page-Roberts' +valuable notes, on how to grow and show roses in +Chapter XI.</p> + +<p><b>When to prune.</b>—The old-fashioned plan of<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> +pruning all roses in the autumn has now been, happily +for their well-being, given up in England. It was +owing to this that many of the earlier varieties of +Tea roses, and even some of the Bourbons and Hybrid +Perpetuals, were considered 50 years ago too "tender" +to plant freely out of doors.</p> + +<p>Pruning now begins in February, and goes on +through March and April.</p> + +<p>In February we begin to prune the <i>Rugosas;</i> +<i>Boursaults;</i> <i>Sempervirens;</i> and <i>Ayrshires</i>.</p> + +<p>In February and early March, the <i>Provence;</i> <i><a href="#Moss_Common">Moss</a>;</i> +<i>miniature Provence;</i> many of the Species, such as +<i>Alpina</i>, <i>Moschata</i>, and <i>Bracteata</i>, and their hybrids.</p> + +<p>In early March the <i>Gallica;</i> <i>Damask;</i> <i><a href="#ROSA_ALBA">Alba</a>;</i> +<i>Hybrid Chinas;</i> and <i>Sweet Briars</i>. To be followed +by <i>Hybrid Bourbons;</i> <i>Hybrid Noisettes</i> and <i>Musks;</i> +<i>Austrian</i> and <i>Scotch Briars;</i> <i>Multifloras;</i> <i>Ramblers;</i> +<i>Wichuraianas;</i> <i>Chinas;</i> <i>Dijon Teas;</i> <i>dwarf +Polyanthas;</i> and dwarf and standard <i>Hybrid Perpetuals</i> +and <i>Hybrid Teas</i>.</p> + +<p>Climbing varieties of <i>Noisettes</i>, <i>Teas</i>, <i>Hybrid +Teas</i>, and <i>Hybrid Perpetuals</i>, may be thinned out, +if necessary, after flowering in summer. But they +must be pruned in March.</p> + +<p>In April the <i>Teas</i> and <i>Noisettes</i>, both dwarf and +standard, and the <i>Banksian roses</i> are pruned.</p> + +<p><b>How to prune.</b>—This is a much-disputed subject +among rose growers, and as authorities differ widely +with regard to it, some advocating hard pruning, and<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> +others just as strongly swearing by light pruning, so +do they differ as to the instrument to be used. The +pruning knife is most generally recommended; while +the sécateur, so universally in use on the Continent, is +advised merely for the cutting of dead wood. But the +knife has its disadvantages, especially in the hands of a +woman. For not only may one get an ugly cut with it: +but even in a man's hands I have seen the plant pulled +about more than I like, in cutting a tough branch. I +am therefore delighted to find that so great an +authority as the Rev. J. H. Pemberton advocates the +use of the sécateur for <i>all</i> pruning, as for many years +I have used nothing else. The amount of time and +strength it saves one is infinite, to say nothing of the +comfort of so handy a weapon.</p> + +<p>There are, however, sécateurs and sécateurs—and a +poor one is worse than useless. Its blades must be +as sharp as a razor, and so accurately set that they +make a perfectly clean cut right through, without +pinching the branch or tearing the bark. In choosing +one, it is well to try it on a sheet of tissue paper. If +it cuts the paper like a sharp pair of scissors, it is all +right. But if it curls the paper round the blade, +instead of making a clean cut, it is to be avoided. +After trying many different makes, I have found that +the <i>Sécateur Montreuil</i>, which I have now procured for +several years from MM. Vilmorin, Andrieux et Cie., +4, Quai de la Megisserie, Paris, is far the best I can +get. It costs 8 francs, and is made in three sizes.<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span></p> + +<p>As to hard-and-fast rules in pruning, there are but +two.</p> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="Pruning diagrams"> +<tr><td align='left'><div class="figcenter" style="width: 250px;"> +<img src="images/ill-0034.png" width="250" height="406" alt="Fig. 2a.—Rosebush requiring light pruning—unpruned." title="" /> +<span class="caption">Fig. 2a.—Rosebush requiring light pruning—unpruned.</span> +</div> +</td><td align='left' valign='bottom'><div class="figcenter" style="width: 229px;"> +<img src="images/ill-0034b.png" width="229" height="274" alt="Fig. 2b.—Rosebush requiring light pruning—pruned." title="" /> +<span class="caption">Fig. 2b.—Rosebush requiring light pruning—pruned.</span> +</div> +</td></tr> +</table></div> + + +<div class='center'><br /><br /> +<table border="0" cellpadding="4" cellspacing="0" summary="Pruning photographs"> +<tr><td align='left'><div class="figcenter" style="width: 300px;"> +<img src="images/ill-0035a.jpg" width="300" height="366" alt="1.—Rose Requiring Moderate Pruning. Unpruned." title="" /> +<span class="caption">1.—Rose Requiring Moderate Pruning. Unpruned.</span> +</div> +</td><td align='left' valign='top'><div class="figcenter" style="width: 300px;"> +<img src="images/ill-0035b.jpg" width="300" height="370" alt="1.—Rose Requiring Moderate Pruning. Pruned." title="" /> +<span class="caption">1.—Rose Requiring Moderate Pruning. Pruned.</span> +</div> +</td></tr> +</table></div> + +<p>1. Prune weak-growing roses much harder than +strong-growing roses. As the object of pruning is +to throw the sap into the young shoots which will +start from the dormant buds or "eyes," in order to +make them flower, a weak-growing rose must be +pruned hard so as to concentrate all the vigour of the +plant on the few dormant buds we leave. While +if we prune a strong-growing rose very hard we +only make it throw yet longer shoots, which soon<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> +get out of all bounds, and run to wood and not to +blossom.</p> + +<p>2. Always prune to a dormant bud which points +outwards. This is done to keep the centre of the plant +comparatively free, by preventing the shoots crossing +and choking each other.</p> + +<p>In pruning we have to keep two objects ever in +view. In the first place we must prune in order to +get rid of all dead wood, and weak, unripe and useless +shoots, thus enabling the young healthy wood to take +their place. And secondly we must prune so as to +keep the plant in good shape and good health, by +cutting back the strong and healthy wood we leave to +a suitable length.</p> + +<p>If the winter has been mild, we shall find many +buds on the upper part of strong shoots of last year's +growth, which are already bursting into leaf and even +showing a flower bud. And it seems so brutal to +destroy these, that I know one is often tempted to +leave some to take their chance, instead of hardening +one's heart and sternly cutting down to just above the +first dormant bud. But when the plants really start +in May, we pay for our tender-hearted folly by blind +unhealthy shoots which only disfigure the plant, while +the real flower shoots are starting below and cannot +get up to the light and air. Or, again, the unpruned +shoot turns black and begins to die back, and we have +to cut it down much further than would have been +necessary had we pruned it at the right moment.<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span></p> + +<p>In pruning, however, let the amateur remember +that until he has gained considerable experience in +the matter, it is far safer to prune too lightly than to +prune in excess. And I must repeat that no rules +will really help us, unless we study the special nature +and idiosyncrasy of each individual plant, exactly as +we study the character of the child we have to deal +with.</p> + +<p>With climbing summer-flowering roses very little +pruning at all is required, except slightly shortening +the ends of the long rambling shoots, cutting out all +the dead wood, and cutting some of the old flowering +shoots which are worn out, down to the base.</p> + +<p>It must be remembered that Ramblers, Noisettes, +and other climbing roses bear their flowers on the +laterals of the long shoots of the former year. While +the Banksias, some of the Multifloras such as <i>Aglaia</i>, +and that beautiful rose <i>Fortune's Yellow</i>, only flower +on the sub-laterals, <i>i.e.</i> on wood three years old. If +therefore these shoots are cut back too hard the plant +does not flower.</p> + +<p>One of the finest specimens of <i>Crimson Rambler</i> I +have ever seen, was ruined for several years by an +ignorant person who carefully and triumphantly cut +out all the long shoots of the former year, which he +considered mere "sucker rods." And then he was +surprised at the plant bearing no flowers.</p> + +<p>A certain amount of very useful minor pruning can +be carried on all through the summer, by cutting out<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +bits of old wood when they have flowered, if we see +that they have no young shoots on which to bear a +second crop later on. For instance when the newer +China roses, such as <i><a href="#Laurette_Messimy">Laurette Messimy</a></i>, are in full +bloom, we often find a bit of one of last year's growths +which has borne one or two of the earliest flowers and +now merely blocks up the young tender shoots full of +buds. This is the time to cut it out, instead of allowing +it to absorb part of the strength which should go to +the new wood.</p> + +<p><b>Cutting off dead blooms.</b>—Though to some it +may seem a small matter, much good may also be +done to our plants through the summer by the way +we remove dead flowers. Instead of merely snapping +off each blossom between thumb and finger, it is +better to do a little very mild pruning, by cutting +each dead blossom off just above the second leaf below +it. This greatly promotes the autumn blooming of +the plants, and keeps them in good shape. It is a +little more trouble, but amply repays us in the end.</p> + +<p>The precise moment of setting to work must depend +to some extent on the weather. Of course we cannot +begin in a heavy frost, as that would be fatal to the +plants. Nor can I go as far as Mr. Pemberton, who +with delightful enthusiasm advises us to choose a cold +day with north-east wind and occasional sleet showers. +That is too complete a counsel of perfection for most +mortals; for however much they love their roses, +they equally dread pneumonia for themselves. But<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> +certainly a cool, overcast day is best, as there is less +chance of the wood bleeding than in mild, soft +weather.</p> + +<p>Well prepared, therefore, sécateur in hand, and +knife in pocket in case of need, with strong gloves and +old clothes, and if a woman, with a housemaid's kneeling +pad to kneel on so as to get more easily at the +dwarf plants—for pruning is tiring work in any case, +and it is well to save extra fatigue and backache—we +now begin on a late February day, with</p> + +<p><b>Rugosa</b> Roses.—These need little pruning beyond +cutting out the dead wood, and cutting back some +of the old wood almost to the base, when it will throw +up fresh shoots which will bloom late. The suckers +which these roses throw up in numbers, may be cut +back to three or four feet to form a thick bush.</p> + +<p><b>Ayrshires</b> and <b>Sempervirens</b>.—Thin out +slightly and cut out dead wood—no further pruning +is needed.</p> + +<p><b>Boursaults</b> need no thinning. The flowers are +borne on the laterals of last year's long shoots, which +may be left six to ten feet long.</p> + +<p>The <b>Species</b> and most of their hybrids need no +pruning beyond cutting out dead wood, and occasionally +cutting the young base shoots back to hard, well-ripened +wood, when the tips are touched by frost.</p> + +<p><b>Provence</b> and <b>Moss</b> Roses.—Cut out old wood; +thin out old shoots, and out back the young base +shoots and laterals to four or six eyes. Some of the<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> +strong-growing moss roses may be left taller. The +<b>Perpetual Moss</b> roses are pruned as hybrid perpetuals +for garden decoration.</p> + +<p><b>Miniature Provence.</b>—Keep well pruned to +within six inches of the ground, and thin out the +centre.</p> + +<p><b>Gallica</b> and <b>Damask</b>.—Prune lightly. The +strong growers may be kept as tall bushes or pillars. +The dwarf, such as <i><a href="#Gallica_Red_Damask">Red Damask</a></i>, and <i>Rosa Mundi</i> cut +back to three feet. Keep the best one- and two-year-old +shoots and laterals, and thin out old and weak +wood.</p> + +<p><b>Alba.</b>—Grow as bushes or pillars five to six feet +high, cutting out weak wood, leaving all the laterals +on which the flowers are borne, about eight inches to +one foot.</p> + +<p><b>Hybrid Chinas</b>, such as <i>Charles Lawson</i>, <i>Coupe +d'Hébé</i> and <i>Madame Plantier</i>, should be grown as +bushy pillars, leaving the shoots six feet long. +Shorten the laterals on old wood to three or four +eyes. <i>Blairii No. 2</i> should hardly be touched.</p> + +<p><b>Sweet Briars.</b>—Cut out all weak wood and cut +old and naked shoots down to the ground. The +Common Sweet Briar should be grown about four feet +high. The Penzance Briars make enormous base +shoots, which may be shortened to ten feet or less +according to one's requirements, and some of the +strong laterals of last year shortened back. <i>Lord</i> and +<i>Lady Penzance</i>, from their Austrian briar blood, are<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +much less vigorous, and need far less pruning, only +cutting out dead wood. When the Penzance and +Common Sweet Briars are grown as hedges, the base is +apt to get bare, and some of the long shoots must be +laid down to keep it clothed, while the rest are +pruned much shorter.</p> + +<p><b>Hybrid Bourbons.</b>—Prune the laterals lightly, +and leave the best of the base shoots.</p> + +<p><b>Hybrid Noisettes</b> and <b>Musks</b>.—Thin out old +wood and tie in young shoots.</p> + +<p><b>Austrian Briars.</b>—Only cut out dead wood. +<i>Soleil d'Or</i>, a hybrid, flowers on the young wood, +and the shoots may be pruned back to two feet.</p> + +<p><b>Scotch Briars.</b>—No pruning is needed, except +cutting out old and dead wood and shortening back +some of the numerous suckers.</p> + +<p><b>Climbing Multifloras</b> need little pruning. When +grown as pillars or on screens they are apt to get bare +at the base. Therefore it is well to cut some of the +weaker young shoots back to two or three feet to +clothe the base, leaving the strong ones their full +length. With <i>Crimson Rambler</i> and its class, cut +out some of the old wood to make room for the young +shoots and shorten any weak laterals: but leave most +of the strong ones intact, and do not touch the long +base shoots of the last year.</p> + +<p><b>Wichuraianas.</b>—Only cut out old and dead wood. +I have seen a beautiful effect produced with <i>Dorothy +Perkins</i> by cutting out <i>all</i> the old wood in the<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> +autumn, and training the long young shoots over +wire frames two-and-a-half feet wide, forming low +arches about a yard from the ground in the centre. +The mass of flower shoots standing erect on these +frames makes a most strikingly beautiful object. The +Wichuraianas also form very lovely weeping standards +on eight-feet stems. And for tall pillars and fountain +roses they are unequalled.</p> + +<p><b>Chinas.</b>—The old <i>Blush</i> and <i>Cramoisie Supérieure</i> +should only be thinned. The newer kinds, +such as <i>Mme. Eugène Resal</i>, <i><a href="#Laurette_Messimy">Laurette Messimy</a></i>, etc., +may be cut back to a few eyes from the ground.</p> + +<p><b>Bourbons.</b>—Prune lightly, growing as bold bushes +or standards; except <i>Hermosa</i>, which may be pruned +back to form a dwarf, spreading, two-feet bush; while +<i>Mrs. Bosanquet</i> is treated like the Chinas.</p> + +<p><b>Noisettes</b> are of two types. The strong growers +need hardly any pruning, except <i>Maréchal Niel</i>, +which must have all cankered and weak shoots removed +after it has flowered. <i>Lamarque</i>, <i>Fortune's +Yellow</i> (which must not be pruned at all), and <i>Jaune +Desprez</i> need a wall; and <i>Céline Forestier</i> prefers +one.</p> + +<p>The other type, such as <i>L'Idéal</i> and <i><a href="#William_Allen_Richardson">William Allen +Richardson</a></i>, may be pruned fairly close, by cutting +back the laterals to a few eyes. All Noisettes bear +their flowers on the laterals; therefore these should +be preserved as much as possible.</p> + +<p><b>Dijon Teas.</b>—These are the climbing and vigorous<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> +<i>Gloire de Dijon</i> and its descendants and allies, such +as <i>Belle Lyonnaise</i>, <i>François Crousse</i>, <i>Duchesse +d'Auerstadt</i>, <i>Mme. Bérard</i>, etc. They are all apt to +get bare below. Therefore, while some of the strong +shoots from the base are left almost their full length, +others must be cut back, some to two or three feet, +others to four or five feet, in order to keep the whole +surface of the wall, arch, or pillar clothed evenly. +The laterals may be pruned on the same plan. Old +worn out wood should be occasionally cut down to the +base to make it start afresh, when the first flowering +is over.</p> + +<p><b>Banksia Roses.</b>—These need no pruning except +in the case of a very old plant, when a shoot that +shows weakness may be cut down to the base in April. +But I have pointed out in Chapter IV that the Banksias +bear their flowers on the sub-laterals of the third year. +Therefore, for three years they must not be touched +with the knife, and the shoots merely tied in evenly +over the surface of the wall.</p> + +<p><b>Dwarf Polyanthas.</b>—These only need to have +the old flower stems cut out in March.</p> + +<p><b>Hybrid Perpetuals</b> and <b>Hybrid Teas</b>, dwarf +and standard.—If pruned for garden purposes or what +I call enjoyment, not for exhibition, all dead wood +and weak or unripe shoots must be cut out to the +base of the plant. The centre of the plant must be +kept clear by removing shoots which cross each other. +The strong ripe shoots from the base should be cut<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> +back to about twelve inches, and the laterals on the +old wood cut back to about four to six eyes. This is +merely a general guide to the pruning of these two +kinds of roses. But the rosarian, as I have said, will +have to study the peculiarities of each individual +plant, and to adapt these instructions to its needs, +leaving more shoots on the stronger roses, and keeping +them longer than on the weak-growing varieties.</p> + +<p><b>Teas</b> and <b>Noisettes</b>, both dwarf and standard, +are pruned on exactly the same lines as the <i>Hybrid +Teas</i> and <i>Hybrid Perpetuals</i>, but must be pruned in +April instead of March.</p> + +<h3>PROPAGATING ROSES.</h3> + +<p>The three chief methods of propagating roses are +by—</p> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Methods of propagating"> +<tr><td align='left'>1. Budding on the briar stock.</td></tr> +<tr><td align='left'>2. Cuttings.</td></tr> +<tr><td align='left'>3. Layering.</td></tr> +</table></div> + +<p><b>Budding.</b>—This is the best-known method of +propagating. And it is so widely practised by +amateurs and gardeners of all degree, that it is +better to get an object-lesson in the art than to +depend on written instructions. With a little practise +any one with neat fingers can bud. But great +care must be taken in the operation, not to bruise the +bark of the bud or "shield" that is to be inserted in +the stock.</p> + +<p>The best stocks, whether for dwarfs or standards,<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +are those of the wild Dog Rose from woods and +hedgerows. These should be taken up in October +and November, care being taken that each stock has +fair roots, that the roots are not torn or bruised, and +that they are not dry and shrivelled when planted. +In fact, they ought to be treated with just the same +care we bestow on our new roses when we plant them +out. The stocks may be at once shortened, to about +three feet for half-standards, and very strong ones for +specimen or weeping roses may be kept six and eight +feet long. But in shortening both, they must always +be cut just above a bud. In the following summer +these stocks will have thrown out side-shoots; and it +is in these that the buds are to be inserted. We can +tell when "the bark will run," <i>i.e.</i> that it is ready +for budding, by trying whether the thorns break off +clean when pushed by the thumb. If the thorn +bends and does not leave the bark, the wood is not +ripe enough. If the thorn sticks tight to the wood, +and yet is brittle, the wood is too ripe.</p> + +<p>Dwarf stocks are treated much in the same +way, but must be planted nearer the surface than +standards; for when they are budded the earth must +be removed right down to the roots, in order to +set the bud as low as possible, as it is inserted in +the stem itself, and not in the young wood of the +year.</p> + +<p>We then choose the "scion"—a twig of the rose +we wish to propagate which has already flowered,<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> +with plump but not too large buds behind each leaf +stalk. Inserting the budding-knife about half an +inch above the lowest of these buds or "eyes," we +slice down, making a little dip inwards towards the +wood as the knife passes the bud, to nearly an inch +below it, not cutting through the bark, but peeling it +off the scion. The thin slice of wood which adheres +to the inside of the strip of bark containing the bud, +is now removed by inserting the knife between it and +the bark, and jerking it out sharply. Nothing should +now be left in the bark save the soft green substance +of the "eye." But if this has been dragged out +with the wood, the bud is useless, and must be +thrown away. The shield of bark is then trimmed +to a point below.</p> + +<p>The stock is now made ready to receive the bud. +At the point we have chosen for inserting the bud—in +standards let it be as close as possible to the main +stem—a perpendicular slit from half an inch to an +inch long is made with the budding-knife, care being +taken only to cut through the bark and not to wound +the wood below. A short cross-cut is made at the +top of the slit. Then the bark is gently raised on +each side downwards from this cross-cut, with the +flat handle of the knife.</p> + +<p>Into this slit the bud is slipped by putting the +pointed lower end into the cross slit, and pushing it +down as far as it will go. We then cut off any bark +at the top of the bud that overlaps the cross-cut, so<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span> +that the shield fits in perfectly, when the side flaps +of bark are brought gently over it.</p> + +<p>With a bit of Raffia grass, well moistened in water, +we now bind up the bud; beginning from below with +a double turn over one end of the Raffia, and keeping +it quite flat, exactly in the way we put on a +surgical bandage. When we come to the bud itself, +the Raffia must be wound tightly and as close to the +eye as possible without actually touching it. When +the whole slit is completely and evenly covered, slip +the end of the Raffia through the last turn and pull +it tight. The operation is now complete.</p> + +<h3>CUTTINGS.</h3> + +<p>Roses on their own roots are grown from cuttings, +and it is a system which suits many varieties.</p> + +<p><b>How to make a cutting.</b>—Cuttings are taken +from well-ripened twigs which have already flowered, +or from a lateral upon the main flowering shoot, which +has ceased growing without bearing a blossom. They +should be from two to six or seven inches in +length, with three to nine buds upon them. And +judgment is needed regarding these buds in choosing +the twig, as we must take one on which they are +neither immature nor too fully developed. In the case +of a cutting with ten leaves we cut off the top a +quarter of an inch above the fourth leaf, and the +same distance below the tenth. The four lower leaves +are then cut off close to the bud they cover, and the<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> +three upper ones are left on. When the cutting is +planted, two-thirds of it should be in the soil.</p> + +<div class="figright" style="width: 302px;"> +<img src="images/ill-0049.jpg" width="302" height="500" alt="Fig. 3.—Rose cutting with a heel, 4 leaves cut, 2 leaves left." title="" /> +<span class="caption">Fig. 3.—Rose cutting with a heel, 4 leaves cut, 2 leaves left.</span> +</div> + +<p>Cuttings are taken in two ways.</p> + +<p>1. With a heel; that is a small portion of the +wood of the stem from which the twig grows.<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span></p> + +<p>2. Without a heel; being cut through just below +a bud.</p> + +<div class="figleft" style="width: 288px;"> +<img src="images/ill-0050.jpg" width="288" height="500" alt="Fig. 4.—Rose cutting without a heel, 4 leaves cut, 2 leaves left." title="" /> +<span class="caption">Fig. 4.—Rose cutting without a heel, 4 leaves cut, 2 leaves left.</span> +</div> + +<p><b>Cuttings under glass.</b>—Cuttings of the choice +kinds of Teas, Hybrid Teas, Hybrid Perpetuals, and +Chinas are raised under glass, taken from pot plants +as soon as they have flowered in the spring. The +cuttings are put in pots filled with fibrous loam and +silver sand, about six in a five-inch pot. When ready<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span> +to root at the end of two or three weeks, the pots are +placed in a frame on bottom heat to start growth. +The same plan is pursued in the autumn, with cuttings +taken from plants grown out of doors; but +they do not strike as rapidly as those taken from +pot plants earlier.</p> + +<p><b>Cuttings in the open ground.</b>—This is an +interesting and easy way of getting a good stock of +many kinds of hardy, strong-growing Perpetuals, +Sweet Briars, Ramblers, etc. And it may be successfully +carried on from early in August to the +middle of October.</p> + +<p>Cuttings are inserted three inches apart in rows, +leaving some ten inches between each row. They +may be either set in a trench, or dibbled into a +specially prepared bed. I have tried both plans, and +find the following very successful. A bit of ground, +partially but not too much shaded, is forked up; a +layer of good rotten manure laid on it; upon this +three inches of leaf mould; on this again three +inches of sharp, sandy road-scrapings—silver sand +would be as good or better, but here the gravel road-grit +is handy. The bed is then stamped down as +hard as possible, until it forms a firm solid mass. +The cuttings are then inserted in rows—a hole of the +right depth for each being made into the compost +with a smooth sharp-pointed stick the size of a lead +pencil—a long wooden penholder is a good dibble. +Into this hole the cutting is thrust till its base rests<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> +firmly on the bottom of the hole, and the soil is +pressed tight round the stem with the fingers. When +all are in place a thorough soaking of water is given +them; and except for firming them in when worms +raise the soil about them, they must not be disturbed +until the top leaves begin to fall. We shall then see +which are likely to strike, and can pull out those +whose wood has begun to shrivel, as they are dead.</p> + +<p>Many of these cuttings will show flower the next +summer. And by November—<i>i.e.</i> fifteen months +after planting—they can be lifted and planted out +in their permanent quarters.</p> + +<p>The other plan is to make a little trench eight +inches or so deep in good loamy soil, with a layer +of silver sand at the bottom. The cuttings are set +against the sloped side of the trench, and it is then +filled up with soil and stamped in very firmly. I +find this answers best for the Penzance Sweet Briars; +but personally I prefer the former plan for other +roses.</p> + +<p>The cuttings must be well watered and carefully +weeded from time to time, and in the winter must +be given slight protection by fronds of bracken or +boughs of evergreens laid lightly over them.</p> + +<h3>LAYERING.</h3> + +<p>This is chiefly resorted to when it is wished to +increase the stock rapidly of some very choice rose. +It can be carried on in summer and early autumn.<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> + +<p>The directions given in Mr. Rivers' Rose Amateur's +Guide of 1843 are so admirable that I quote them <i>in +extenso</i>.</p> + +<p>"About the middle of July in most seasons the +shoots will be found about eighteen inches or two feet +in length; from these, two-thirds of the leaves should +be cut off, close to the shoot, beginning at the base, +with a very sharp knife; the shoot must then be +brought to the ground, so as to be able to judge in +what place the hole must be made to receive it; it +may be made large enough to hold a quarter of a peck +of compost; in heavy and retentive soils this should +be rotten dung and pit sand in equal quantities, well +mixed; the shoot must then be 'tongued,' <i>i.e.</i> the +knife introduced just below a bud and brought upwards, +so as to cut about half way through; this must +be done at the side or back of the shoot (not by any +means at the front or in the bend), so that the tongue +does not close; to make this certain a small piece of +glass or thin earthenware may be introduced to keep +it open. Much nicety is required to have the tongue +at the upper part of the shoot, so as not to be in the +part which forms the bow, as it is of consequence that +it should be within two inches of the surface, so as to +feel the effects of atmospheric heat; unless this is +attended to the roots will not be emitted quickly; the +tongued part must be placed in the centre of the +compost, and a moderate-sized stone put on the +surface of the ground to keep the layer in its place.<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span> +The first week in November the layers may be taken +from the parent plant, and either potted as required, +or planted out where they are to remain. Those +shoots not long enough in July and August may be +layered in October, when the layers are taken from the +shoots, and, if any are forgotten, February and March +will be the most favourable month for the operation: +as a general rule, July is the proper season."</p> + +<div class="figcenter" style="width: 432px;"><a name="ROSA_ALBA" id="ROSA_ALBA"></a> +<img src="images/ill-0056.jpg" width="432" height="500" alt="Rugosa. ROSA ALBA." title="" /> +<div class="caption3"><span style="margin-right: 4em;"><span class="smcap">Rugosa.</span></span> +<br /> +ROSA ALBA.</div> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p> +<h2>CHAPTER III</h2> + +<div class='chaptertitle'>SUMMER-FLOWERING ROSES—OLD AND NEW.</div> + + +<p><span class="smcap">Let</span> us now consider those roses which, although +their lovely season of blooming is but short, shed +such fragrance and delight on the gardens of rich +and poor. Our oldest favourites first—the <a href="#CABBAGE">Cabbage</a>, +sweetest of all; the <a href="#Moss_Common">Moss</a>; the Maiden's Blush; the +Crimson Damask; the Austrian, Scotch, and Sweet +Briars; the tiny <i>Rose de Meaux</i>, so seldom seen now +in England that when we find bunches of it on every +barrow in the Paris streets, to be had for a few +centimes, we fall upon it as on lost treasure.</p> + +<p>Then the climbers, the Ayrshires, Banksias, Polyanthas +and Evergreen. And when to these we add all +the novelties which Japan has bestowed upon us in +the Rugosas and the Wichuraianas, and those marvels +which the hybridists are deriving from them and +introducing every year in such numbers, we may well +consider where best to make a place for these lovely +roses, so that from April till August we can rejoice +in their varied beauty.</p> + +<p>Of the climbing roses I treat in a separate chapter. +But if with regard to the dwarf or bush roses, some<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> +may raise objections to massing them in by themselves, +because they are so soon out of flower and leave the +beds bare of bloom for the rest of the summer, the +objection—a valid one—may be overcome in two ways. +First, by planting China roses among them and an +edging of the charming Dwarf Polyantha roses round +them. Secondly, by planting lilies and late-flowering +perennials with them, which will be in bloom as soon +as they are over.</p> + +<p>But to my mind, the <a href="#CABBAGE">Cabbage</a>, <a href="#Moss_Common">Moss</a>, Provence and +Damask roses look most thoroughly in place in the +old-fashioned mixed border along the walk in the +kitchen garden, where they flower after wallflowers, +daffodils and polyanthus, with lilies and pinks, stocks +and carnations, and all the delightful and fragrant +odds and ends that, somehow, make it the spot in the +whole garden to which all footsteps turn instinctively.</p> + +<div class="figcenter" style="width: 411px;"><a name="CABBAGE" id="CABBAGE"></a> +<img src="images/ill-0059.jpg" width="411" height="500" alt="Provence. CABBAGE." title="" /> +<div class="caption2"><span style="margin-right: 4em;"><span class="smcap">Provence.</span></span> +<br /> +CABBAGE.</div> +</div> + + +<div class='center'><br /><span class="smcap">The Provence or <a href="#CABBAGE">Cabbage Rose</a></span>, <i>R. centifolia</i>,</div> + +<div class='unindent'>is perhaps the oldest favourite in English gardens; for +it was introduced as far back as 1596. Said to have +come originally from the Caucasus, it may well be, +as its Latin and French names suggest, the Romans' +favourite "hundred-leaved-rose" mentioned by Pliny. +And as it was found in Southern France at a very +early date, it became known as the "Provence Rose." +In spite of all new comers, beautiful and attractive as +they are, the "<a href="#Apothecarys_Rose">Old Cabbage Rose</a>" holds its own +to-day in the garden of every true rose-lover, as<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> +unsurpassed in fragrance and colour. Its pure white +variety, the <i>Rose Unique</i>, discovered in a garden in +Suffolk, in 1777, is far less common and less vigorous +than the pink <a href="#CABBAGE">Cabbage</a> rose. But if it can be induced +to grow it is a very beautiful object in the summer +garden, especially as a standard on the briar. The +tiny <i>Rose de Meaux</i> and <i>Spong</i> are also miniature +Provence roses—and as I have said, ought to be more +widely grown in English gardens.</div> + +<div class="figcenter" style="width: 417px;"><a name="Moss_Common" id="Moss_Common"></a> +<img src="images/ill-0062.jpg" width="417" height="500" alt="Moss. COMMON." title="" /> +<div class="caption2"><span style="margin-right: 2em;">Moss.</span><br /> +COMMON.</div> +</div> + + +<div class='center'><br /><span class="smcap"><a href="#Moss_Common">The Moss Rose</a></span>, <i>R. Muscosa</i>,</div> + +<div class='unindent'>originally a sport from the common Provence or +<a href="#CABBAGE">Cabbage rose</a>, was also introduced into England from +Holland in 1596; and many varieties have since +been derived from it, some of the newer ones having +the additional merit of being perpetual flowering. +The best are the common <i>Pink Moss</i>, <i>Comtesse +Murinais</i>, <i>Celina</i>, <i>Crested</i>, <i>Gloire des Mousseuses</i>, +<i>Laneii</i>, <i>White Bath;</i> while there is a delightful little +pink, mossed <i>Rose de Meaux</i>. Of the perpetuals, +<i>Blanche Moreau</i>, <i>Salet</i>, <i>Perpetual White Moss</i>, and +<i>Mme. Wm. Paul</i> are all good.</div> + +<p>The Old Double Yellow Provence, <i>Rosa Hemisphærica</i> +or <i>Sulphurea</i> is somewhat rare now, and +only found in one or two modern catalogues or in +very old gardens.</p> + +<div class='center'><br /><span class="smcap">The French Rose</span>, <i>R. Gallica</i>, also called +<i>Rose de Provins</i>,</div> + +<div class='unindent'>as its name implies, is a native of France; but<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> +it is also found in Italy, Switzerland and Austria. +A good deal of confusion reigns on the subject of this +rose and <i>R. Damascena;</i> for varieties of both are +often misplaced in each other's classes. For instance, +the common red <i>Gallica</i>, the "<a href="#Apothecarys_Rose">Apothecary's rose</a>," is +usually called the <i><a href="#Gallica_Red_Damask">Red Damask</a></i>, and its many striped +varieties, especially <i>Rosa Mundi</i>, are mistaken for the +true <i>York and Lancaster</i>, which is a true Damask +rose.</div> + +<div class="figcenter" style="width: 407px;"><a name="Gallica_Red_Damask" id="Gallica_Red_Damask"></a> +<img src="images/ill-0065.jpg" width="407" height="510" alt="Gallica. RED DAMASK (The Apothecary's Rose.)" title="" /> +<div class="caption2"><span style="margin-right: 6em;">Gallica.</span><br /> + +<span style="margin-right: 2em;">RED DAMASK</span><br /><a name="Apothecarys_Rose" id="Apothecarys_Rose"></a> +(The <ins title="Transcriber's Note: original reads 'Apothecaries'">Apothecary's</ins> Rose.)</div> +</div> + +<p><i>Rosa Gallica</i>, however, is easily distinguished from +<i>Damascena</i>. Its flowering shoots are upright, with +few prickles, and rigid leaves. It seeds very freely; +and this accounts for the innumerable varieties which +were in vogue fifty or sixty years ago. It is said that +one grower near London had two thousand different +sorts. It is still largely grown in England for distilling +purposes, on account of its delicious perfume; +and a field of the "<a href="#Apothecarys_Rose">Apothecary's rose</a>" in full flower +is a lovely sight in July. But the chief centre of the +industry used to be round Provins, the old capital of +La Brie, about sixty miles from Paris, on the way to +Châlons. Here vast fields were grown, the petals +being used not only for scent, but for conserves and +medicinal purposes.</p> + +<p>When well grown, namely well fed and well pruned +by cutting out all the weak wood and shortening back +the strong shoots to six or seven eyes, <i>Rosa gallica</i> is +worthy of a choice place as a decorative rose, whether +in the house or on the exhibition bench, when the<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> +almost single flowers open and show their brilliant +golden stamens. The best sorts grown at present are +<i>Œillet Parfait</i>, <i>Perle des Panachées</i>, <i>Rosa Mundi</i>, +<i><a href="#Gallica_Red_Damask">Red Damask</a></i> (the all-red form of this last), <i>Village +Maid</i>, and <i>Tuscany</i>.</p> + +<div class="figcenter" style="width: 473px;"><a name="Mrs_O_G_Orpen" id="Mrs_O_G_Orpen"></a> +<img src="images/ill-0068.jpg" width="473" height="500" alt="Climbing Damask. MRS. O. G. ORPEN." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Climbing Damask.</span><br /> + +MRS. O. G. ORPEN.</div> +</div> + + +<div class='center'><br /><span class="smcap">The Damask Rose</span>, <i>R. Damascena</i>.</div> + +<p>This rose was brought from Syria to Europe at the +time of the Crusades. The true <i>York and Lancaster</i> +is the best example of the old Damask rose, and grows +into a vigorous bush when well established. <i>Madame +Hardy</i>, a cross with the <a href="#CABBAGE">Cabbage rose</a>, is an excellent +pure white variety; and in the last few years some +new and admirable Damask roses, <i>Lady Curzon</i>, +<i>Lady Sarah Wilson</i>, <i>Lady White</i>, and the <i>Single +Crimson Damask</i>, have been raised by Mr. Turner; +while Mr. Orpen, of Colchester, introduced the +beautiful pink climber, <i><a href="#Mrs_O_G_Orpen">Mrs. O. G. Orpen</a></i>, in +1906.</p> + +<div class='center'><br /><span class="smcap"><a href="#ROSA_ALBA">Rosa Alba</a>,</span></div> + +<div class='unindent'>the white rose of central Europe, introduced into +England about 1597, is now too often only to be +seen in cottagers' gardens. But surely a corner +may be found for the <i>Maiden's Blush</i>, for the fine +old <i>Blanche Belgique</i>, or for <i>Celestial</i>—the roses that +used to be seen in our childhood with a sprig of +Southernwood in every village boy's buttonhole on +Sunday.</div><p><span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> +<div class="figcenter" style="width: 600px;"><a name="Austrian_Copper" id="Austrian_Copper"></a> +<img src="images/ill-0071.jpg" width="600" height="364" alt="Austrian Briar. AUSTRIAN COPPER." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Austrian Briar.</span> +<br /> +AUSTRIAN COPPER.</div> +</div> + + +<div class='center'><br /><span class="smcap">Austrian Briar Roses</span>, <i>R. lutea</i>.</div> + +<p>These are among the most brilliant of our early +summer roses, and are distinguished also by their +singular and aromatic scent. But their flowering +season is as short as it is vivid.</p> + +<p>The single Austrian Briars, mentioned by John +Gerard in 1596, both the Yellow, and the Copper +known in France as <i>Capucine</i>, should be found, if +possible, in every garden. But both are of moderate +growth; and the Copper is often troublesome to grow, +showing itself as capricious as it is attractive. For +instance, I have tried in vain for eight years to make +it flourish in my garden, while in a cottage garden by +the roadside a quarter of a mile away it flowers so +profusely that during its short-lived season of beauty +the passers-by stop to gaze at its brilliant single +blossoms of satiny-yellow lined with vivid copper red.</p> + +<p>The double yellow <i>Harrisonii</i> was raised in +America in 1830; and in 1837 Willock introduced the +beautiful and fragrant <i>Persian Yellow</i>, which grows +so freely wherever it is planted.</p> + +<p>All these Austrian briars have been utilized of late +by the hybridists with most interesting results. In +1900 the famous house of Pernet-Ducher, of Lyons, +succeeded in developing a new race of roses, which +they named <i>Rosa Pernetiana</i>, by crossing the +<i>Persian Yellow</i> with <i>Antoine Ducher</i>, a hybrid +perpetual. The first of these was <i>Soleil d'Or</i>, a large,<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> +full, flat flower, varying from gold and orange yellow +to reddish gold shaded with nasturtium red. It is +perfectly hardy, and perpetual flowering. And in +1907 they added a further seedling, far more amazing +in colour, named the <i>Lyon Rose</i>—offspring of a +cross between an unnamed seedling of <i>Soleil d'Or</i> +and the hybrid Tea <i>Mme. Mélanie Soupert</i>. This, +judging by the reports of those who have seen it, +is destined to be a most valuable addition to our +gardens.</p> + +<p>Another Pernetiana, <i>Les Rosati</i>, has been raised +by Gravereaux, from a cross between <i>Persian Yellow</i> +and a hybrid Tea. It is hardy, prolific, and when I +saw it at the end of September, 1907, in MM. Soupert +et Notting's ground, it was covered with brilliant +cherry-red flowers on a yellow base—the outside of +the petals pale salmon. <i>Godfried Keller</i>, a cross +with <a href="#Austrian_Copper">Austrian Copper</a>, apricot with the outside of +the petals dark yellow, semi-double and perpetual, +and <i>Parkfeuer</i>, a shining scarlet hybrid briar, are +both of the same type.</p> + +<div class='center'><br /><span class="smcap">Lord Penzance's Hybrid Sweet Briars</span>,<br /> + +<i>R. rubiginosa hybrida</i>.</div> + +<p>These invaluable roses, the result of years of careful +hybridizing of the common Sweet Briar, <i>R. rubiginosa</i>, +with various old-fashioned roses, are amongst the +greatest gifts of last century to the rosarian, the +amateur, and the cottager.<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/ill-0075.jpg" width="600" height="342" alt="Lord Penzance Hybrid Sweet Briar. JEANNIE DEANS." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Lord Penzance Hybrid Sweet Briar.</span><br /> + +JEANNIE DEANS.</div> +</div> + +<p><i>Lady Penzance</i>, one of the most attractive, though +less hardy and vigorous than others, resulted from a +cross with the <a href="#Austrian_Copper">Austrian Copper</a>; <i>Lord Penzance</i> from +the Austrian Yellow. This last is extraordinarily +fragrant, the scent of the leaves after rain filling the +air to a considerable distance. The rather small +flowers of both these show their parentage very clearly +in colour. But for size of blossom and effect, none of +the fourteen varieties equal the bright pink and white +<i>Flora McIvor</i>, the crimson <i>Meg Merrilies</i>, and the +superb dark crimson <i>Anne of Geirstein</i>. This last is +a plant of extraordinary vigour, forming in a few +years huge bushes ten feet high and nearly as many +through. For a high rose hedge or screen these +hybrid sweet briars are invaluable, while they may +be also used for pillars and arches. And, with the exception +of <i>Lord</i> and <i>Lady Penzance</i>, which are of more +moderate growth, they are easy to propagate, growing +readily from cuttings, which, if put in early in the +autumn are in flower the next summer. The foliage +of the common Sweet Briar, however, remains the +most fragrant of all, with a clean, wholesome +sweetness that is unsurpassed by its more showy +children, always excepting <i>Lord Penzance</i>, which, if +possible, excels it. Therefore let no one discard the +old friend, and let them plant it beside a walk, so that +they may give it a friendly pinch as they pass, to be +rewarded by its delicious scent.<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p> + +<div class="figcenter" style="width: 600px;"><a name="Stanwell_Perpetual" id="Stanwell_Perpetual"></a> +<img src="images/ill-0078.jpg" width="600" height="393" alt="Scots Briar. STANWELL PERPETUAL." title="" /> +<div class="caption2"><span style="margin-right: 6em;">Scots Briar.</span><br /> +STANWELL PERPETUAL.</div> +</div> + +<div class="figcenter" style="width: 358px;"> +<img src="images/ill-0080.jpg" width="358" height="600" alt="Scots Briar. STANWELL PERPETUAL." title="" /> +<div class="caption2"><span style="margin-right: 6em;">Scots Briar.</span><br /> +STANWELL PERPETUAL.</div> +</div> + + +<div class='center'><span class="smcap">The Scotch Briar</span>, <i>R. spinossima</i>,</div> + +<div class='unindent'>is a most fragrant little rose, its compact bushes +forming an excellent hedge round a rose garden, +covered so closely with the sweet little double, globular +flowers that the tiny leaves are almost hidden by +the mass of blossom. They can be had in yellow, +white, or many shades of pink. But none are prettier +than the common rose-pink. The yellow is a hybrid—raised +in France early in the nineteenth century.</div> + +<p>The <i><a href="#Stanwell_Perpetual">Stanwell Perpetual</a></i> is a Scotch briar, hybridized +most probably with the Damask Perpetual or +some such rose, flesh-coloured and flowering from +May till the autumn.</p> + +<div class='center'><br /><span class="smcap">Rosa Rugosa, the Ramanas Rose of Japan</span>,</div> + +<div class='unindent'>was introduced into England in 1784. But this fact +may, I imagine, be as great a surprise to some of my +readers as it was to myself, when I discovered the +statement on unimpeachable authority an hour ago. +I well remember the first plants of the common +pinkish-red variety, which I first saw in 1876. It +was then considered something of a novelty; and I +recollect how we all began cultivating it in our gardens, +and that we were enraptured, as were the +blackbirds and thrushes, by its large, handsome bright +scarlet fruit in the autumn.</div> + +<p>The varieties in cultivation in those days were <i>alba</i> +the single white, introduced in 1784 by Thunberg, a<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span> +very lovely flower; and <i>rubra</i>, the single pinkish-red +(Cels. 1802). The hybridists began work upon these +some twenty years ago. Paul and Son brought out +<i>America</i> in 1895; and the fine <i>Atropurpurea</i> in +1900, one of the very best singles, deep glowing +crimson with brilliant golden stamens when opening at +sunrise, and turning purple later in the day. Double +hybrids were also raised, the charming white <i>Mme. +Georges Bruant</i>, 1888; <i>Blanc double de Coubert</i>, +1892; <i>Belle Poitevin</i>, 1895, rose-coloured and very +fragrant; and the handsome <i>Rose à parfum de +l'Hay</i>, 1904, carmine cerise and deliciously scented. +<i>Fimbriata</i>, 1891, semi-double, white tinted blush, +the edge of the petals fringed like a dianthus, is +perhaps the prettiest of all, and is specially suited for +growing as an isolated bush.</p> + +<div class="figcenter" style="width: 399px;"><a name="Conrad_Ferdinand" id="Conrad_Ferdinand"></a> +<img src="images/ill-0083.jpg" width="399" height="525" alt="Rugosa. CONRAD FERDINAND MEYER." title="" /> +<div class="caption2"><span style="margin-right: 12em;">Rugosa.</span><br /> + +CONRAD FERDINAND MEYER.</div> +</div> + +<p>But of all the hybrids none can be compared to +the superb <i><a href="#Conrad_Ferdinand">Conrad Ferdinand Meyer</a></i> (Müller, 1900). +This last is said to be crossed with <i>Gloire de Dijon</i>. +It certainly possesses just the same rich fragrance as +that invaluable rose, while its beautiful colour, a +warm tender pink, its large size and perfect form, its +more than vigorous growth, and its persistence in +blooming—I have it in flower here from the middle +of May till December—render it one of the most +valuable additions to the rose garden of the new +century.</p> + +<p>Besides these there are numbers of other varieties, +as the continental growers, such as Bruant, Cochet,<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span> +Gravereaux, Schwartz, etc., have paid considerable +attention to these roses of late years. But the future +of this race is bound to be a very important one, and +so far we have not in the least realized what its effect +may be.</p> + +<div class='center'><br /><span class="smcap">Provence Roses</span>, <i>R. Centifolia</i>.</div> + +<div class='hang1'><a href="#CABBAGE">Cabbage</a>, or Common Provence, 1596. Rosy pink.</div> + +<div class='hang1'>Crested. <i>Vibert</i>, 1827. Rosy pink, pale edges.</div> + +<div class='hang1'>Unique, or White Provence. <i>Grimwood</i>, 1777. Paper +white.</div> + +<div class='hang1'>Sulphurea, or the Old Yellow Provence. Golden +yellow.</div> + + +<div class='center'><br />Miniature Provence Roses.</div> + +<div class='hang1'>De Meaux, 1814. Rosy lilac.</div> + +<div class='hang1'>Spong. Blush pink.</div> + +<div class='hang1'>White de Meaux. White.</div> + + +<div class='center'><br /><span class="smcap">Moss Roses</span>, <i>R. Centifolia muscosa</i>. +(Summer flowering.)</div> + +<div class='hang1'>Baron de Wassenaer. <i>V. Verdier</i>, 1854. Light +crimson, in clusters.</div> + +<div class='hang1'>Common. <i>Holland</i>, 1596. Pale rose.</div> + +<div class='hang1'>Comtesse de Murinais. <i>Vibert</i>, 1827. White, large +and double.</div> + +<div class='hang1'>Crested. <i>Vibert</i>, 1827. Rosy pink, paler edges.</div> + +<div class='hang1'>Crimson Globe, <i>Wm. Paul & Son</i>, 1891. Deep crimson.</div> + +<div class='hang1'>Celina. <i>Hardy</i>, 1855. Rich crimson, shaded purple.</div> + +<div class='hang1'>Gloire des Moussues. <i>Robert</i>, 1852. Rosy blush, +large and full.</div> + +<div class='hang1'>Laneii. <i>Laffay</i>, 1846. Rosy crimson, tinted purple.</div> + +<div class='hang1'>White Bath. <i>Salter</i>, 1810. Paper white, large and +beautiful.</div> + +<div class='hang1'>Zenobia. <i>Wm. Paul & Son.</i> Fine satin pink.</div><p><span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p> + +<div class='center'><br /><span class="smcap">Perpetual Moss Roses.</span></div> + +<div class='hang1'>Blanche Moreau. <i>Moreau Robert</i>, 1881. Pure white.</div> + +<div class='hang1'>James Veitch. Violet shaded.</div> + +<div class='hang1'>Mme. Edouard Ory. <i>Robert</i>, 1856. Bright carmine.</div> + +<div class='hang1'>Mme. Louis Lévêque. <i>Leveque</i>, 1904. Colour of +<i>Captain Christy</i>.</div> + +<div class='hang1'>Mme. Moreau. <i>Moreau-Robert</i>, 1873. Vermilion +red.</div> + +<div class='hang1'>Mrs. William Paul. <i>Wm. Paul & Son</i>, 1870. Very +bright rose.</div> + +<div class='hang1'>Perpetual White Moss. Blooming in clusters.</div> + +<div class='hang1'>Salet. <i>Lacharme</i>, 1854. Bright rose, blush edges, +fine.</div> + +<div class='hang1'>Venus. <i>Welter</i>, 1905. Fiery red, one of the best.</div> + + +<div class='center'><br /><span class="smcap">The French Rose</span>, also called "<span class="smcap">Rose de Provins</span>," +<i>R. Gallica</i>.</div> + +<div class='hang1'>Belle des Jardins. <i>Guillot</i>, 1873. Bright purple, +striped white.</div> + +<div class='hang1'>Dométile Becard. Flesh, striped rose.</div> + +<div class='hang1'>Œillet Parfait. Pure white, broad stripes, rosy +crimson.</div> + +<div class='hang1'>Perle des Panachées. <i>Vibert</i>, 1845. White, striped +lilac.</div> + +<div class='hang1'>Rosa Mundi. Red, striped white.</div> + +<div class='hang1'>Old Red, the "<a href="#Apothecarys_Rose">Apothecary's Rose</a>," often called "Red +Damask."</div> + +<div class='hang1'>Tuscany. Deep claret red.</div> + +<div class='hang1'>Village Maid. White, striped rose or purple.</div> + + +<div class='center'><br /><span class="smcap">The Damask Rose</span>, <i>R. Damascena</i>.</div> + +<div class='hang1'>Kazanlik. Silver rose.</div> + +<div class='hang1'>La Ville de Bruxelles. Light rose, blush margin.</div><div><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></div> + +<div class='hang1'>Lady Curzon. <i>Turner</i>, 1902. Large, single pink.</div> + +<div class='hang1'>Lady Sarah Wilson. <i>Turner</i>, 1902. Semi-double, creamy blush.</div> + +<div class='hang1'>Lady White. <i>Turner</i>, 1902. Semi-double, white tinted pink.</div> + +<div class='hang1'>Leda, or painted Damask. Blush, edged lake.</div> + +<div class='hang1'>Madame Hardy. <i>Hardy</i>, 1832. White.</div> + +<div class='hang1'>Madame Zoetmans. Creamy white.</div> + +<div class='hang1'><a href="#Mrs_O_G_Orpen">Mrs. O. G. Orpen</a>. <i>Orpen</i>, 1906. Climbing, large single, in trusses, rosy pink.</div> + +<div class='hang1'>Single Crimson Damask. <i>Turner</i>, 1901.</div> + +<div class='hang1'>York and Lancaster (true). Red and white, in patches.</div> + + +<div class='center'><br /><span class="smcap">The White Rose</span>, <i>R. Alba</i>.</div> + +<div class='hang1'>Blanche Belgique. White.</div> + +<div class='hang1'>Celestial. Flesh colour, tinted delicate pink.</div> + +<div class='hang1'><a href="#Felecite_Perpetue">Felicité</a>. Rosy flesh, margin blush.</div> + +<div class='hang1'>Mme. Audot. Glossy flesh.</div> + +<div class='hang1'>Mme. Legras. Creamy white.</div> + +<div class='hang1'>Maiden's Blush. <i>Kew</i>, 1797. Soft blush.</div> + + +<div class='center'><br /><span class="smcap">Austrian Briar Roses</span>, <i>R. lutea</i>.</div> + +<div class='hang1'><a href="#Austrian_Copper">Austrian Copper</a>, or Capucine. <i>J. Gerard</i>, 1596. Single, petals lined copper-red.</div> + +<div class='hang1'>Austrian Yellow. <i>J. Gerard</i>, 1596.</div> + +<div class='hang1'>Harrisonii. <i>Harrison</i>, 1830. Golden yellow.</div> + +<div class='hang1'>Persian Yellow. <i>Willock</i>, 1838. Deep golden yellow.</div> + + +<div class='center'><br /><span class="smcap">Hybrids.</span></div> + +<div class='hang1'>Gottfried Keller. <i>Dr. Müller</i>, 1902. Semi-double, apricot with golden yellow centre.</div> + +<div class='hang1'>Parkfeuer. Single, vivid scarlet.</div><div><span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span></div> + +<div class='hang1'>Soleil d'Or. <i>Pernet-Ducher</i>, 1900. Orange yellow, gold and nasturtium red, large, double.</div> + +<div class='hang1'>The Lyon Rose. <i>Pernet-Ducher</i>, 1907. Coral-red tinted chrome yellow, new and distinct, double.</div> + +<div class='hang1'>Les Rosati. <i>Gravereaux</i>, 1907. Bright carmine, yellow base.</div> + +<p>These three last are perpetual-flowering, and known +as Pernetiana roses.</p> + +<div class='center'><br /><span class="smcap">Sweet Briars</span>, <i>R. rubiginosa</i>.</div> + +<div class='hang1'>Common Sweet briar. Pale pink.</div> + +<div class='hang1'>Double Scarlet. Bright rosy red.</div> + +<div class='hang1'>Hebe's Lip. White, with picotee edge of purple.</div> + +<div class='hang1'>Janet's Pride. White, shaded and tipped with crimson.</div> + + +<div class='center'><br /><span class="smcap">Lord Penzance's Hybrids</span>, 1894, 1895.</div> + +<div class='hang1'>Amy Robsart. Deep rose.</div> + +<div class='hang1'>Anne of Geirstein. Deep crimson rose.</div> + +<div class='hang1'>Catherine Seyton. Rosy-pink, bright golden anthers.</div> + +<div class='hang1'>Flora McIvor. Blush rose, white centre.</div> + +<div class='hang1'>Lady Penzance. Soft copper, base of petals bright yellow.</div> + +<div class='hang1'>Lord Penzance. Fawn, passing to emerald yellow.</div> + +<div class='hang1'>Lucy Bertram. Rich crimson, pure white centre.</div> + +<div class='hang1'>Meg Merrilies. Deep brilliant crimson.</div> + + +<div class='center'><br /><span class="smcap">Scotch Briar Roses</span>, <i>R. spinossima</i>.<br /> + +Shades of pink, rose, crimson, white, yellow.</div> + +<div class='hang1'>Pimpinellifolia. Blush.</div> + +<div class='hang1'><a href="#Stanwell_Perpetual">Stanwell Perpetual</a>. Semi-double rosy blush.</div> + + +<div class='center'><br /><span class="smcap">Rugosa or Ramanas Roses</span>, <i>R. rugosa</i>.</div> + +<div class='hang1'>America. <i>Paul & Son</i>, 1895. Crimson lake.</div> + +<div class='hang1'>Atropurpurea. <i>Paul & Son</i>, 1899. Deep crimson, turning maroon.</div><div><span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></div> + +<div class='hang1'>Belle Poitevin. <i>Bruant</i>, 1896. Rose, double, very sweet.</div> + +<div class='hang1'><a name="FNanchor_A_3" id="FNanchor_A_3"></a><a href="#Footnote_A_3" class="fnanchor">[A]</a>Blanc double de Coubert. <i>Cochet-Cochet</i>, 1894. Double white.</div> + +<div class='hang1'>Calocarpa. <i>Bruant</i>, 1896. Rose, single, fine tinted autumn foliage.</div> + +<div class='hang1'><a href="#Footnote_A_3" class="fnanchor">[A]</a><a href="#Conrad_Ferdinand">Conrad F. Meyer</a>. <i>Froebel</i>, 1900. Clear silvery rose, double, large, very fragrant.</div> + +<div class='hang1'><a href="#Footnote_A_3" class="fnanchor">[A]</a>Delicata. <i>Cooling</i>, 1898. Soft rose, double.</div> + +<div class='hang1'>Madame C. F. Worth. <i>Schwartz</i>, 1890. <ins title="Transcriber's Note: original reads 'rosy'">Rosy</ins> carmine, semi-double.</div> + +<div class='hang1'><a href="#Footnote_A_3" class="fnanchor">[A]</a>Madame Georges Bruant. <i>Bruant</i>, 1888. Clear white, nearly double.</div> + +<div class='hang1'>Madame Henri Gravereaux. <i>Gravereaux</i>, 1905. White, salmon centre.</div> + +<div class='hang1'>Mrs. Anthony Waterer. <i>Waterer</i>, 1898. Deep crimson, semi-double, large clusters.</div> + +<div class='hang1'><a href="#Footnote_A_3" class="fnanchor">[A]</a>Nova Zembla. <i>Mees</i>, 1907. White sport from <i><a href="#Conrad_Ferdinand">Conrad Meyer</a></i>, fine.</div> + +<div class='hang1'>Repens Alba. <i>Paul & Son</i>, 1903. Weeping form of Alba.</div> + +<div class='hang1'><a href="#Footnote_A_3" class="fnanchor">[A]</a>Rose à parfum de l'Hay. <i>Gravereaux</i>, 1904. Carmine cerise, double, fine.</div> + +<div class='hang1'>Rugosa alba. <i>Thunberg</i>, 1784. Single, pure white.</div> + +<div class='hang1'>Rugosa rubra. <i>Cels</i>, 1802. Pinkish red.</div> + +<div class='hang1'>Rugosa rubra, fl. pl. <i>Regel.</i> Purple red.</div> + +<div class='hang1'><a href="#Footnote_A_3" class="fnanchor">[A]</a>Rose Apples. <i>Paul & Son</i>, 1896. Pale carmine rose, large clusters.<br /><br /></div> + + + +<div class="footnotes"><h3>FOOTNOTE:</h3> +<div class="footnote"><p><a name="Footnote_A_3" id="Footnote_A_3"></a><a href="#FNanchor_A_3"><span class="label">[A]</span></a> Perpetual flowering.</p></div> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p> + +<h2>CHAPTER IV</h2> + +<div class='chaptertitle'>CLIMBING ROSES—SUMMER FLOWERING</div> + + +<p><span class="smcap">Many</span> are the races to which our summer gardens +owe an almost endless variety of climbing roses; and +each season adds to the bewildering number. The +older types are the Ayrshire, the Evergreen, the +Banksia, the Boursault, the Prairie rose, the Multiflora. +And twenty-one years ago, the Wichuraiana +from Japan was introduced, adding a totally new +source from whence to derive precious and beautiful +hybrids.</p> + +<div class="figcenter" style="width: 405px;"><a name="Ruga" id="Ruga"></a> +<img src="images/ill-0091.jpg" width="405" height="600" alt="Ayrshire. RUGA." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Ayrshire.</span><br /> + +RUGA.</div> +</div> + + +<div class='center'><br /><span class="smcap">The Ayrshire Rose</span></div> + +<p>originated without doubt from the trailing white rose +of our hedges and woodlands, <i>Rosa arvensis</i>. In +the early years of last century many popular varieties +were developed which are still welcome in our gardens, +such as <i>Alice Gray</i>, <i>Dundee Rambler</i>, <i><a href="#Ruga">Ruga</a></i>, +<i>Queen of the Belgians</i>, <i>Splendens</i> or <i>Myrrh-scented</i>. +And in 1835, the charming little double white rose, +<i>Bennett's Seedling</i> or <i>Thoresbyana</i>, was discovered +among some briars by Lord Manvers' gardener at +Thoresby.</p> + +<p><span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span></p> + +<div class="figcenter" style="width: 600px;"><a name="Felecite_Perpetue" id="Felecite_Perpetue"></a> +<img src="images/ill-0094.jpg" width="600" height="441" alt="Evergreen. FÉLICITÉ-PERPÉTUE." title="" /> +<div class="caption3"><span style="margin-right: 5em;">Evergreen.</span><br /> +<ins title="Transcriber's Note: original reads 'ÉLICITÉ'">FÉLICITÉ</ins>-PERPÉTUE.</div> +</div> +<div class='center'><br /><span class="smcap">The Evergreen Rose.</span></div> + +<p>The parent of the Evergreen roses of our gardens was +the climbing wild rose of Italy, <i>Rosa Sempervirens</i>. +And the best known, and perhaps the most valuable +of these, is the white <i><a href="#Felecite_Perpetue">Félicité et Perpétue</a></i>, named +after the saints and martyrs Felicitas and Perpetua. +This rose and several other varieties were raised in +1827 by Monsieur Jacques, the head-gardener at the +royal gardens of Neuilly. They bloom in large clusters +of small, very full, double flowers. <i>Myrianthes +renoncule</i>, <i>Leopoldine d'Orleans</i>, and <i>Banksiæflora</i> +are white; <i>Princesse Marie</i> and <i>Flora</i> are pink, as +is <i>Williams' Evergreen</i>. As all these keep their +dark shining foliage until nearly the end of the +winter, they are very valuable on screens and +arches.</p> + +<div class='center'><br /><span class="smcap">The Banksian Rose</span>, <i>R. Banksia</i>.</div> + +<p>This persistent foliage is one of the great merits of +the large white Banksian <i>Fortunei</i>, called in French +catalogues <i>Banks de Chine</i>—a hybrid with the +beautiful <i>Rosa Sinica</i>. Its handsome green leaves, +as I write in mid-February, are as thick outside my +window in spite of twenty degrees of frost a few +weeks back, as they were in the autumn. It will +throw shoots of immense length each year: clothing +a wall summer and winter with its rich green foliage. +It is much hardier than the Yellow and White +Banksians. The flowers, large, full, white, and sweet-scented,<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span> +grow singly, not in clusters, and are borne +like those of the Yellow and White Banksians on the +sub-laterals—<i>i.e.</i> the little flowering stems on the +laterals of last year. This habit of growth is the +reason of so many failures in getting the Banksian +roses to flower. An old plant of the Yellow Banksian +on the rectory at Strathfieldsaye had never been +known to flower when the Rev. F. Page-Roberts came +there. He, of course, discovered that it had been +pruned hard in the usual way. And after proper +attention for two years, it was last year a mass of +bloom, to the surprise of all who saw it.<a name="FNanchor_3_4" id="FNanchor_3_4"></a><a href="#Footnote_3_4" class="fnanchor">[3]</a></p> + +<p>The White Banksian was introduced by Mr. William +Kerr in 1807, and named after Lady Banks. The +yellow was discovered by Dr. Abel, in 1824, growing +on the walls of Nankin. They are both natives of +China: but require a warm position on a wall in +most parts of England. The finest specimen I have +ever seen was a very old plant of the yellow, growing +some years ago inside the courtyard at Chillon. It +was one of the most beautiful objects possible in +summer, the grim walls being closely covered with +a sheet of the delicate little blossoms.</p> + +<div class='center'><br /><span class="smcap">Rosa Sinica</span>, or <span class="smcap">Lævigata</span>,</div> + +<div class='unindent'>mentioned above, also known as the "<i>Cherokee +Rose</i>," is a single white with yellow stamens, from +China. It is a very beautiful species; but requires,<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span> +like the Banksians, the shelter of a wall. <i>Sinica +anemone</i> (Schmidt, 1895), silvery-pink shaded rose, +is very vigorous, and more hardy, one of the best +single climbing roses. This latter rose must not +be confused with <i>Anemonæflora</i>—a cross between +<i>Banksia</i> and <i>Multiflora</i>—with small double white +anemone-like flowers.</div> + + +<div class='center'><br /><span class="smcap">The Boursault Roses</span>, <i>R. Alpina</i>,</div> + +<div class='unindent'>are hardy, vigorous climbers, flowering in large clusters. +They were raised from the single red Alpine +rose. This, by the way, might be more generally +cultivated for its own sake; its smooth red stems and +handsome reddish foliage, which turns a fine colour in +autumn, and its single deep pink flowers with long +green bracts, succeeded by small brilliant hips, make +it a charming object both in summer and autumn. +M. Boursault, a famous Parisian rose amateur, gave +his name to the group, the first variety, a double +red, being called after him. <i>Amadis</i>, or <i>Crimson</i>, +is one of the oldest, a deep crimson purple; while +<i>Inermis Morletti</i>, an improved <i>Inermis</i>, was introduced +in 1883 by Morlet.</div> + + +<div class='center'><br /><span class="smcap">Rosa Setigera, the Bramble-Leaved or +Prairie Rose</span>,</div> + +<div class='unindent'>was the parent of several useful climbers raised by +Feast, of Baltimore, and introduced into England in +1803. Of these <i>Belle of Baltimore</i> and <i>Queen of<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span> +<ins title="Transcriber's Note: original reads 'he'">the</ins> Prairies</i> are the best, flowering late in the +summer.</div> + + +<div class='center'><br /><span class="smcap">The Hungarian Climbing Roses</span></div> + +<div class='unindent'>appear to be very little known in England. But +they are well worth growing, especially in cold +and exposed places, as they are thoroughly frost-proof. +The blossoms are large, very full, and +mostly flat in form. <i>Decoration de Geschwind</i>, +rich purple-pink with white edges, is a handsome and +effective flower. So are <i>Gilda</i>, wine colour, shaded +with violet, and <i>Château Luegg</i>, deep carmine pink. +To what family they are allied I do not know. They +were raised by Geschwind about 1886. I got them +from M. Bernaix of Lyons, and am greatly pleased +with them.</div> + +<div class='center'><br /><span class="smcap">Hybrids of China, Bourbon, and Noisette +Roses.</span></div> + +<p>This very beautiful class of summer-flowering +climbing or pillar roses, is too often neglected in +these days. They are the result of crosses between +the Gallica, Centifolia, and Damask roses, and the +China, Noisette and Bourbon. For size, form and +colour, many of these roses are still unexcelled. And +one regrets they are not more generally grown.</p> + +<p>Whether the seed parent is the perpetual China, +Bourbon, or Noisette, and the pollen parent the French +or Provençe rose, or <i>vice versâ</i>, the result is that,<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span> +though it grows vigorously, the hybrid does not +flower in the autumn—with the one exception, the +beautiful <i>Gloire de Rosamènes</i>. One of the grandest +of this class is <i>Blairii No. 2</i> (Blair 1845), blush with +rose centre, a very vigorous climber: but it should be +remembered that if pruned it will not flower. This +is also the case with the fine crimson <i>Brennus</i> or +<i>Brutus</i>. <i>Coupe d'<ins title="Transcriber's Note: original reads 'Hebé'">Hébé</ins></i> and <i>Chenédolé</i> are both good +roses; while <i>Charles Lawson</i> for a brilliant crimson +pillar rose, and the pure white <i>Madame Plantier</i> for +bush or pillar, are not easily surpassed, as their flowers +are borne in immense quantities. That very brilliant +and effective single rose, <i>Paul's Carmine Pillar</i>, is +also a hybrid; but its exact parentage is not known. +Messrs. Paul & Son, of Cheshunt, write to me: "We +believe it to be, as far as we can recollect, a hybrid +with Boursault blood." This would explain its coming +into flower so early.</p> + +<div class='center'><br /><span class="smcap">The Climbing Multiflora or Polyantha Roses</span>,</div> + +<div class='unindent'>and their hybrids, commonly known as "Rambler +roses," have developed of late years in such amazing +numbers, that it is a work of some difficulty to keep +pace with the new varieties which appear each season. +The original Multiflora, known also as <i>Polyantha +simplex</i>, was introduced from Japan in 1781 by +Thunberg. It is a very vigorous climber with large +bunches of small, single white flowers. From this +type rose, which seeds very freely, numbers of hybrids<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span> +were raised in Italy early in the nineteenth century, +by crossings with other richly coloured roses. One of +the earliest of these hybrids which still remains is +<i>Laure Davoust</i>, with small and very double flowers—pink +changing to blush. <i>Grevillia</i> or the <i>Seven +Sisters</i> is another, its flowers changing from crimson +to purplish rose, and then to pale rose. This produces +a most quaint effect, as we have flowers of +three colours on the plant at once. <i>De la Grifferaie</i>, +1845, is also deep rose, changing to blush.</div> + +<div class="figcenter" style="width: 525px;"><a name="Blush_Rambler" id="Blush_Rambler"></a> +<img src="images/ill-0101.jpg" width="525" height="378" alt="Climbing Polyantha. BLUSH RAMBLER." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Climbing Polyantha.</span><br /> +BLUSH RAMBLER.</div> +</div> +<div class="figcenter" style="width: 392px;"> +<img src="images/ill-0103.jpg" width="392" height="600" alt="Climbing Polyantha. BLUSH RAMBLER." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Climbing Polyantha.</span><br /> +BLUSH RAMBLER.</div> +</div> +<p>It was, however, in 1893 that an extraordinary +impulse was given to the culture of these roses, by the +introduction of <i>Turner's Crimson Rambler</i>. Two +roses which are now classed among the "Ramblers" +preceded it by a few years; Allard's <i>Daniel Lacombe</i>, +1886, and the beautiful <i>Claire Jacquier</i>, 1888, raised +by Bernaix of Lyons. But the advent of <i>Crimson +Rambler</i> is really the starting point of that enthusiasm +which has reigned ever since 1893 for the +Rambler roses, and which has happily brought many +of the old varieties mentioned above into favour +once more. As many versions of the advent of this +rose are extant, I wrote to Mr. Charles Turner to ask +him its true history, and in his kind reply of February +17, 1908, he says, "The rose was brought from +Japan with other plants by an engineer on board a +trading vessel for a gentleman living near Edinburgh. +It was grown there for some time, and eventually +came into our possession."</p> + +<p><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span></p> + +<p>This rose is so well known that, like good wine, it +needs no bush of praise or description. And it was +quickly followed by other Multifloras of varying +types. In 1896 came Lambert's trio <i>Euphrosyne</i>, +the so-called Pink rambler, <i>Thalia</i>, the White rambler, +and <i>Aglaia</i>, the Yellow rambler; succeeded in 1897 +by his <i>Hélène</i>, pale rose with yellowish white centre. +In 1898 Dawson brought out the <i>Dawson rose</i>, with +clusters of semi-double soft-rose flowers. In 1899 +came two notable additions—Paul & Son's <i>Psyche;</i> +and Schmidt's <i>Leuchstern</i>—one of the most beautiful +of the race. The latter grower's invaluable <i>Rubin;</i> +Veitch's <i>Electra;</i> Paul & Son's <i>Lion</i> followed in +1900; and their <i>Wallflower</i> in 1901.</p> + +<p>In 1903, Wm. Paul & Son brought out <i>Waltham +Rambler;</i> B. R. Cant, the exquisite <i><a href="#Blush_Rambler">Blush Rambler</a>;</i> +and Walsh of Philadelphia the <i>Philadelphia Rambler</i>. +In 1904 came Lambert's <i>Gruss an Zabern</i> and <i>Trier</i>. +In 1905 Cutbush's <i>Mrs. F. W. Flight</i>, considered by +some the Queen of ramblers. And in 1906 Weigand's +<i>Taunusblümchen;</i> and Soupert et Notting's beautiful +<i>Stella</i>. Last year a rich feast was provided for those +who delight in Ramblers, with Soupert et Notting's +fine new <i>Bar-le-Duc</i>, offspring of their famous tea rose +<i>Souv. de Pierre Notting</i> and <i>Crimson Rambler;</i> +Schmidt's <i>Tausendschön</i>, a cross between <i>Crimson +Rambler</i> and a tea-polyantha; and Wm. Paul & Son's +<i>Kathleen</i>, a single flower, rich carmine-rose with a +white eye. And this year Soupert et Notting are<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span> +sending out their new <i>Bordeaux</i>, a seedling from +<i>Crimson Rambler</i> and the dwarf Polyantha <i>Blanche +Rebatel</i>.</p> + + +<p>Meanwhile, in 1887, the parents of a new race of +climbing roses had been brought to Europe. The +Wichuraiana (Species) was introduced from Japan +by Crépin, in 1887. Its small white single flowers +with their quaint hay scent, borne late in the summer, +its glossy evergreen leaves, and its vigorous creeping +habit—for it will cover a large space on a bank in +twelve months—proclaimed a new and valuable +species. And in America, Manda was quick to see +its value as the parent of a new race, by crossing it +with tea roses. Ten years later, in 1897, he brought +out <i>Manda's Triumph;</i> in 1899, the charming <i>Gardenia</i>, +<i><a href="#Jersey_Beauty">Jersey Beauty</a></i>, <i>May Queen</i>, <i>Pink Roamer</i>, +<i>South Orange Perfection</i>, <i>Universal Favourite;</i> and +in 1900, <i>Evergreen Gem</i>, one of the very best. +The next year Jackson and Perkins introduced +the incomparable <i><a href="#Dorothy_Perkins">Dorothy Perkins</a></i>. And Walsh, +another American grower, followed in 1902 with +<i>Débutante</i>, and in 1905 with <i>Hiawatha</i> and <i>Lady +Gay</i>.</p> + +<p>Meanwhile in France, M. Barbier had been +devoting himself to these charming hybrids; and +began his long list of beautiful varieties in 1900 +with <i>Albéric Barbier</i>, <i>René André</i>, and the single +<i>Wichuraiana rubra;</i> to be followed by numbers of +others.<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p> +<div class="figcenter" style="width: 600px;"><a name="Dorothy_Perkins" id="Dorothy_Perkins"></a> +<img src="images/ill-0108.jpg" width="600" height="346" alt="Wichuriana. DOROTHY PERKINS." title="" /> +<div class="caption2"><span style="margin-right: 5em;">Wichuriana.</span><br /> +DOROTHY PERKINS.</div> +</div> +<p>One of the charms of these roses, and they have +many, is that they are to all intents and purposes +evergreen. Another is, that although they are not +perpetual, <i>i.e.</i> flowering twice in the season, the +hybrids often take after their parent the type +Wichuraiana, whose flowering season is very late—last +autumn I gathered a few flowers from it the +third week in December. Therefore, many of them +come into bloom just as the Multifloras are going +over, thus prolonging the season of summer climbing +roses till the end of August.</p> + +<p>For every purpose they are of use. They may be +planted to cover an unsightly bit of bank, or to climb +over a stump, to wreath themselves into the branches +of a tree, or to form a dense covering of shining leaves +and innumerable flowers on fence or trellis or screen. +They are even more charming on pillars and arches, +when the full beauty of their blossoms can be seen +from all sides; for while many have a pendant habit, +the main flower heads, of <i><a href="#Dorothy_Perkins">Dorothy Perkins</a></i> for instance, +are carried erect above the pink foam of +the laterals that clothe the graceful hanging shoots +below.</p> + +<p>A Wichuraiana hybrid—for choice the dainty +<i>rubra</i>, <i><a href="#Dorothy_Perkins">Dorothy Perkins</a></i> or <i>Hiawatha</i>—grown as a +tall, weeping standard seven feet high, is an object of +such beauty that if once seen it cannot be forgotten. +Or these charming roses may be trained round a large +balloon, in the same fashion as the <i>Crimson Rambler</i><span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span> +in the Royal Gardens at Windsor, figured in "The +Garden," December 30, 1905.</p> + +<div class="figcenter" style="width: 421px;"><a name="Jersey_Beauty" id="Jersey_Beauty"></a> +<img src="images/ill-0111.jpg" width="421" height="600" alt="Wichuriana. JERSEY BEAUTY." title="" /> +<div class="caption2"><span style="margin-right: 6em;">Wichuriana.</span><br /> +JERSEY BEAUTY.</div> +</div> + +<p>Planted on a terraced slope the Wichuraianas are +most effective. In one instance, <i>Gardenia</i>, <i>Evergreen +Gem</i>, <i>Albéric Barbier</i> and others were planted along +a steep grass bank below a terrace walk. A flat shelf +four feet wide had been cut half way down the bank, +and there the roses were put in some ten or twelve +feet apart. By the next summer they had joined +hands; and whether from below, or looking down on +them from the terrace above, the huge wreath with +masses of flowers among the glossy foliage made a +most exquisite display.</p> + +<p>In fact there is no limit to the uses to which this +delightful family may be put. And we may believe +that there is no limit either to its future developments +in the hands of the hybridists, whose patient research +will, I have no doubt, give us before many years are +over, perpetual flowering, evergreen Wichuraianas of +every hue.</p> + +<div class='center'><br /><span class="smcap">Ayrshire Roses</span>, <i>R. Arvensis</i>.</div> + +<div class='hang1'>Alice Gray. White edged pink.</div> + +<div class='hang1'>Bennett's Seedling or Thoresbyana. <i>Bennett</i>, 1835. Double White.</div> + +<div class='hang1'>Dundee Rambler. White, semi-double.</div> + +<div class='hang1'>Queen of the Belgians. Creamy white, large, <ins title="Transcriber's Note: original reads 'dou le'">double</ins>.</div> + +<div class='hang1'><a href="#Ruga">Ruga</a>. Pale flesh, large, double.</div> + +<div class='hang1'>Repens flore pleno. White, very abundant bloomer.</div> + +<div class='hang1'>Splendens, or myrrh-scented. Flesh colour, large, double.</div> + + + +<p><span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p> + +<div class='center'><br /><span class="smcap">Evergreen Roses</span>, <i>R. Sempervirens</i>.</div> + +<div class='hang1'>Banksiæflora. White, centre pale yellow.</div> + +<div class='hang1'><a href="#Felecite_Perpetue">Felicité et Perpétue</a>. <i>Jacques</i>, 1827. Creamy white, full.</div> + +<div class='hang1'>Flora. Rosy flesh, full.</div> + +<div class='hang1'>Leopoldine d'Orleans. <i>Jacques.</i> White, tipped red.</div> + +<div class='hang1'>Myrianthes renoncule. Blush edged rose.</div> + +<div class='hang1'>Princesse Marie. <i>Jacques.</i> Clear pink.</div> + +<div class='hang1'>Williams' Evergreen. <i>Williams</i>, 1855. Yellowish white, pink centre.</div> + + +<div class='center'><br /><span class="smcap">Banksian Roses</span>, <i>R. Banksiæ</i>.</div> + +<div class='hang1'><a href="#ROSA_ALBA">Alba</a>. <i>Kerr</i>, 1807. Small double white.</div> + +<div class='hang1'>Lutea. <i>Royal Horticultural Soc.</i>, 1824. Small double yellow.</div> + +<div class='hang1'>Fortunei. (Hybrid) white, large double flowers.</div> + + +<div class='center'><br /><span class="smcap">Sinica Roses</span>, <i>R. Sinica</i> or <i>Lævigata</i>.</div> + +<div class='hang1'>Sinica (Species). The Cherokee rose. Single white, yellow stamens.</div> + +<div class='hang1'>Sinica Anemone. <i>F. Schmidt</i>, 1895. Single, silvery pink, shaded rose.</div> + + +<div class='center'><br /><span class="smcap">Boursault Roses</span>, <i>R. Alpina</i>.</div> + +<div class='hang1'>Amadis. Deep purple crimson.</div> + +<div class='hang1'>Blush or Boursault Florida. Blush, large semi-single.</div> + +<div class='hang1'>Elegans. Vivid crimson.</div> + +<div class='hang1'>Gracilis. 1796. Bright, rosy red.</div> + +<div class='hang1'>Inermis or Boursault pleine. Bright red.</div> + +<div class='hang1'>Inermis Morletti. <i>Morlet</i>, 1883. Light, rosy pink.</div> + + +<p><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p> + +<div class='center'><br /><span class="smcap">The Bramble-leaved or Prairie Rose</span>, <i>Rosa +Setigera</i>.</div> + +<div class='hang1'>Belle of Baltimore. <i>Feast</i>, 1803. White, shaded yellow.</div> + +<div class='hang1'>Queen of the Prairies. <i>Feast</i>, 1803. Pink, very full.</div> + + +<div class='center'><br /><span class="smcap">Hybrid Musk</span>, Summer flowering.</div> + +<div class='hang1'>Madame d'Arblay. Flesh, changing to white.</div> + +<div class='hang1'>The Garland. Blush, changing to white.</div> + + +<div class='center'><br /><span class="smcap">Hungarian Climbing Roses.</span></div> + +<div class='hang1'>Aurelia Liffa. Scarlet crimson.</div> + +<div class='hang1'>Château Leugg. Deep carmine pink.</div> + +<div class='hang1'>Decoration de Geschwind. Deep violet red, white edges.</div> + +<div class='hang1'>Gilda. Dark wine colour, shaded violet.</div> + +<div class='hang1'>Mercédès. Carmine, lilac, pink.</div> + +<div class='hang1'>Meteor. Carmine red, bright shading.</div> + +<div class='hang1'>Souvenir de Brood. Flat shape, full, purple or violet.</div> + + +<div class='center'><br /><span class="smcap">Hybrid China and Bourbon.</span></div> + +<div class='hang1'>Acidalie. <i>Rousseau</i>, 1838. White.</div> + +<div class='hang1'>Blairii, No. 2. <i>Blair</i>, 1845. Blush pink, rose centre.</div> + +<div class='hang1'>Brennus or Brutus. Deep carmine.</div> + +<div class='hang1'>Charles Lawson. <i>Lawson</i>, 1853. Very bright crimson.</div> + +<div class='hang1'>Chenédolé. Light vivid crimson.</div> + +<div class='hang1'>Coupe d'Hébé. <i>Laffay</i>, 1840. Vivid rose, shaded.</div> + +<div class='hang1'>Fulgens. Bright crimson.</div> + +<div class='hang1'>Madame Plantier. Pure white, very fine.</div> + +<div class='hang1'>Paul Ricaut. <i>Portemer</i>, 1845. Brilliant carmine.</div> + +<div class='hang1'>Paul's Carmine Pillar. <i>Paul & Son</i>, 1896. Large single carmine.</div> + + +<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p> + +<div class='center'><br /><span class="smcap">Polyantha, Rambler Roses</span>, <i>R. Multiflora</i>.</div> + +<div class='hang1'>Aglaia. <i>Lambert</i>, 1896. Trusses of canary yellow.</div> + +<div class='hang1'>Bar le Duc. <i>Soupert et Notting</i>, 1907. Clear brick-red, reverse of petals bright copper.</div> + +<div class='hang1'><a href="#Blush_Rambler">Blush Rambler</a>. <i>B. R. Cant</i>, 1903. Large clusters of soft blush flowers.</div> + +<div class='hang1'>Bordeaux. <i>Soupert et Notting</i>, 1908. Claret colour, very fine.</div> + +<div class='hang1'>Claire Jacquier. <i>Bernaix</i>, 1888. Nankeen yellow.</div> + +<div class='hang1'>Crimson Rambler. <i>Turner</i>, 1893. Bright crimson.</div> + +<div class='hang1'>Crimson Rambler ne plus ultra. <i>Weigand</i>, 1905. Bright, deep crimson.</div> + +<div class='hang1'>Daniel Lacombe. <i>Allard</i>, 1886. Chamois yellow, turning to white.</div> + +<div class='hang1'>Electra. <i>Veitch</i>, 1900. Lemon, shaded orange and white.</div> + +<div class='hang1'>Euphrosyne. <i>Lambert</i>, 1896. Pinkish rose, small double flowers.</div> + +<div class='hang1'>Frau Lina Strassheim. <i>Strassheim</i>, 1907. Salmon red and flesh, very large clusters.</div> + +<div class='hang1'>Goldfinch. <i>Paul & Son</i>, 1907. Deep golden buds, opening pale yellow, shaded violet and white.</div> + +<div class='hang1'>Gruss an Zabern. <i>Lambert</i>, 1904. Large trusses, snow white.</div> + +<div class='hang1'>Hélène. <i>Lambert</i>, 1897. Pale mauve with yellow base.</div> + +<div class='hang1'>Kathleen. <i>Wm. Paul & Son</i>, 1907. Single, soft carmine-rose, white eye.</div> + +<div class='hang1'>Leuchstern. <i>Schmidt</i>, 1899. Bright rose, large white eye.</div> + +<div class='hang1'>Mrs. F. W. Flight. <i>Cutbush</i>, 1905. Bright pink.</div> + +<div class='hang1'>Philadelphia Rambler. <i>Walsh</i>, 1903. Much like Crimson Rambler; said to be mildew proof.</div> + +<div class='hang1'>Psyche. <i>Paul & Son</i>, 1899. Pale rosy pink, salmon yellow base.</div><div><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></div> + +<div class='hang1'>Queen Alexandra. <i>Veitch</i>, 1901. Rich rose colour.</div> + +<div class='hang1'>Rubin. <i>Schmidt</i>, 1900. Deep crimson, fine reddish foliage.</div> + +<div class='hang1'>Stella. <i>Soupert et Notting.</i> Vivid carmine, stamens forming a golden star on white centre.</div> + +<div class='hang1'>Tausendschön. <i>Schmidt</i>, 1906. Pink turning to bright rose, sweet-scented.</div> + +<div class='hang1'>Taunusblümchen. <i>Weigand</i>, 1906. Pink fragrant flowers like Crimson Rambler.</div> + +<div class='hang1'>Thalia. <i>Lambert</i>, 1896. Small double white flowers in cluster.</div> + +<div class='hang1'>Thalia. Perpetual flowering, pure white.</div> + +<div class='hang1'>The Dawson Rose. <i>Dawson</i>, 1898. Pale rose.</div> + +<div class='hang1'>The Lion. <i>Paul & Son</i>, 1900. Single flowers, vivid crimson.</div> + +<div class='hang1'>Trier. <i>Lambert</i>, 1904. Creamy white.</div> + +<div class='hang1'>Wallflower. <i>Paul & Son</i>, 1901. Light crimson flowers.</div> + +<div class='hang1'>Waltham Bride. <i>Wm. Paul & Son.</i> Pure white.</div> + +<div class='hang1'>Waltham Rambler. <i>Wm. Paul & Son.</i> Single, rosy pink, pale centre.</div> + + +<div class='center'><br /><span class="smcap">Wichuraiana Roses.</span></div> + +<div class='hang1'>Albéric Barbier. <i>Barbier</i>, 1901. Creamy white, canary centre, tea scent.</div> + +<div class='hang1'>Auguste Barbier. <i>Barbier</i>, 1901. Violet lilac, white centre.</div> + +<div class='hang1'><ins title="Transcriber's Note: original reads 'Debutante'">Débutante</ins>. <i>Walsh</i>, 1902. Large clusters, soft pink, very fragrant.</div> + +<div class='hang1'><a href="#Dorothy_Perkins">Dorothy Perkins</a>. <i>Jackson & Perkins</i>, 1901. Bright rose pink, large clusters.</div> + +<div class='hang1'>Edmond Proust. <i>Barbier</i>, 1903. Pink, centre shaded carmine.</div> + +<div class='hang1'>Elisa Robichon. <i>Barbier</i>, 1903. Salmon buff, base of petals yellow.</div><div><span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></div> + +<div class='hang1'>Evangeline. <i>Walsh</i>, 1906. Large single flowers, white, tipped pink.</div> + +<div class='hang1'>Evergreen Gem. <i>Manda</i>, 1900. Buff changing to white, double.</div> + +<div class='hang1'>François Foucard. <i>Barbier</i>, 1902. Yellow, turning creamy white.</div> + +<div class='hang1'>Gardenia. <i>Manda</i>, 1899. Bright yellow in bud, changing to cream.</div> + +<div class='hang1'>Hiawatha. <i>Walsh</i>, 1905. Single, bright crimson, white eye.</div> + +<div class='hang1'><a href="#Jersey_Beauty">Jersey Beauty</a>. <i>Manda</i>, 1899. Single, pale yellow, bright yellow stamens.</div> + +<div class='hang1'>Lady Gay. <i>Walsh</i>, 1905. Deep rose pink, large clusters.</div> + +<div class='hang1'>Lady Godiva. <i>Paul & Son</i>, 1907. Pale flesh pink, sport from <a href="#Dorothy_Perkins">Dorothy Perkins</a>.</div> + +<div class='hang1'>Manda's Triumph. <i>Manda</i>, 1897. Pure white, double.</div> + +<div class='hang1'>May Queen. <i>Manda</i>, 1899. Coral red, large flowers.</div> + +<div class='hang1'>Minnehaha. <i>Walsh</i>, 1907. Satin pink, double, large clusters.</div> + +<div class='hang1'>Paradise. <i>Walsh</i>, 1907. Single, pink and white.</div> + +<div class='hang1'>Paul Transon. <i>Barbier</i>, 1902. Large panicles, double rose, tea rose scent.</div> + +<div class='hang1'>Pink Pearl. Buds deep pink, changing to pearly pink.</div> + +<div class='hang1'>Pink Roamer. <i>Manda</i>, 1899. Bright rose, white eye, semi-double.</div> + +<div class='hang1'>René André. <i>Barbier</i>, 1901. Creamy white, yellow centre, tea scented.</div> + +<div class='hang1'>Rubra. <i>Barbier</i>, 1900. Single, bright red, white centre.</div> + +<div class='hang1'>Ruby Queen. Brilliant carmine, large clusters, double.</div> + +<div class='hang1'>South Orange Perfection. <i>Manda</i>, 1899. Clear rose.</div> + +<div class='hang1'>The Farquhar. <i>Farquhar</i>, 1904. Pale rose turning white.</div> + +<div class='hang1'>Universal Favorite. <i>Manda</i>, 1899. Porcelain rose.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span></p> +<h2>CHAPTER V</h2> + +<div class='chaptertitle'>CLIMBING ROSES—AUTUMN FLOWERING</div> + + +<p><span class="smcap">While</span> many of the beautiful roses enumerated in +the last chapter are indispensable in our gardens for +covering pillars, arches, screens, walls, fences and +pergolas, an end comes all too soon to their flowering +season. And when it comes we feel the need of other +climbers to carry on the succession of blossom until +the frosts cut all off. A pergola, for instance, planted +with nothing but summer flowering roses, is but a +sorry sight in August and September. While if we +have been wise, and have made a judicious mixture +of these and perpetual roses, it remains a delight till +November.</p> + +<p>For vigorous climbers of this second section none +excel</p> + +<div class='center'><br /><span class="smcap">The Noisette Rose</span>, <i>R. Noisettiana</i>.</div> + +<p>This invaluable race was originated by M. Philippe +Noisette in America, by fertilizing the Musk rose, +<i>R. Moschata</i>, with the Common Blush China, <i>R. +Indica</i> (not the Blush Tea rose, <i>R. Indica Odorata</i>). +In 1817 he sent the "<i>Blush Noisette</i>" to his +brother M. Louis Noisette, a well-known nurseryman<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span> +in Paris. And its advent was hailed with enthusiasm +by all rose-lovers in France; for it was recognized +as a new break in climbing roses. In this, and in +many of the seedlings which were raised from it, the +influence of its Musk rose parent was very strong, +the flowers being borne in large clusters, and fragrant +with its delicious musky scent. But as time went +on, crossings with Tea roses somewhat changed one +of the early characteristics of the Noisette, and it approached +more closely to the Tea rose—bearing flowers +singly—instead of in the large clusters characteristic +of the Musk rose.</p> + +<p><i>Aimée Vibert</i> (Vibert, 1828) is one of those early +Noisettes which holds its own everywhere. But how +seldom do we see that most vigorous and most +fragrant of all, <i>Jaune Desprez</i> (Desprez, 1828). +Grown against a west wall here, it covered a space +some 20 × 20 feet in three years, throwing laterals, +five feet and more long every summer; and from the +ends of these in late autumn the great heads of +bloom hang down, filling the whole air with fragrance; +in one cluster alone I have counted seventy-two +blossoms, soft sulphur, salmon, and red. This +variety, and the beautiful white <i>Lamarque</i> (Maréchal, +1830), both need the shelter of a wall in a warm, dry +position.</p> + +<p>That singularly beautiful rose <i>Fortune's Yellow</i> or +<i>Beauty of Glazenwood</i> (Fortune, 1845), which is +classed among the Noisettes, though it has nothing<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span> +but its beauty in common with them—for it is not +perpetual, and its foliage is quite different from theirs—also +requires a very dry, warm situation, when, <i>if it +is never pruned</i>, it will flower abundantly. I have a +plant on a very dry border at the S.W. corner of +my house, which has scrambled up to the eaves +and is now making efforts to reach the chimneys. +The reason that this rose so often fails to bear +blossoms is, that being an untidy grower it is pruned. +And any one who has once tried to do so should be +glad to know that pruning is as fatal to the rose as +to the unhappy pruner, for it is armed with the most +cruel prickles, like small fish-hooks, of any member +of the rose tribe. The flowers, like those of the +Banksia roses, being borne on the small twigs growing +from the laterals of the second year, any pruning +which destroys these destroys all chance of blossom. +And this rule holds good with most of the +Noisettes.</p> + +<p><i>Ophirie</i> (Goubault, 1841), with its rather small +nankeen and copper-red flowers and glossy leaves, is +also glad of a little shelter. While the delightful +<i>Céline Forestier</i> (Trouillard, 1842) will flourish in +almost any situation, though it prefers a wall.</p> + +<p>Later on, the influence of crossings between the +Noisette and the pure Tea instead of the China rose, +is very evident in such superb roses as <i>Maréchal +Niel</i>, <i>L'Idéal</i>, <i>Wassily Chludoff</i>—an admirable rose, +by the way—the invaluable <i>Rêve d'Or</i>, which seldom<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span> +bears a cluster of more than three flowers, and others. +But though that universal favourite, <i><a href="#William_Allen_Richardson">William Allen +Richardson</a></i>, is, alas! scentless, its habit has more +in common with the Noisettes. <i>Rêve d'Or</i> is one of +the most useful and hardy of the race, a rampant +grower, with buff yellow blossoms borne in immense +numbers both in summer and autumn, while its rich +red shoots and reddish-green foliage make it a beautiful +object before and after it blooms. It strongly +resents any pruning beyond shortening its vigorous +summer shoots.</p> +<div class="figcenter" style="width: 408px;"><a name="William_Allen_Richardson" id="William_Allen_Richardson"></a> +<img src="images/ill-0122.jpg" width="408" height="500" alt="Noisette. WILLIAM ALLEN RICHARDSON." title="" /> +<div class="caption2"><span style="margin-right: 12em;">Noisette.</span><br /> +WILLIAM ALLEN RICHARDSON.</div> +</div> + +<p>Among the Hybrid Noisettes—<i>i.e.</i> those crossed +with the Hybrid perpetual—<i>Boule de Neige</i>, a dwarf, +and <i>Madame Alfred Carrière</i>, a rampant climber, +are the best. The latter is certainly one of the best +white climbing roses we have, its white blossoms, +which some liken to the porcelain roses manufactured +abroad, are borne singly on the stalks, and last long +in water, while it is never out of flower from June +to November.</p> + +<div class='center'><br /><span class="smcap">The Musk Rose</span>, <i>R. Moschata</i>,</div> + +<div class='unindent'>seed parent of the Noisette, is perhaps more widely +spread than any other rose over the face of the +earth. From Madeira through Africa and Persia to +Far Cathay it blooms, and sheds its delicious musky +scent in the evening air. That it has been prized in +the West for centuries we know—for Shakespeare's +Titania promises the ass to "stick Musk roses in thy<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span> +sleek smooth head." Hakluyt says that "Of later +times was procured out of Italy the Muske rose +plant." And Bacon declares that while the white +double Violet is the sweetest of all, "next to that +is the Musk rose."</div> + +<p>The original Musk rose bearing large bunches of +single white flowers, is now seldom seen except in +very old gardens where it attains a great size. Mr. +Rivers, in the <i>Amateur's Rose Guide</i>, 1843, says +that "Olivier who travelled in the first six years of +the French Republic, mentions a rose tree at Ispahan, +called the 'Chinese Rose Tree,' fifteen feet high, +formed by the union of several stems, each four or +five inches in diameter. Seeds from this tree were +sent to Paris, and produced the common Musk Rose." +But wherever it can be found it should be cherished +for the sake of its scent, which is strongest in the +evening, especially after rain, filling the whole air +with its fragrance.</p> + +<p><i>Himalayica</i> is a fine single white form of Moschata; +and so is <i>Nivea</i>, a large single variety from +Nepaul, white, tinged with pink. Of the double and +semi-double hybrids, the <i>Fringed Musk</i>, a very old +favourite still in cultivation, <i>Rivers' Musk</i>, pink, +shaded buff, and the charming <i>Princesse de Nassau</i>, +straw colour and very sweet, are all good roses, +coming into flower very late in the season, and +lasting on through the autumn. For pillars they +are excellent subjects.<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> + +<p><i>Madame d'Arblay</i> and <i>The Garland</i> are hybrids +of the Musk rose, which only bloom in summer.</p> + +<div class='center'><br /><span class="smcap">The Himalayan Briar</span>, <i>Rosa Brunonis</i>,</div> + +<div class='unindent'>is sometimes classed with the Musk roses: but this +is an error, as it is a distinct species, and is also only +summer flowering. With its double variety, it is a +beautiful rose for pillar, arch, or pergola; the white +flowers are very sweet and borne in clusters. But it +should be planted where it can get plenty of sun to +ripen the wood.</div> + + +<div class='center'><br /><span class="smcap">The Macartney Rose</span>, <i>R. bracteata</i>,</div> + +<div class='unindent'>was brought from China in 1795 by Lord Macartney. +The handsome shiny evergreen foliage and large +solitary white flowers with a mass of golden stamens, +make it a beautiful object. It does best, as do its +hybrids, on a wall in a warm dry position: but it +will not flower until it is thoroughly established. +<i>Maria Leonida</i> is a hybrid of the early nineteenth +century, very beautiful when its very full white +flowers, slightly flushed in the centre with pink, +open properly. But they need plenty of sun and a +sheltered position to do so in perfection. <i>Rosa +Lucida</i> and <i>Lucida plena</i> are two rose-coloured +hybrids with handsome reddish foliage.</div> + +<p>With the Noisettes, Musk, and Macartney roses, +we have only touched the fringe of autumn flowering +climbers. And three most important classes remain +to be noticed. These are<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>—</p> + + +<div class='center'><br /><span class="smcap">Climbing Hybrid Perpetuals, Teas, and +Hybrid Teas.</span></div> + +<p>Among the Hybrid Perpetuals there are several +line climbing roses, as well as climbing sports of +well-known dwarfs, which are valuable to this class. +While roses of specially vigorous growth, but not +usually counted as climbers, such as <i>Magna Charta</i>, +<i>Margaret Dickson</i>, <i>Pierre Notting</i>, and others, make +admirable pillars.</p> + +<p>But it is among the Tea and Hybrid Tea roses +that we find our richest harvest of autumn flowering +climbers. Some of these are pure climbers, such as +the noble <i>Gloire de Dijon</i> and its descendants; and +<i>Cheshunt Hybrid</i>, <i>Reine Marie Henriette</i>, <i>Reine +Olga de Wurtemberg</i>, <i>Belle Lyonnaise</i>, etc. Many +of these and others do grandly as tall standards, +making fine heads covered with bloom. And many +more can be grown as isolated bush roses, planted +out singly with plenty of space round them. <i>Gruss +an Teplitz</i>, <i>Gustave Régis</i>, <i>Mme. Jules Gravereaux</i>, +the exquisite <i>Lady Waterlow</i>, and Cooling's <i>Apple +Blossom</i>, are specially suited to this form of growth.</p> + +<p>In the following lists of these three groups of +roses, I have, for convenience sake, placed Teas and +Hybrid Teas together.</p> + +<p><span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p> + + +<div class='center'><br /><span class="smcap">Noisette Roses</span>, <i>R. Noisettiana</i>.</div> + +<div class='hang1'>Aimée Vibert. <i>Vibert</i>, 1828. White, climbing; there is also a dwarf form.</div> + +<div class='hang1'>Alister Stella Gray. <i>Gray</i>, 1895. Pale yellow, +orange centre.</div> + +<div class='hang1'>Bouquet d'Or. <i>Ducher</i>, 1873. Pale yellow, centre +copper.</div> + +<div class='hang1'>Céline Forestier. <i>Trouillard</i>, 1842. Pale yellow.</div> + +<div class='hang1'>Cloth of Gold. <i>Coquereau</i>, 1843. Golden yellow, +sulphur edges.</div> + +<div class='hang1'>Crépuscule. <i>Dubreuil</i>, 1905. Rich copper yellow +and nasturtium red.</div> + +<div class='hang1'>Fellenberg. <i>Fellenberg</i>, 1857. Rosy crimson, +suitable for a dwarf wall, or pillar.</div> + +<div class='hang1'>Fortune's Yellow. <i>Fortune</i>, 1845. Orange yellow, +shaded metallic red, summer flowering.</div> + +<div class='hang1'>Jaune Desprez. <i>Desprez</i>, about 1825. Buff, pink, +sulphur and red, variable.</div> + +<div class='hang1'>Lamarque. <i>Maréchal</i>, 1830. White, shaded lemon.</div> + +<div class='hang1'>L'Idéal. <i>Nabonnand</i>, 1887. Metallic red, tinted +yellow.</div> + +<div class='hang1'>Madame Carnot. <i>Moreau-Robert</i>, 1890. Golden +yellow, coppery centre.</div> + +<div class='hang1'>Madame Caroline Kuster. <i>Pernet</i>, 1873. Pale yellow.</div> + +<div class='hang1'>Madame Pierre Cochet. <i>Cochet</i>, 1892. Deep orange +yellow, dwarf wall.</div> + +<div class='hang1'>Maréchal Niel. <i>Pradel</i>, 1864. Deep +golden yellow.</div> + +<div class='hang1'>Marie Thérèse Dubourg. <i>Godard</i>, 1889. Coppery golden yellow.</div> + +<div class='hang1'>Ophirie. <i>Goubault</i>, 1841. Nankeen and copper.</div> + +<div class='hang1'>Rêve d'Or. <i>Ducher</i>, 1870. Coppery buff yellow.</div> + +<div class='hang1'>Solfaterre. <i>Boyeau</i>, 1843. Fine sulphur yellow.</div> + +<div class='hang1'>Souv. de Prince C. d'Arenberg. <i>Soupert et Notting</i>, +1897. Canary yellow.</div> + +<div class='hang1'>Triomphe de Rennes. <i>Eug. Verdier</i>, 1857. Canary yellow.</div> + +<div class='hang1'>Wasily Chludoff. Coppery red, tinted yellow.</div> + +<div class='hang1'><a href="#William_Allen_Richardson">William Allen Richardson</a>. <i>Ducher</i>, 1878. Fine +orange yellow.</div> + + +<p><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span></p> + + +<div class='center'><br /><span class="smcap">Hybrid Perpetuals, Climbing.</span></div> + +<div class='hang1'>Ards Rover. <i>Alex. Dickson</i>, 1896. Deep crimson.</div> + +<div class='hang1'>Brightness of Cheshunt. <i>Paul & Son</i>, 1882. Brick +red.</div> + +<div class='hang1'>Climbing Bessie Johnson. <i>Paul & Son</i>, 1899. +White, tinged pink.</div> + +<div class='hang1'>Climbing Captain Hayward. <i>Paul & Son</i>, 1906.</div> + +<div class='hang1'>Climbing Charles Lefébvre.</div> + +<div class='hang1'>Climbing Eugénie Verdier. <i>Paul & Son.</i></div> + +<div class='hang1'>Climbing Frau Carl Druschki. Lawrenson, 1906.</div> + +<div class='hang1'>Climbing Glory of Cheshunt. <i>Paul & Son.</i></div> + +<div class='hang1'>Climbing Hippolyte Jamain. <i>Paul & Son</i>, 1887.</div> + +<div class='hang1'>Climbing Jules Margottin.</div> + +<div class='hang1'>Climbing Pride of Waltham. <i>Wm. Paul & Son</i>, 1887.</div> + +<div class='hang1'>Climbing Suzanne Marie Rodocanachi. <i>Paul & Son.</i></div> + +<div class='hang1'>Climbing Victor Verdier. <i>Paul & Son</i>, 1872.</div> + +<div class='hang1'>Gloire de Margottin. <i>Margottin</i>, 1888. Bright +cherry red.</div> + +<div class='hang1'>Glory of Waltham. Wm. <i>Paul & Son.</i> Crimson, very sweet.</div> + +<div class='hang1'>Madame Edmée Cocteau. Colour of Captain Christy.</div> + +<div class='hang1'>Maréchal Vaillant. Purplish red.</div> + +<div class='hang1'>Paul's Single White. <i>Paul & Son.</i> Pure white, +single.</div> + +<div class='hang1'>Princess Louise Victoria. <i>Knight</i>, 1872. Carmine +shading to peach.</div> + + +<div class="blockquot"><p><span class="smcap">Note.</span>—Where no colours are indicated, the climbing sports +are exactly like the dwarf roses of the same name.</p></div> + + +<div class='center'><br /><span class="smcap">Teas and Hybrid Teas, Climbing.</span><br /> + +Pink and Rose.</div> + +<div class='hang1'>Apple Blossom. <i>Cooling</i>, 1906. Colour of apple +blossoms, pillar or bush.</div><div><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></div> + +<div class='hang1'>Climbing Captain Christy. <i>Ducher</i>, 1881. Even +finer than the dwarf.</div> + +<div class='hang1'>Climbing Belle Siebrecht (syn. Mrs. W. J. Grant). +<i>Wm. Paul & Son</i>, 1899.</div> + +<div class='hang1'><a href="#Caroline_Testout">Climbing Caroline Testout</a>. <i>Chauvry</i>, 1902.</div> + +<div class='hang1'>Climbing La France. <i>P. Henderson</i>, 1893.</div> + +<div class='hang1'>Climbing Mme. de Watteville. <i>Fauque-Laurent</i>, 1902.</div> + +<div class='hang1'>Dawn. <i>Paul & Son</i>, 1898. Large semi-double, rosy pink.</div> + +<div class='hang1'>England's Glory. <i>Wood</i>, 1902. Flesh with pink centre.</div> + +<div class='hang1'>Lady Waterlow. <i>Nabonnand</i>, 1902. Clear salmon +pink, large petals edged crimson.</div> + +<div class='hang1'>Madame Charles Monnier. <i>Pernet-Ducher</i>, 1902. +Rosy flesh, shaded salmon.</div> + +<div class='hang1'>Madame Jules Gravereaux. <i>Soupert et Notting</i>, +1901. Buff, shaded peach.</div> + +<div class='hang1'>Madame Marie Lavalley. <i>Nabonnand</i>, 1880. Bright +rose, reflexed white.</div> + +<div class='hang1'>Papillon. <i>Nabonnand</i>, 1882. Pink and white, +shaded copper.</div> + +<div class='hang1'>Pink Rover. <i>Wm. Paul & Son</i>, 1890. Pale pink, +very fragrant.</div> + +<div class='hang1'>Princess May. <i>Wm. Paul & Son.</i> Soft opaque pink.</div> + + +<div class='center'><br /><span class="smcap">Tea and Hybrid Tea Climbing Roses.</span><br /> +Salmon, orange, yellow.</div> + +<div class='hang1'>Billiard et <ins title="Transcriber's Note: original reads 'Barre'">Barré</ins>. <i>Pernet-Ducher</i>, 1899, golden +yellow.</div> + +<div class='hang1'>Bouquet d'Or. <i>Ducher</i>, 1872. Yellow, coppery +centre.</div> + +<div class='hang1'>Climbing Perle des Jardins. <i>J. Henderson</i>, 1891.</div> + +<div class='hang1'>Comte de Torres. <i>A. Schwartz</i>, 1906. Salmon +white, pink centre.</div><div><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></div> + +<div class='hang1'>Duchesse d'Auerstadt. <i>Bernaix</i>, 1887. Pure yellow +bud, shaded nankeen.</div> + +<div class='hang1'>E. Veyrat Hermanos. <i>Bernaix</i>, 1895. Apricot, +reflexed deep red.</div> + +<div class='hang1'>Germaine Trochon. Salmon flesh, centre nankeen +yellow.</div> + +<div class='hang1'>Gloire de Dijon. <i>Jacotot</i>, 1853. Buff or salmon +yellow, centre orange.</div> + +<div class='hang1'>Gustave Régis. <i>Pernet-Ducher</i>, 1890. Nankeen +yellow, pillar or bush.</div> + +<div class='hang1'>Henriette de Beauveau. <i>Lacharme</i>, 1887. Clear +yellow.</div> + +<div class='hang1'>Kaiserin Friedrich. <i>Drogemuller</i>, 1890. Bright +yellow.</div> + +<div class='hang1'>Le Soleil. <i>Dubreuil</i>, 1892. Chrome and canary.</div> + +<div class='hang1'>Mme. Auguste Choutet. Yellow or deep orange.</div> + +<div class='hang1'>Mme. Barthélemy Levet. <i>Levet <ins title="Transcriber's Note: original reads 'perè'">père</ins></i>, 1880. Canary +yellow.</div> + +<div class='hang1'>Mme. Bérard. <i>Levet</i>, 1872. Fawn, touched red.</div> + +<div class='hang1'>Mme. Chauvry. <i>Bonnaire</i>, 1887. Nankeen yellow.</div> + +<div class='hang1'>Mme. Eugéne Verdier. <i>Levet</i>, 1882. Deep chamois yellow.</div> + +<div class='hang1'>Mme. Hector Leuillot. <i>Pernet-Ducher</i>, 1904. Golden +yellow, tinted carmine.</div> + +<div class='hang1'>Mme. Moreau. <i>Moreau</i>, 1890. Coppery yellow, +deeper centre, reverse apricot.</div> + +<div class='hang1'>Maréchal Niel. See Noisette roses.</div> + +<div class='hang1'>Souv. de L. Viennot. <i>Bernaix</i>, 1897. Jonquil +yellow, shaded china rose.</div> + + +<div class='center'><br />White and Lemon.</div> + +<div class='hang1'>Belle Lyonnaise. <i>Levet</i>, 1869. Canary yellow and white.</div> + +<div class='hang1'>Climbing Devoniensis. <i>Pavitt</i>, 1858.</div> + +<div class='hang1'>Climbing Kaiserin Augusta Victoria. <i>Alex. Dickson</i>, +1897.</div><div><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></div> + +<div class='hang1'>Climbing Niphetos. <i>Keynes & Co.</i> 1889.</div> + +<div class='hang2'>(These three last roses need a very warm wall, and +are best under glass.)</div> + +<div class='hang1'>Gloire des Blanches. <i>Vigneron</i>, 1905. Pure white.</div> + +<div class='hang1'>Mme. Jules Siegfried. Creamy white shaded flesh.</div> + +<div class='hang1'>Valentine Altermann. Pure white, semi-double.</div> + + +<div class='center'><br />Red.</div> + +<div class='hang1'>Ards Pillar. <i>Alex. Dickson</i>, 1902. Rich velvety +crimson.</div> + +<div class='hang1'>Cheshunt Hybrid. <i>Paul & Son</i>, 1873. Cherry red.</div> + +<div class='hang1'>Climbing Meteor.</div> + +<div class='hang1'>Climbing Papa Gontier. <i>Goubault</i>, 1903.</div> + +<div class='hang1'>Climbing Souv. de Wootton.</div> + +<div class='hang1'>Dr. Rouges. <i>Vve. Schwartz</i>, 1894. Red, yellowish +centre, irregular form.</div> + +<div class='hang1'>François Crousse. <i>Guillot</i>, 1900. Fiery crimson red.</div> + +<div class='hang1'>Gruss an Teplitz. <i>Geschwind</i>, 1897. Brightest +scarlet crimson.</div> + +<div class='hang1'>Lina Schmidt-Michel, 1906. Bright lake rose.</div> + +<div class='hang1'>Longworth Rambler. Liabaud, 1880. Light crimson, semi-double.</div> + +<div class='hang1'>Mohrenkönig.</div> + +<div class='hang1'>Monsieur Désir. <i>Pernet père</i>, 1889. Crimson.</div> + +<div class='hang1'>Morgenroth. <i>P. Lambert</i>, 1903. Bright crimson, +white centre, single.</div> + +<div class='hang1'>Noella Nabonnand. <i>Nabonnand</i>, 1900. Velvety crimson.</div> + +<div class='hang1'>Progress. Bright carmine, semi-double.</div> + +<div class='hang1'>Reine Marie Henriette. <i>Levet</i>, 1873. Deep cherry red.</div> + +<div class='hang1'>Reine Olga de Wurtemburg. <i>Nabonnand</i>, 1881. +Vivid red. Semi-double.</div> + +<div class='hang1'>Souv. de Madame Métral. <i>Bernaix</i>, 1888. Cherry red.</div> + +<div class='hang1'>Waltham Climbers. 1. 2. 3. <i>Wm. Paul & Son</i>, +1885. Shades of crimson; 1, brightest, 3, darkest.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span></p> +<h2>CHAPTER VI</h2> + +<div class='center'><br />TEA ROSES, <i>R. Indica odorata</i>.</div> + + +<p><span class="smcap">The</span> popular fallacy which universally prevailed +forty to fifty years ago with regard to the extreme +delicacy of Tea roses, has happily been exploded by +the experience of later years. It was then supposed +that no Tea rose could possibly stand the English +winter if planted out of doors. And so firmly was +this belief fixed in the minds of all amateurs, that if +they were so reckless (in their own eyes) as to plant a +Tea rose anywhere except in a greenhouse, the careful +treatment they bestowed on the unfortunate +specimen went far to prove the rule. For not only +was it pruned in the autumn: but so coddled and +smothered up in straw and matting that it could not +breathe; and as every bud was made doubly tender +by this means, when at last it saw the light again it +was pretty sure to die of absolute anæmia. The older +gardeners of the fifties would look in amaze on our +glorious beds of Tea roses, flowering in some cases up +to Christmas, and beginning again as happily as ever +the next June. While to us of the present day, a rose +garden without Tea roses would be no garden at all.<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p> + +<p>It is not that the modern Tea rose is hardier than +its ancestors; for some of the old ones, such as +<i>Souvenir d'un Ami</i>, grow as cheerfully in the garden +as a Hybrid Perpetual. But experience has shown +that Tea roses, with a very few exceptions, may be +safely grown in the open ground, if a few simple +precautions are observed in their treatment.</p> + +<p>The first of these is, of course, that no pruning +should be done till April.</p> + +<p>The second, that a few fronds of bracken should be +drawn through the branches. This in most cases will +be found quite sufficient to ward off frost. But as an +extra precaution in the event of very severe weather, +the earth may be drawn up some four or five inches +round the stems, so that if by chance a hard frost +should cut the upper part of the shoots, the base +may still be kept alive. Great care, however, must +be exercised in uncovering the plants, the protecting +material being removed gradually, so that growth may +not be unduly forced on—only to be cut by the first +cold wind—or, on the other hand, that the plant may +not receive a shock by sudden and complete exposure.</p> + +<p>Standard Tea roses may be protected by straw tied +lightly round the heads, care being taken not to break +the shoots by tying them in too tightly.</p> + +<p>The history of the Tea rose in Europe began just +100 years ago. The original "Blush tea-scented rose," +<i>R. Indica odorata</i>, was brought from China in 1810. +In 1824, the "Yellow China or Tea rose" was introduced<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span> +from China by Mr. Parkes. And the French +growers at once began to raise seedlings from these +fruitful parents; for both in France and Italy the +Yellow Tea rose seeded freely, which was not the case +in England. By about 1830 the reputation of the +Tea rose was firmly established; and in the next +twenty years many varieties were raised: but mainly +in France, though the finest of all, <i>Devoniensis</i>, was +raised by Mr. Foster of Plymouth in 1838. The real +culture of the Tea rose by English growers, however, +did not assume much importance until a far later +period.</p> + +<p>Some few of these early Tea roses still hold their +own among the host of their brilliant successors—<i>Bougère</i>, +1832; <i>Adam</i>, 1833; <i>Le Pactole</i>—now +extremely difficult to procure; <i>Devoniensis</i>, 1838; +<i>Safrano</i>, 1839; <i>Mme. Willermoz</i>, 1843; <i>Niphetos</i>, +1844; <i>Souv. d'un Ami</i>, 1846; <i>Mme. Bravy</i>, 1846. +But of some dozen or more others in Mr. Rivers' +list of 1843, not a trace remains.</p> + +<p>In 1853 a great development took place, when +Jacotot introduced an absolutely new type into the +race with his <i>Gloire de Dijon</i>. This rose is so distinct, +with its strong constitution, vigorous growth, +and large foliage, that one cannot but imagine some +other strain, such as the Noisette, must have helped +in fertilizing the seed parent of <i>Gloire de Dijon</i>.</p> + +<p>Since that notable date, the raising of new Tea +roses in England, France and Luxembourg, has<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span> +developed in an extraordinary manner. And in the +last few years Germany and America have added +many fine novelties to the bewildering list. Among +the chief growers in England who have devoted themselves +in the last fifty years to the production of Tea +roses, we find Messrs. Wm. Paul & Son, of Waltham +Cross; Ben Cant, of Colchester; Paul, of Cheshunt; +Prince, of Oxford; Frank Cant, of Colchester; Alex. +Dickson, of Newtownards; Piper, Bennett, etc.</p> + +<p>In France, Luxembourg and Germany, the famous +houses of Pernet-Ducher, Nabonnand, Bernaix, Bonnaire, +Cochet, Chatenay, Guillot, Verdier, Levet, +Chauvry, Dubreuil, Godard, Mari, Lacharme, Lévêque, +Soupert et Notting, Lambert, Schwartz, etc., are now +household words among rose lovers.</p> + +<p>The influence of the old Yellow Tea is to be found +among a large proportion of these lovely roses, in the +golden and sulphur base which adds such richness to +the endless shades of pink, crimson, copper and white. +But a pure yellow Tea rose is still a rarity. And its +production is the goal towards which many of the +greatest rose-growers are still working.</p> + +<p>What we all desire is a Tea rose for bedding of as +pure a yellow as the dear old <i>Persian Briar</i>, or +<i>Maréchal Niel</i>, and one that will stand, as that +glorious rose does, the hot rays of the sun without +changing colour. For, charming as many of the +so-called Yellow Tea roses are when they are in bud, +the open flower quickly turns white in the sun.<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span></p> + +<p>To this object, as I have said, some of the greatest +rose-growers have been devoting their energies for +years; while others are striving as eagerly and with +far greater success, after the development of deep +crimson and scarlet Tea roses. And though they may +not yet have attained the absolute perfection they +were seeking, both sets of experiments have resulted +of late in some truly magnificent roses, of various rich +shades undreamt of even twenty years ago.</p> + +<p>In the following lists the roses will be found +grouped in colour, as this may be useful to amateurs +who are unacquainted with some of the names. Many +of those mentioned, while they are not included in +the National Rose Society's list, are still well worthy +of cultivation in our gardens; and others, hardly +known in England as yet, have proved most valuable +in my own Hampshire collection and perfectly hardy.</p> + +<p>Among roses that are little known in English +gardens are <i>Baronne de Hoffmann</i>, a vigorous grower, +vivid copper-red, with yellow base; and the invaluable +<i>M. Tillier</i>, which I first saw in the Paris +Exhibition of 1900. I have grown it largely since, +and every one is attracted by the bushes, set thickly +with medium-sized imbricated flowers of carmine and +brick-red, borne on upright stems in such numbers +that they make a brilliant mark in the garden from a +distance. It is perfectly hardy, and I have gathered +good blooms at Christmas. <i>Amabilis</i> is a useful china +pink rose for decorative purposes, either in the garden<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> +or to cut for the house; it is strong and hardy. +So is <i>Marquise de Querhoent</i>, a strong grower, of +vivid coppery salmon and china red. Ducher's <i>Coquette +de Lyon</i> is another admirable bedding rose, which is +not much grown in England. The flowers which +cover the plant are full, well-shaped, of medium size, +a pale canary yellow, and last long in water.</p> + +<p>I would also call attention to other roses which, +though well known to collectors and exhibitors, might +be more generally cultivated by the ordinary amateur.</p> + +<p>These are the delightful <i>G. Nabonnand</i>, <i>Duchesse +Marie Salviati</i>, <i>Mrs. B. R. Cant</i>—an admirable rose—<i>Madame +Constant Soupert</i>, a new and most +brilliant variety; <i>Souvenir de Pierre Notting</i>—best +on a standard, but excellent in every way; <i>General +Schablikine</i>, absolutely invaluable, as it is covered +with bloom from June to November; <i>Innocent Pirola</i>, +one of the best creamy whites; <i>Peace</i>, a newer and +very beautiful rose, pale lemon, carrying its fine +flowers singly on strong erect stalks; and the older +<i>Souv. de S. A. Prince</i>, a pure white sport from <i>Souv. +d'un Ami</i>.</p> + +<p>The climbing Tea roses will be found in another +chapter.</p> + + +<div class='center'><br /><span class="smcap">Pink, Rose, Salmon, Peach.</span></div> + +<div class='hang1'>Archiduchesse Marie Immaculata. <i>Soupert et Notting</i>, +1887. Brick red.</div> + +<div class='hang1'>Adam. <i>Adam</i>, 1833. Rose, shaded salmon.</div><div><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span></div> + +<div class='hang1'>Baronne H. de Loew. <i>Nabonnand</i>, 1889. Tender +rose, yellow centre.</div> + +<div class='hang1'>Boadicea. <i>W. Paul & Son</i>, 1901. Pale peach, tinted +rose.</div> + +<div class='hang1'>Bridesmaid. <i>May</i>, 1893. Clear pink.</div> + +<div class='hang1'>Catherine Mermet. <i>J. B. Guillot fils</i>, 1869. Light +rosy flesh.</div> + +<div class='hang1'>Cecile-Charles. <i>Schwartz</i>, 1907. Pale rosy salmon, +edged carmine, fragrant.</div> + +<div class='hang1'>Comtesse de Breteuil. <i>Pernet-Ducher</i>, 1893. Salmon +rose, peach centre.</div> + +<div class='hang1'>Comtesse de Nadaillac. <i>Guillot</i>, 1871. Peach, shaded +apricot, salmon base; an exhibitor's rose.</div> + +<div class='hang1'>Dr. Grill. <i>Bonnaire</i>, 1886. Clear rose, centre salmon.</div> + +<div class='hang1'>Duchesse Maria Salviati. <i>Soupert et Notting</i>, 1890. +Rosy flesh, shaded chrome, fragrant.</div> + +<div class='hang1'>Ernest Metz. <i>Guillot</i>, 1889. Soft carmine-rose, +reverse of petals deeper.</div> + +<div class='hang1'>Ethel Brownlow. <i>Alex. Dickson</i>, 1887. Bright +salmon-pink, yellow base.</div> + +<div class='hang1'>Franciska Kruger. <i>Nabonnand</i>, 1879. Copper, +shaded peach.</div> + +<div class='hang1'>G. Nabonnand. <i>Nabonnand</i>, 1889. Pale flesh, +shaded yellow.</div> + +<div class='hang1'>Homère. <i>Robert</i>, 1859. Rose-edged, salmon centre.</div> + +<div class='hang1'>Jean Ducher. <i>Ducher</i>, 1874. Salmon yellow, shaded +peach.</div> + +<div class='hang1'>Lena. <i>Alex. Dickson</i>, 1906. Glowing apricot.</div> + +<div class='hang1'>Madame Antoine Mari. <i>Mari</i>, 1902. Rose, washed +with white.</div> + +<div class='hang1'>Madame Cusin. <i>Guillot</i>, 1881. Rose, lighter centre.</div> + +<div class='hang1'>Madame Georges Durrschmidt. <i>Peletier</i>, 1895. China +rose, cerise centre, fragrant.</div> + +<div class='hang1'>Madame Lambard. <i>Lacharme</i>, 1877. Bright rose.</div> + +<div class='hang1'>Madame Jules Gravereaux. <i>Soupert et Notting</i>, 1901. +Chamois yellow, rosy peach centre.</div><div><span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></div> + +<div class='hang1'>Madame Philémon Cochet. Clear rose, shaded salmon.</div> + +<div class='hang1'>Maman Cochet. <i>Cochet</i>, 1893. Carmine, shaded +salmon-yellow.</div> + +<div class='hang1'>Mathilde Liégeard. <i>Nabonnand</i>, 1907. Pearly rose, +touched carmine.</div> + +<div class='hang1'>Mrs. B. R. Cant. <i>B. R. Cant</i>, 1901. Deep rose +outer petals, inner petals silvery rose.</div> + +<div class='hang1'>Mrs. Edward Mawley. <i>Alex. Dickson</i>, 1899. Bright +carmine, shaded salmon.</div> + +<div class='hang1'>Morning Glow. <i>Wm. Paul & Son</i>, 1902. Rosy +crimson, suffused orange and fawn.</div> + +<div class='hang1'>Nellie Johnstone. <i>Paul & Son</i>, 1906. Pure rose +pink.</div> + +<div class='hang1'>Paul Nabonnand. <i>Nabonnand</i>, 1878. Hydrangea +pink.</div> + +<div class='hang1'>Rainbow. <i>Sievers</i>, 1891. Sport from Papa Gontier, +pink, striped crimson.</div> + +<div class='hang1'>Rose d'Evian. <i>Bernaix</i>, 1895. China rose outside, +lined carmine.</div> + +<div class='hang1'>Souvenir d'un Ami. <i>Defougère</i>, 1846. Salmon-rose.</div> + +<div class='hang1'>Souvenir de Paul Neyron. <i>Levet</i>, 1872. Salmon, +edged rose.</div> + +<div class='hang1'>Souvenir de William Robinson. <i>Bernaix</i>, 1900. +Fawn, shaded pink and yellow.</div> + +<div class='hang1'>Sunrise. <i>Piper</i>, 1899. Outer petals carmine, shading +to pale fawn and salmon within.</div> + + +<div class='center'><br /><span class="smcap">Yellow, Buff, and Apricot.</span></div> + +<div class='hang1'>Alexandra. <i>Wm. Paul & Son</i>, 1901. Copper yellow, +streaked with orange.</div> + +<div class='hang1'>Anna Olivier. <i>Ducher</i>, 1872. Buff, flushed pink.</div> + +<div class='hang1'>Antoine Devert. <i>Gonod</i>, 1881. Clear straw colour.</div> + +<div class='hang1'>Belle Lyonnaise. <i>Levet</i>, 1869. Deep lemon, climbing.</div> + +<div class='hang1'>Billiard et Barré. <i>Pernet-Ducher</i>, 1899. Deep golden +yellow.</div><div><span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span></div> + +<div class='hang1'>Blumenschmidt, <i>J. C. Schmidt</i>, 1907. Bright lemon yellow, edged pink.</div> + +<div class='hang1'>Comtesse Alexandra Kinsky. <i>Soupert et Notting</i>, +1905. White, centre apricot yellow.</div> + +<div class='hang1'>Comtesse de Frigneuse. <i>Guillot</i>, 1886. Fine canary yellow.</div> + +<div class='hang1'>Georges Schwartz. <i>Schwartz</i>, 1900. Deep canary yellow.</div> + +<div class='hang1'>Goldquelle. <i>Lambert</i>, 1899. Clear golden yellow.</div> + +<div class='hang1'>Harry Kirk. <i>Alex. Dickson</i>, 1907. Deep sulphur yellow.</div> + +<div class='hang1'>Hugo Roller. <i>Wm. Paul & Son</i>, 1907. Lemon yellow, edged crimson.</div> + +<div class='hang1'>J. F. Giraud. <i>Ketter</i>, 1907. Golden yellow, centre saffron.</div> + +<div class='hang1'>Jean Pernet. <i>Pernet</i>, 1869. Clear yellow.</div> + +<div class='hang1'><ins title="Transcriber's Note: This item was originally after 'Lena' in the list">Lady Mary Corry</ins>. <i>Alex. Dickson</i>, 1900. Deep golden yellow.</div> + +<div class='hang1'>Lena. <i>Alex. Dickson</i>, 1906. Glowing apricot, edged primrose.</div> + +<div class='hang1'>Madame Barthélemy Levet. <i>Levet père</i>, 1880. Canary yellow, climbing.</div> + +<div class='hang1'>Madame Chauvry. <i>Bonnaire</i>, 1887. Nankeen yellow.</div> + +<div class='hang1'>Madame Chedanne Guinoisseau. <i>Levêque</i>, 1880. Clear bright yellow.</div> + +<div class='hang1'>Madame C. P. Strassheim. <i>Soupert et Notting</i>, 1898. +Yellowish-white in summer, turning sulphur and +buff in autumn.</div> + +<div class='hang1'>Madame Constant Soupert. <i>Soupert et Notting</i>, 1906. +Dark golden-yellow, strongly-tinted peach-pink.</div> + +<div class='hang1'>Madame Edmond Sablayrolles. <i>Bonnaire</i>, 1907. +Clear yellow, orange centre.</div> + +<div class='hang1'>Madame Falcot. <i>Guillot</i>, 1858. Deep apricot yellow.</div> + +<div class='hang1'>Madame Pol Varin-Bernier. <i>Soupert et Notting</i>, +1907. Melon-yellow shaded; a "yellow Richmond."</div><div><span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></div> + +<div class='hang1'>Mrs. Dudley Cross. <i>Wm. Paul & Son</i>, 1907. Pale +chamois yellow, with touches of rose and crimson +in autumn.</div> + +<div class='hang1'>Perle de Lyon. <i>Ducher</i>, 1873. Deep yellow.</div> + +<div class='hang1'>Perle des Jardins. <i>Levet</i>, 1874. Deep straw-colour.</div> + +<div class='hang1'>Perle des Jaunes. <i>Reymond</i>, 1904. Deep orange yellow, tinted salmon.</div> + +<div class='hang1'>Rose Gubert. <i>Nabonnand</i>, 1907. Tender bright yellow, deep centre.</div> + +<div class='hang1'>Safrano. <i>Beauregard</i>, 1839. Bright apricot.</div> + +<div class='hang1'>Souvenir de Pierre Notting. <i>Soupert et Notting</i>, +1903. Apricot-yellow, blended copper-yellow.</div> + +<div class='hang1'>Souvenir de Stella Gray. <i>Alex. Dickson</i>, 1907. Deep +orange, veined yellow, apricot, and crimson.</div> + +<div class='hang1'>Sulphurea. <i>Wm. Paul & Son</i>, 1902. Sulphur yellow.</div> + +<div class='hang1'>Sunset. <i>Henderson</i>, 1884. Deep apricot.</div> + + +<div class='center'><br /><span class="smcap">Crimson and Copper-red.</span></div> + +<div class='hang1'>Albert Durand. <i>Schwartz</i>, 1906. Coppery carmine, +shaded flesh.</div> + +<div class='hang1'>Amabilis. China red.</div> + +<div class='hang1'><a href="#Bardou_Job">Bardou Job</a>. <i>Nabonnand</i>, 1887. Glowing crimson.</div> + +<div class='hang1'>Baronne de Hoffmann, <i>Nabonnand</i>, 1887. Copper and crimson.</div> + +<div class='hang1'>Baronne Henriette Snoy. <i>Bernaix</i>, 1898. Petals +carnation inside, outside carmine pink.</div> + +<div class='hang1'>Beauté Inconstante. <i>Pernet-Ducher</i>, 1893. Coppery-red, +shaded carmine and yellow.</div> + +<div class='hang1'>Betty Berkeley. <i>Bernaix</i>, 1904. Bright red, shading to crimson.</div> + +<div class='hang1'>Christine de Nouë. <i>Guillot fils</i>, 1891. Deep purple +red, shaded pink.</div> + +<div class='hang1'>Corallina. <i>Wm. Paul & Son</i>, 1900. Deep rose.</div> + +<div class='hang1'>Empress Alexandra of Russia. <i>Wm. Paul & Son</i>, 1898. Lake, shaded orange and crimson.</div><div><span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></div> + +<div class='hang1'>François Dubreuil. <i>Dubreuil</i>, 1895. Deep crimson.</div> + +<div class='hang1'>Frau Dr. Thelka Schlegelmilch. <i>Welter</i>, 1902. Bright +red, shaded velvet crimson.</div> + +<div class='hang1'>Freiherr von Marschall. <i>Lambert</i>, 1903. Dark +carmine.</div> + +<div class='hang1'>General Schablikine. <i>Nabonnand</i>, 1879. Coppery-red.</div> + +<div class='hang1'>Lady Roberts. <i>Frank Cant</i>, 1902. Rich apricot, +copper-red base.</div> + +<div class='hang1'>L'Idéal. <i>Nabonnand</i>, 1887. Yellow and metallic red.</div> + +<div class='hang1'>Ma Capucine. <i>Levet</i>, 1871. Bronzy yellow, shaded +red.</div> + +<div class='hang1'>Monsieur Désir. <i>Pernet père</i>, 1889. Crimson.</div> + +<div class='hang1'>Monsieur Tillier. <i>Bernaix</i>, 1892. Carmine and +brick-red.</div> + +<div class='hang1'>Mrs. Reynolds Hole. <i>Nabonnand</i>, 1900. Dark +purple pink, centre crimson.</div> + +<div class='hang1'>Papa Gontier. <i>Nabonnand</i>, 1883. Rosy crimson.</div> + +<div class='hang1'>Princesse de Sagan. <i>Dubreuil</i>, 1887. Deep cherry +red, shaded maroon.</div> + +<div class='hang1'>Salmonea. <i>Wm. Paul & Son</i>, 1902. Bright crimson +with light salmon centre.</div> + +<div class='hang1'>Souvenir de Catherine Guillot. <i>Guillot</i>, 1896. Coppery +carmine, and orange.</div> + +<div class='hang1'>Souvenir J. B. Guillot. <i>Guillot</i>, 1897. Nasturtium-red, +shaded to crimson and rose.</div> + +<div class='hang1'>Souvenir Thérèse Levet. <i>Levet</i>, 1882. Brownish +crimson.</div> + + +<div class='center'><br /><span class="smcap">White and Pale Lemon.</span></div> + +<div class='hang1'>Caroline Kuster. <i>Pernet</i>, 1872. Pale yellow.</div> + +<div class='hang1'>Château des Bergeries. <i>Lédechaux</i>, 1886. Very +pale canary yellow, centre darker.</div> + +<div class='hang1'>Comtesse Eva de Starhemberg. <i>Soupert et Notting</i>, +1891. Cream, centre ochre.</div><div><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></div> + +<div class='hang1'>Comtesse de Saxe. <i>Soupert et Notting</i>, 1905. Porcelain +white.</div> + +<div class='hang1'>Coquette de Lyon. <i>Pernet Ducher</i>, 1872. Pale +canary yellow.</div> + +<div class='hang1'>Devoniensis. <i>Foster</i>, 1838. White, touched lemon. +Tender.</div> + +<div class='hang1'>Enchantress. <i>Wm. Paul & Son</i>, 1896. Creamy +white.</div> + +<div class='hang1'>Étoile de Lyon. <i>Guillot</i>, 1881. Deep lemon.</div> + +<div class='hang1'>Grand Duchess Olga. <i>Lévêque</i>, 1897. Creamy white.</div> + +<div class='hang1'>Golden Gate. <i>Dingee & Conard</i>, 1892. Creamy +white, yellow base.</div> + +<div class='hang1'>Hon. Edith Gifford. <i>Guillot</i>, 1882. White, centre flesh.</div> + +<div class='hang1'>Innocent Pirola. <i>Ducher</i>, 1878. Creamy white, +shaded yellow.</div> + +<div class='hang1'>Isabella Sprunt. <i>Verchaffelt</i>, 1866. Pale sulphur.</div> + +<div class='hang1'>Ivory. <i>America Rose Co.</i>, 1902. Ivory-white sport +from Golden Gate.</div> + +<div class='hang1'>Le Pactole. Sulphur yellow, pointed buds.</div> + +<div class='hang1'>Madame Bravy. <i>Guillot</i>, 1846. White, centre +tinted pink.</div> + +<div class='hang1'>Madame Carnot. <i>Pernet</i>, 1894. Yellowish white on +deep yellow ground.</div> + +<div class='hang1'>Madame Hoste. <i>Guillot</i>, 1887. Primrose yellow.</div> + +<div class='hang1'>Madame de Watteville. <i>Guillot</i>, 1883. Salmon +white, petals edged bright rose.</div> + +<div class='hang1'>Marie Van Houtte. <i>Ducher</i>, 1871. Canary yellow, +petals tipped rose.</div> + +<div class='hang1'>Marquis de Moustier. <i>Dubreuil</i>, 1906. Ivory, reflexed +pearly white.</div> + +<div class='hang1'>Medea. <i>Wm. Paul & Son</i>, 1891. Lemon yellow, +canary centre.</div> + +<div class='hang1'>Mrs. Miles Kennedy. <i>Alex. Dickson</i>, 1906. Silvery +white, shaded buff, pink centre.</div> + +<div class='hang1'>Muriel Grahame. <i>Alex. Dickson</i>, 1898. Pale cream, +flushed rose.</div><div><span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span></div> + +<div class='hang1'>Niphetos. <i>Bougère</i>, 1844. Pure white.</div> + +<div class='hang1'>Peace. <i>Piper</i>, 1902. Pale lemon.<br /><br /></div> + +<div class="figcenter" style="width: 414px;"><a name="White_Maman_Cochet" id="White_Maman_Cochet"></a> +<img src="images/ill-0145.jpg" width="414" height="600" alt="Tea. WHITE MAMAN COCHET." title="" /> +<div class="caption3"><span style="margin-right: 11em;">Tea.</span><br /> +WHITE MAMAN COCHET.</div><br /> +</div> + +<div class='hang1'>Reine Natalie de Serbie. <i>Soupert et Notting</i>, 1886. +Creamy flesh.</div> + +<div class='hang1'>Rubens. <i>Robert</i>, 1859. White, delicately tinted +rose.</div> + +<div class='hang1'>Souvenir d'Élise Vardon. <i>Marest</i>, 1854. Creamy +white.</div> + +<div class='hang1'>Souvenir de Gabrielle Drevet. <i>Guillot</i>, 1865. Salmon +white.</div> + +<div class='hang1'>Souvenir de S. A. Prince. <i>Prince</i>, 1889. Pure white +sport from Souv. d'un Ami.</div> + +<div class='hang1'>The Bride. <i>May</i>, 1885. White sport from Catherine +Mermet.</div> + +<div class='hang1'><a href="#White_Maman_Cochet">White Maman Cochet</a>. <i>Cook</i>, 1898. White sport +from Maman Cochet.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p> +<h2>CHAPTER VII</h2> + + +<div class='center'><br /><span class="smcap">Hybrid Tea-Roses</span>, <i>R. indica odorata hybrida</i></div> + +<p><span class="smcap">Of</span> all gracious gifts that the patient science of +hybridists has bestowed on rose-lovers, the development +of the Hybrid Tea is perhaps the greatest. For +here we have a rose with the substance and vigorous +constitution of the Hybrid Perpetual, one of its +parents, and the varied and delicate colours of its +other parent, the Tea rose. Whether for the garden, +to keep it brilliant with blossom from early summer +to latest autumn, or to deck the exhibition bench +with largest and most lovely blooms, the Hybrid Tea +stands unrivalled. And yet in 1867 there was but +one solitary specimen of the race in existence, and that +one was not recognized as being the forerunner of a +new family, or distinct in any way, except in its +beauty. For the noble rose <i>La France</i>, which M. +Guillot sent out in that year, was classed then, and +for many years after, as a Hybrid Perpetual.</p> + +<p>It was not until 1873 that Messrs. Paul & Son, of +Cheshunt, sent out the first so-called Hybrid Tea, the +<i>Cheshunt Hybrid</i>. Though in the same year Lacharme +introduced that priceless rose <i>Captain Christy:</i><span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span> +but this, like <i>La France</i>, was for many years classed +with the Hybrid Perpetuals.</p> + + +<div class="figcenter" style="width: 446px;"><a name="Bardou_Job" id="Bardou_Job"></a> +<img src="images/ill-0149.jpg" width="446" height="500" alt="Hybrid Tea. BARDOU JOB." title="" /> +<div class="caption2"><span style="margin-right: 5em;">Hybrid Tea.</span><br /> +BARDOU JOB.</div> +</div> + +<div class="figcenter" style="width: 424px;"> +<img src="images/ill-0153.jpg" width="424" height="600" alt="Hybrid Tea. BARDOU JOB." title="" /> +<div class="caption2"><span style="margin-right: 5em;">Hybrid Tea.</span><br /> +BARDOU JOB.</div> +</div> + +<p>Other new roses of this new race followed slowly—very +slowly—till 1890. I have just gone carefully +through the catalogues of the chief English and +foreign rose-growers; and find that in 1889 only +twenty-four Hybrid Teas were known. There were +some truly admirable roses among them. <i><ins title="Transcriber's Note: original reads 'Camöens'">Camoëns</ins></i> +came in 1881. <i>Lady Mary Fitzwilliam</i>, one of the +most valuable, 1882. Delightful <i>Papa Gontier</i>, 1883. +<i>Grace Darling</i> and <i>Gloire Lyonnaise</i>, 1884—the latter +a rose which is not as generally cultivated as it should +be; for grown as a bush it is the perfection of an +autumn rose. <i>Viscountess Folkestone</i>, 1886. <i>Bardou +Job</i>, 1887—a slightly capricious rose in some places: +but so beautiful with its great semi-double flowers of +scarlet-crimson flaked with velvety-black, that one +bears with its little ways patiently, rejoicing when it +condescends to respond to one's care. In 1888 came +Bennett's <i>The Meteor</i>. In 1889 <i>Augustine Guinoisseau</i>, +invaluable for massing. And either that year +or the next, the gorgeous and thorny <i>Marquise de +Salisbury</i>.</p> + +<p>But the real development of the race began in +1890. And since then each year has seen one superb +rose after another produced in such numbers, that it +is as difficult to keep count of them as to determine +which of the magnificent novelties should be picked +out for special mention.<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p> + +<p>It must be noted that there has been rather too great +a tendency to raise enormous roses of slightly pale +colouring, and among them many are merely fit for +exhibition and of little use to the amateur for garden +purposes. But of late these faint shades have been +successfully fought against; and while size has been +preserved the colours are growing deeper and richer +each year. So that we are surely drawing nearer the +not impossible day when we may get Hybrid Tea +roses as brilliant a red or yellow as <i>Duke of Edinburgh</i> +or <i>Maréchal Niel</i>, as large as <i><a href="#Frau_Karl_Druschki">Frau Karl +Druschki</a></i>, and as fragrant, let us hope, as <i>La France</i>. +As it is, it is difficult to imagine anything much more +vivid than the orange, deep salmon-pink, copper-red, +and rosy-apricot of some of the novelties of 1906-7-8. +Among them may be noted Messrs. Alex. Dickson & +Son's <i>Dorothy Page-Roberts</i>, <i>Souvenir de Stella +Gray;</i> Messrs. Wm. Paul's <i>Warrior;</i> MM. Soupert +et Notting's magnificent <i>Mme. Segond Weber</i>, +<i>Mme. J. W. Budde</i>, <i>Marichu Zayas;</i> M. Pernet-Ducher's +<i>Mme. Maurice de Luze</i>, and <i>Mrs. Aaron +Ward</i>.</p> + +<p>These roses, as I have said, are the result of crossings +between the Hybrid Perpetual and the Tea rose. +And if we think for a moment how these two families +came into existence, we shall see what a curious and +interesting blending of many different strains has +been needed to develop this beautiful and valuable +race. But the end has not come yet to what may be<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span> +accomplished. And there can be no doubt that +many remarkable developments in the history of rose-growing +still lie before us and succeeding generations, +when the results of fresh experiments with the +Wichuraiana, the Rugosa, and other roses are made +known.</p> + +<div class="figcenter" style="width: 424px;"><a name="Irish_Elegance2" id="Irish_Elegance2"></a> +<img src="images/ill-0153.jpg" width="424" height="600" alt="Hybrid Tea. Irish Elegance." title="" /> +<div class="caption2"><span style="margin-right: 5em;">Single Hybrid Tea.</span><br /> +IRISH ELEGANCE.</div> +<br /><br /></div> + +<div class="figcenter" style="width: 600px;"><a name="Irish_Glory" id="Irish_Glory"></a> +<img src="images/ill-0155.jpg" width="600" height="453" alt="Single Hybrid Tea. IRISH GLORY." title="" /> +<div class="caption2"><span style="margin-right: 5em;">Single Hybrid Tea.</span><br /> +IRISH GLORY.</div> +</div> + +<p>One most interesting and valuable development of +the race has already been made, and must not be +passed over in silence. I mean the single Irish roses +of Messrs. Alex. Dickson & Sons, which form a little +class to themselves. These roses are most attractive, +as they are densely covered through the whole season +with flowers of varied and vivid colours, pure white, +coral pink, brilliant crimson, bronzy-scarlet, old-gold +and rose, saffron and rose. And when we add to +these beautiful shades their fragrance, their handsome +glossy foliage, their bushy growth, and their vigorous +hardy constitution, it is not surprising that since their +first appearance in 1900 they have rushed into favour, +and received many cards of commendation from the +N. R. S.</p> + +<p>With such a wealth of fine varieties to choose from, +it is a little difficult to make a selection of the very +best. But the surest guide is the judges' verdict at +recent shows for exhibition roses and those of the +decorative class, as shown in the admirable analysis +drawn up by Mr. Edward Mawley, the distinguished +honorary secretary of the National Rose Society. To +this analysis I have added a few of my own favourites,<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span> +and some of the very newest roses which have hardly +yet found their place in English shows.</p> + +<div class="figcenter" style="width: 409px;"><a name="Caroline_Testout" id="Caroline_Testout"></a> +<img src="images/ill-0158.jpg" width="409" height="525" alt="Hybrid Tea. CAROLINE TESTOUT." title="" /> +<div class="caption2"><span style="margin-right: 8em;">Hybrid Tea.</span><br /> +CAROLINE TESTOUT.</div> +</div> + +<p><span class="smcap">Pink and Rose Hybrid Teas.</span>—I rejoice to see +that my own selection almost heads the list—the +beautiful <i><a href="#Caroline_Testout">Caroline Testout</a>;</i> for this is a rose suited +to every purpose, whether for exhibition, massing in +the garden, or growing as a noble standard. <i>Mrs. +W. J. Grant</i> (<i>syn.</i> Belle Siebrecht) stands next; +followed by <i>La France</i>, <i>Lady Ashtown</i>, <i>Killarney</i>—but +let this be grown quite by itself, as it is one of +the worst roses for mildew—<i>Gustave <ins title="Transcriber's Note: original reads 'Grunerwald'">Grünerwald</ins></i>, a +rose I have not yet grown, but one of the most +satisfactory; <i>Countess of Caledon</i>, <i>Mrs. Theodore +Roosevelt</i>, <i>Gladys Harkness</i>, <i>William Shean</i>, <i>Mme. +Abel Chatenay</i>, <i>Mme. Jules Grolez</i>, one of the most +useful of rose colour, <i>Papa Lambert</i>, <i>Robert Scott</i>. +Others of the newest pink roses are <i>Celia</i>, <i>Gabrielle +Pierrette</i>, <i>Hon. Ina Bingham</i>, <i>H. Armytage Moore</i>, +<i>Maria Girard</i>.</p> + +<p>Among crimsons the best are the well known and +beautiful <i>Liberty</i>, <i>Marquise de Salisbury</i>, <i>Hugh +Dickson</i>, <i>J. B. Clark</i>, <i>Richmond</i>, <i>C. J. Grahame</i>, +<i>Reine Olga de Wurtemburg</i>, <i>Étoile de France</i>, <i>Lady +Rossmore</i>, <i>Triumph</i>, <i>Gruss an Teplitz</i>, <i>Morgenrot</i>, +<i><a href="#Bardou_Job">Bardou Job</a></i>, <i>The Dandy</i>, <i>Warrior</i>, and two grand +novelties, the American rose <i>General Mac Arthur</i>, +and <i>John Laing Paul</i>, little known as yet, but certain +to be widely grown, as is <i>Écarlate</i>, said to be an even +better rose than <i>Liberty</i> and <i>Richmond</i>.<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p> + +<div class="figcenter" style="width: 413px;"><a name="Madame_Ravary" id="Madame_Ravary"></a> +<img src="images/ill-0161.jpg" width="413" height="500" alt="Hybrid Tea. MADAME RAVARY." title="" /> +<div class="caption2"><span style="margin-right: 8em;">Hybrid Tea.</span><br /> +MADAME RAVARY.</div> +</div> + +<p>In those remarkable shades of apricot, salmon, +coppery-pink and carmine, upon a yellow or orange +base, the choice is very considerable. And although it +is as yet almost unknown in England, having only been +sent out this spring (1908), I venture to predict a leading +position in the near future for MM. Soupert et +Notting's grand salmon-pink novelty, <i>Mme. Segond +Weber</i>, which, for shape, size, colour and delicious +fragrance is perhaps the finest rose I know. <i>Betty</i> is +one of those vivid modern roses whose colour, coppery-rose +shaded gold, is as hard to describe as it is +beautiful. While <i>Dorothy Page-Roberts</i>, <i>Souv. de +Stella Gray</i>, <i>Marquise de Sinéty</i>, <i>Mme. Maurice +de Luze</i>, <i>Edu Meyer</i>, <i>Countess Annesley</i>, <i>Mrs. +Harvey Thomas</i>, and <i>Souv. de Maria Zozaya</i>, +are all remarkable for their strong and brilliant +colouring.</p> + +<p>Among the yellow shades from palest lemon to deep +orange, the choice is not so great; but there are many +good roses to choose from, beginning with the two +novelties, of 1907—Pernet-Ducher's great Indian +yellow rose, <i>Mrs. Aaron Ward</i>, which promises well, +and Alex. Dickson & Son's brilliant yellow <i>Harry +Kirk</i>. Of older roses few are better than the noble +<i><a href="#Madame_Ravary">Madame Ravary</a></i>, <i>Ferdinand Batel</i>, the delightful +<i>Gustave Regis</i>, <i>Gloire Lyonnaise</i>, <i>Duchess of Portland</i>, +and <i>Kaiserin Augusta Victoria</i>. <i>Mrs. Peter +Blair</i>, 1906, is one of the most effective yellows for +the garden; and I cannot speak too highly of that<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span> +little known but very beautiful rose <i>Peace</i>, raised by +Piper in 1903, its pale lemon yellow flowers borne on +long upright stalks are invaluable for cutting throughout +the whole season.</p> + +<p>White and blush hybrid Teas are many. And the +famous <i>Bessie Brown</i>, <i>Alice Grahame</i>, <i>Mildred +Grant</i>, <i>Florence Pemberton</i>, <i>Alice Lindsell</i> and +<i>White Lady</i> are to be seen at every show: but they +are all exhibition roses except <i>Florence Pemberton</i>.</p> + +<p><i>Augustine Guinoisseau</i>, however, is as good a +white garden rose as heart can desire; so is <i>Lady +Quartus Ewart;</i> and as <i>Kaiserin Augusta Victoria</i> +and <i>Peace</i> are so faintly lemon as to be nearly white, +there is no difficulty in making a bed of white Hybrid +Teas.</p> + +<div class='center'><br />HYBRID TEA ROSES<br /> +<br /> + +<span class="smcap">Pink and Rose.</span></div> + +<div class='hang1'>Aimée Cochet. <i>Soupert et Notting</i>, 1902. Flesh, +with rosy peach centre.</div> + +<div class='hang1'>Angel Peluffo. <i>Soupert et Notting</i>, 1905. Interior +of petals rosy flesh, centre rose.</div> + +<div class='hang1'>Baronin Armgard von Biel. <i>Welter</i>, 1906. Satin +pink; a brighter La France.</div> + +<div class='hang1'>Belle Siebrecht. (See Mrs. W. J. Grant.)</div> + +<div class='hang1'>Camoëns. <i>Schwartz</i>, 1882. Bright rich China rose.</div> + +<div class='hang1'>Captain Christy. <i>Lacharme</i>, 1873. Flesh colour, +deeper pink centre.</div> + +<div class='hang1'><a href="#Caroline_Testout">Caroline Testout</a>. <i>Pernet-Ducher</i>, 1890. Bright +clear rose.<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></div> + +<div class='hang1'>Celia. <i>Wm. Paul & Son</i>, 1906. Bright satin pink, +darker centre.</div> + +<div class='hang1'>Countess of Caledon. <i>Alex. Dickson</i>, 1897. Carmine rose.</div> + +<div class='hang1'>Denmark. <i>Ziener Lassen</i>, 1890. Colour of La +France.</div> + +<div class='hang1'>David Harum. <i>E. G. Hill & Co.</i>, 1904. Rose peach +pink.</div> + +<div class='hang1'>Daisy. <i>Alex. Dickson</i>, 1898. Rosy pink, suffused +silvery pink.</div> + +<div class='hang1'>Duchess of Albany. <i>Wm. Paul & Son</i>, 1888. Fine +deep pink.</div> + +<div class='hang1'>England's Glory. <i>J. Wood & Son</i>, 1902. Flesh, +satin pink centre.</div> + +<div class='hang1'>Farbenkönigen. <i>Hinner</i>, 1901. Imperial pink.</div> + +<div class='hang1'>Frau Peter Lambert. <i>Walter</i>, 1902. Rose, marbled +pink.</div> + +<div class='hang1'>Gladys Harkness. <i>Alex. Dickson</i>, 1900. Deep salmon +pink, silvery reverse.</div> + +<div class='hang1'>Gustave Grünerwald. <i>P. Lambert</i>, 1903. Carmine +pink.</div> + +<div class='hang1'>H. Armytage Moore. <i>Hugh Dickson</i>, 1907. Petals +rosy pink outside, silvery inside.</div> + +<div class='hang1'>Hélène Welter. <i>Guillot</i>, 1903. Brilliant rose.</div> + +<div class='hang1'>Hon. Ina Bingham. <i>Alex. Dickson</i>, 1905. Pure pink.</div> + +<div class='hang1'>Johanna Sebus. <i>Dr. Müller</i>, 1900. Rosy cerise.</div> + +<div class='hang1'>John Ruskin. <i>Alex. Dickson</i>, 1902. Rosy carmine.</div> + +<div class='hang1'>Killarney. <i>Alex. Dickson</i>, 1898. Flesh, suffused +shell pink.</div> + +<div class='hang1'>Königin Carola. <i>Turke</i>, 1904. Rose pink.</div> + +<div class='hang1'>Lady Ashtown. <i>Alex. Dickson</i>, 1904. Deep pink.</div> + +<div class='hang1'>Lady Moyra Beauclerk. <i>Alex. Dickson</i>, 1901. Madder +rose, with silvery reflexes.</div> + +<div class='hang1'>Lady Mary Fitzwilliam. <i>Bennett</i>, 1882. Rosy flesh.</div> + +<div class='hang1'>Lady Helen Vincent. <i>Alex. Dickson</i>, 1907. Shell +pink, base peach yellow.<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span></div> + +<div class='hang1'>Lady Wenlock. <i>Bernaix</i>, 1905. Pink, shaded fawn.</div> + +<div class='hang1'>La France. <i>Guillot</i>, 1867. Bright rose pink.</div> + +<div class='hang1'>La Tosca. <i>Vve. Schwartz</i>, 1901. Silvery pink, deeper +centre.</div> + +<div class='hang1'>Laure Watinne. <i>Soupert et Notting</i>, 1902. Bright +rose.</div> + +<div class='hang1'>Lina Schmidt-Michel. <i>Lambert</i>, 1905. Madder pink, +reverse of petals carmine.</div> + +<div class='hang1'>Lohengrin. <i>Schmidt</i>, 1903. Silvery pink, deeper +centre.</div> + +<div class='hang1'>Mme. Abel Chatenay. <i>Pernet-Ducher</i>, 1895. Carmine +rose, shaded salmon.</div> + +<div class='hang1'>Mme. Edmée Metz. <i>Soupert et Notting</i>, 1901. Rosy +carmine, shaded salmon.</div> + +<div class='hang1'>Mme. Jules Grolez. <i>Guillot</i>, 1897. Beautiful China +rose.</div> + +<div class='hang1'>Mme. Eugéne Jombart. <i>Schwartz</i>, 1905. Pale pink, +centre carmine.</div> + +<div class='hang1'>Mme. Leonie Moissy. <i>Vilin</i>, 1907. Pale rosy salmon, +deeper centre.</div> + +<div class='hang1'>Marichu Zayas. <i>Soupert et Notting</i>, 1907. Strawberry +and cream, shaded rose.</div> + +<div class='hang1'>Maimie. <i>Alex. Dickson</i>, 1901. Rose carmine, yellow +base.</div> + +<div class='hang1'>Marianne Pfitzer. <i>Jacobs</i>, 1903. Rosy flesh, tinted +red.</div> + +<div class='hang1'>Max Hesdorffer. <i>Jacobs</i>, 1903. Deep rose, bordered +silvery rose.</div> + +<div class='hang1'>Monsieur Paul Lédé. <i>Pernet-Ducher</i>, 1903. Cinnamon +pink, passing lighter.</div> + +<div class='hang1'>Mrs. E. G. Hill. <i>Soupert et Notting</i>, 1906. Coral +red, white centre.</div> + +<div class='hang1'>Mrs. G. W. Kershaw. <i>Alex. Dickson</i>, 1906. Deep +rose pink.</div> + +<div class='hang1'>Mrs. W. J. Grant (<i>syn.</i> Belle Siebrecht). <i>Alex. +Dickson</i>, 1895. Imperial pink.<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span></div> + +<div class='hang1'>Nance Christy. <i>B. R. Cant</i>, 1906. Delicate salmon +pink, semi-double.</div> + +<div class='hang1'>Olympiada. <i>Soupert et Notting</i>, 1904. Satiny rose.</div> + +<div class='hang1'>Papa Lambert. <i>P. Lambert</i>, 1899. Rose pink, +deeper centre.</div> + +<div class='hang1'>Princesse Charles de Ligne. <i>Soupert et Notting</i>, +1903. Silvery pink, carmine centre.</div> + +<div class='hang1'>Reine Carola de Saxe. <i>Gamon</i>, 1903. Flesh pink.</div> + +<div class='hang1'>Robert Scott. <i>Robert Scott & Son</i>, 1901. Clear rosy +pink, shading to flesh on outer petals.</div> + +<div class='hang1'>Rosel Klemm. <i>Hinner</i>, 1905. Rose, with silvery reflex.</div> + +<div class='hang1'>Shandon. <i>Alex. Dickson</i>, 1899. Bright rose.</div> + +<div class='hang1'>Sheila. <i>Alex. Dickson</i>, 1895. Bright rose.</div> + +<div class='hang1'>Souvenir de Maria de Zayas. <i>Soupert et Notting</i>, +1906. Vivid carmine, with deeper shading.</div> + +<div class='hang1'>Souvenir de Maria Zozaya. <i>Soupert et Notting</i>, 1904. +Petals coral red outside, silvery rose inside.</div> + +<div class='hang1'>William Askew. <i>Guillot</i>, 1902. Bright pink, shaded +delicate pink.</div> + +<div class='hang1'>William Notting. <i>Soupert et Notting</i>, 1904. Salmon +pink, reverse of petals coral.</div> + +<div class='hang1'>William Shean. <i>Alex. Dickson</i>, 1906. Pure pink, +veined ochre; a grand rose.</div> + + +<div class='center'><br /><span class="smcap">Salmon and Copper Pink.</span></div> + +<div class='hang1'>Antoine Rivoire. <i>Pernet-Ducher</i>, 1896. Rosy flesh +on yellow ground.</div> + +<div class='hang1'>Betty. <i>Alex. Dickson & Sons</i>, 1905. Coppery rose, +shaded yellow.</div> + +<div class='hang1'>Countess Annesley. <i>Alex. Dickson</i>, 1905. Rosy +salmon, suffused old gold.</div> + +<div class='hang1'>Dean Hole. <i>Alex. Dickson</i>, 1904. Silvery carmine, +shaded salmon.</div> + +<div class='hang1'>Dr. J. Campbell Hall. <i>Alex. Dickson</i>, 1904. Coral +rose, suffused white.<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span></div> + +<div class='hang1'>Dorothy Page-Roberts. <i>Alex. Dickson</i>, 1907. Coppery +pink.</div> + +<div class='hang1'>Earl of Warwick. <i>Paul & Son</i>, 1904. Salmon pink, +shaded vermilion.</div> + +<div class='hang1'>Edu Meyer. <i>Lambert</i>, 1904. Copper red and yellow, +with orange shading.</div> + +<div class='hang1'>Elizabeth Barnes. <i>Alex. Dickson</i>, 1907. Salmon +rose, fawn centre, outside of petals deep rose.</div> + +<div class='hang1'>Frau Burgermeister Kirchstein. <i>Jacob</i>, 1907. Carmine, +shaded salmon.</div> + +<div class='hang1'>Frau Ernst Borsig. <i>P. Lambert</i>, 1907. Rosy +yellowish carmine.</div> + +<div class='hang1'>Frau Otto Evertz. <i>N. Welter</i>, 1907. Salmon pink +and yellow.</div> + +<div class='hang1'>Friedrich Schröder. <i>Hinner</i>, 1904. Rose, suffused +yellow.</div> + +<div class='hang1'>Herman Rane. <i>Lambert</i>, 1905. Varying from +salmon rose to yellowish red.</div> + +<div class='hang1'>Herzog Friedrich von Anhalt. <i>Welter</i>, 1907. Salmon +carmine, centre copper red.</div> + +<div class='hang1'>Jeanne Bariaz. <i>Pierre Guillot</i>, 1907. Pale salmon, +centre vivid salmon on yellow.</div> + +<div class='hang1'>Joseph Hill. <i>Pernet-Ducher</i>, 1904. Pink, shaded +salmon copper.</div> + +<div class='hang1'>Kathleen. <i>Alex. Dickson</i>, 1895. Coral-pink suffused +rose, yellow base.</div> + +<div class='hang1'>Mme. Cadeau-Ramey. <i>Pernet-Ducher</i>, 1897. Rosy +flesh, shaded yellow, carmine edges.</div> + +<div class='hang1'>Mme. Eugène Boullet. <i>Pernet-Ducher</i>, 1898. Yellow, +shaded carmine.</div> + +<div class='hang1'>Mme. Léon Pain. <i>Guillot</i>, 1904. Silvery salmon, +centre orange, petals outside salmon pink.</div> + +<div class='hang1'>Mme. Mélanie Soupert. <i>Pernet-Ducher</i>, 1906. +Salmon yellow, suffused carmine.</div> + +<div class='hang1'>Mme. Paul Olivier. <i>Pernet-Ducher</i>, 1903. Deep +salmon yellow, shaded rosy carmine.<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></div> + +<div class='hang1'>Mme. Segond Weber. <i>Soupert et Notting</i>, 1908. Rich salmon pink, very fine and distinct.</div> + +<div class='hang1'>Marguerite Poiret. <i>Soupert et Notting</i>, 1902. Bright china rose, yellow reflexes.</div> + +<div class='hang1'>Marquise de Sinéty. <i>Pernet-Ducher</i>, 1906. Orange yellow, shaded fiery red.</div> + +<div class='hang1'>Monsieur Joseph Hill. <i>Pernet-Ducher</i>, 1903. Salmon pink, shaded yellow.</div> + +<div class='hang1'>Mrs. Harvey Thomas. <i>Bernaix</i>, 1906. Carmine, shaded copper red and yellow.</div> + +<div class='hang1'>Mrs. John Bateman. <i>Alex. Dickson</i>, 1905. Deep china rose, yellow base.</div> + +<div class='hang1'>Peggy. <i>Alex. Dickson</i>, 1905. Claret, smeared saffron yellow and primrose, semi-double.</div> + +<div class='hang1'>Pierre Wattinne. <i>Soupert et Notting</i>, 1902. Cerise, shaded yellow and salmon.</div> + +<div class='hang1'>Pribislav. <i>O. Jacobs</i>, 1902. Orange carmine, pencilled scarlet.</div> + +<div class='hang1'>Prince de Bulgarie. <i>Pernet-Ducher</i>, 1902. Deep rosy flesh, shaded salmon.</div> + +<div class='hang1'>Professor Fritz Rober. <i>Welter</i>, 1906. Salmon, shaded yellow and rose.</div> + +<div class='hang1'>Renée Wilmart-Urban. <i>Pernet-Ducher</i>, 1907. Salmon flesh, bordered carmine.</div> + +<div class='hang1'>Rosalind Orr-English. <i>E. G. Hill & Co.</i>, 1905. Bright salmon pink.</div> + +<div class='hang1'>Senateur Belle. <i>Pernet-Ducher</i>, 1903. Salmon pink, yellow centre.</div> + +<div class='hang1'>Senateur Saint Romme. <i>Schwartz</i>, 1905. Rosy salmon, shaded yellow.</div> + + +<div class='center'><br /><span class="smcap">Crimson and Carmine.</span></div> + +<div class='hang1'>Avoca. <i>Alex. Dickson</i>, 1907. Crimson scarlet.</div> + +<div class='hang1'>Anne Marie Soupert. <i>Soupert et Notting</i>, 1904. Reddish carmine.<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span></div> + +<div class='hang1'>Baldwin. <i>Lambert</i>, 1898. Pure carmine.</div> + +<div class='hang1'>Baron Lade. <i>Welter</i>, 1904. Bright carmine.</div> + +<div class='hang1'>Charles. J. Grahame. <i>Alex. Dickson</i>, 1905. Very bright scarlet crimson.</div> + +<div class='hang1'>Cherry Ripe. <i>Paul & Son</i>, 1905. Light cherry crimson.</div> + +<div class='hang1'>Comtesse Icy Hardegg. <i>Soupert et Notting</i>, 1908. Deep red.</div> + +<div class='hang1'>Crimson Crown. <i>Alex. Dickson</i>, 1905. Glowing dark crimson, flowers in clusters.</div> + +<div class='hang1'>Écarlate. <i>Boytard</i>, 1907. Scarlet crimson, brighter than Liberty.</div> + +<div class='hang1'>Étoile de France. <i>Pernet-Ducher</i>, 1905. Velvety crimson, centre cerise.</div> + +<div class='hang1'>Exquisite. <i>Paul & Son</i>, 1899. Bright crimson, shaded magenta.</div> + +<div class='hang1'>General MacArthur. <i>Hill</i>, 1905. Bright crimson.</div> + +<div class='hang1'>George Laing Paul. <i>Soupert et Notting</i>, 1904. Reddish crimson.</div> + +<div class='hang1'>Grossherzog von Oldenburg. <i>Welter</i>, 1904. Dark poppy, red.</div> + +<div class='hang1'>Gruss an Sangerhausen. <i>Dr. Müller</i>, 1905. Brilliant scarlet, centre crimson.</div> + +<div class='hang1'>Herzogin Victoria Adelheid. <i>Welter</i>, 1906. Clear brilliant red.</div> + +<div class='hang1'>J. B. Clark. <i>Hugh Dickson</i>, 1905. Deep scarlet, heavily shaded black crimson.</div> + +<div class='hang1'>Lady Battersea. <i>Paul & Son</i>, 1901. Fine cherry crimson.</div> + +<div class='hang1'>Lady Rossmore. <i>Dr. Campbell Hall</i>, 1906. Reddish crimson, claret shading.</div> + +<div class='hang1'>Liberty. <i>Alex. Dickson</i>, 1900. Brilliant velvety crimson.</div> + +<div class='hang1'>Ma Tulipe. <i>Bonnaire</i>, 1900. Deep crimson.</div> + +<div class='hang1'>Mme. J. W. Budde. <i>Soupert et Notting</i>, 1907. Brilliant carmine.</div> + +<p><span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span></p> + +<div class="figcenter" style="width: 600px;"><a name="Marquise_Litta" id="Marquise_Litta"></a> +<img src="images/ill-0171.jpg" width="600" height="412" alt="Hybrid Tea. MARQUISE LITTA." title="" /> +<div class="caption2"><span style="margin-right: 8em;">Hybrid Tea.</span><br /> +MARQUISE LITTA.</div><br /> +</div> + +<div class='hang1'>Marquise de Salisbury. <i>Pernet père</i>, 1889. Bright velvety red.</div> + +<div class='hang1'><a href="#Marquise_Litta">Marquise Litta</a>. <i>Pernet-Ducher</i>, 1894. Carmine rose, vermilion centre.</div> + +<div class='hang1'>Mrs. A. M. Kirker. <i>Hugh Dickson</i>, 1906. Bright cerise.</div> + +<div class='hang1'>Reine Marguerite d'Italie. <i>Soupert et Notting</i>, 1905. Shining carmine, centre vermilion.</div> + +<div class='hang1'>Rev. David R. Williamson. <i>Alex. Dickson</i>, 1904. Dark crimson, shaded maroon.</div> + +<div class='hang1'>Richmond. <i>Hill & Co.</i>, 1905. Pure red scarlet.</div> + +<div class='hang1'>Rosomane E. P. Roussel. <i>Guillot</i>, 1907. Brilliant crimson.</div> + +<div class='hang1'>Sarah Bernhardt. <i>Dubreuil</i>, 1907. Scarlet crimson.</div> + +<div class='hang1'>Stadtrat F. Kahler. <i>Geduldig</i>, 1907. Brilliant fiery red.</div> + +<div class='hang1'>The Dandy. <i>Paul & Son</i>, 1905. Glowing maroon crimson, miniature flowers.</div> + +<div class='hang1'>Triumph. <i>J. G. Hill & Co.</i>, 1907. Deep carmine and crimson.</div> + +<div class='hang1'>Warrior. <i>Wm. Paul & Son</i>, 1906. Buds blood red, opening vivid scarlet crimson.</div> + + +<div class='center'><br /><span class="smcap">Yellow.</span></div> + +<div class='hang1'>Amateur Teyssier. <i>Gamon</i>, 1900. Dark saffron yellow, changing to white.</div> + +<div class='hang1'>Auguste van der Heede. <i>Welter</i>, 1901. Saffron yellow.</div> + +<div class='hang1'>Duchess of Portland. <i>Alex. Dickson</i>, 1901. Pale sulphur yellow, with an occasional tinge of Eau de Nil.</div> + +<div class='hang1'>Ferdinand Batel. <i>Pernet-Ducher</i>, 1897. Varying from pale rosy flesh on yellow nankeen, to yellow nankeen orange.</div> + +<div class='hang1'>Franz Deegen. <i>Hinner</i>, 1901. Pale yellow, centre golden yellow.</div><p><span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span></p> + +<div class="figcenter" style="width: 399px;"><a name="Madame_Pernet_Duchet" id="Madame_Pernet_Duchet"></a> +<img src="images/ill-0174.jpg" width="399" height="550" alt="Hybrid Tea. MADAME PERNET DUCHER." title="" /> +<div class="caption2"><span style="margin-right: 13em;">Hybrid Tea.</span><br /> +MADAME PERNET DUCHER.</div><br /> +</div> + +<div class='hang1'>Friedrich Harms. <i>Welter</i>, 1901. Pale yellow, with deep yellow centre.</div> + +<div class='hang1'>Gloire Lyonnaise. <i>Guillot</i>, 1884. Very pale lemon.</div> + +<div class='hang1'>Goldelse. <i>Hinner</i>, 1902. Pale yellow, with deeper yellow centre.</div> + +<div class='hang1'>Grossherzogin Alexandra. <i>Jacobs-Welter</i>, 1906. Clear golden yellow.</div> + +<div class='hang1'>Gustave Regis. <i>Pernet-Ducher</i>, 1891. Canary yellow, with orange centre.</div> + +<div class='hang1'>Gustave Sobry. <i>Welter</i>, 1902. Golden yellow, passing to clear yellow.</div> + +<div class='hang1'>Harry Kirk. <i>Alex. Dickson</i>, 1907. Deep sulphur yellow, lighter edges.</div> + +<div class='hang1'>Hofgarten-director Græbener. <i>P. Lambert</i>, 1900. Rosy yellow and coppery yellow.</div> + +<div class='hang1'>Instituteur Sirday. <i>Pernet-Ducher</i>, 1906. Deep golden yellow.</div> + +<div class='hang1'>Jakobs Perle. <i>Jakobs</i>, 1904. Canary yellow.</div> + +<div class='hang1'>Kaiserin Augusta Victoria. <i>Lambert & Reiter</i>, 1891. Beautiful primrose.</div> + +<div class='hang1'>Le Progrès. <i>Pernet-Ducher</i>, 1904. Nankeen yellow, lighter when fully expanded.</div> + +<div class='hang1'>Madame Jenny Guillemot. <i>Pernet-Ducher</i>, 1905. Deep saffron yellow.</div> + +<div class='hang1'><a href="#Madame_Pernet_Duchet">Madame Pernet-Ducher</a>. <i>Pernet-Ducher</i>, 1892. Canary yellow.</div> + +<div class='hang1'>Madame Philippe Rivoire. <i>Pernet-Ducher</i>, 1905. Apricot yellow, with lighter centre.</div> + +<div class='hang1'><a href="#Madame_Ravary">Madame Ravary</a>. <i>Pernet-Ducher</i>, 1900. Beautiful orange yellow.</div> + +<div class='hang1'>Mrs. David M'Kee. <i>Alex. Dickson</i>, 1904. Creamy yellow.</div> + +<div class='hang1'>Mrs. Peter Blair. <i>Alex. Dickson</i>, 1906. Lemon chrome, with golden yellow centre.</div> + +<div class='hang1'>Peace. <i>Piper</i>, 1903. Pale lemon yellow.</div><p><span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span></p> + + +<div class='center'><br /><span class="smcap">White and Blush.</span></div> + +<div class='hang1'>Admiral Dewey. <i>Dingee & Conard</i>, 1899. Light blush.</div> + +<div class='hang1'>Alice Grahame. <i>Alex. Dickson</i>, 1903. Ivory white, tinted salmon.</div> + +<div class='hang1'>Alice Lindsell. <i>Alex. Dickson</i>, 1902. Creamy white, with pink centre.</div> + +<div class='hang1'>Augustine Guinoisseau. <i>Guinoisseau</i>, 1889. White, slightly tinted with flesh.</div> + +<div class='hang1'>Bessie Brown. <i>Alex. Dickson</i>, 1899. Creamy white.</div> + +<div class='hang1'>Comte de Torres. <i>Schwartz</i>, 1906. Salmon white, with yellow salmon centre.</div> + +<div class='hang1'>Direcktor W. Cordes. <i>P. Lambert</i>, 1904. Creamy white, with yellowish centre.</div> + +<div class='hang1'>Edelstein. <i>Welter</i>, 1904. Pure white.</div> + +<div class='hang1'>Edmund Deshayes. <i>Bernaix</i>, 1902. Creamy white, with flesh centre.</div> + +<div class='hang1'>Ellen Willmot. <i>Bernaix</i>, 1899. Pale flesh white.</div> + +<div class='hang1'>Florence Pemberton. <i>Alex. Dickson</i>, 1903. Creamy white, suffused pink.</div> + +<div class='hang1'>Frau Lilla Rautenstrauch. <i>P. Lambert</i>, 1903. Silvery white, tinted rose.</div> + +<div class='hang1'>Gardenia. <i>Soupert et Notting</i>, 1899. White, suffused pale blush.</div> + +<div class='hang1'>Grace Darling. <i>Bennett</i>, 1884. Creamy white, shaded peach.</div> + +<div class='hang1'>Hélène Guillot. <i>J. B. Guillot</i>, 1902. Pure white to salmon white, tinted carmine.</div> + +<div class='hang1'>Irene. <i>Wm. Paul & Son</i>, 1904. Silvery white, sometimes faintly touched with pink.</div> + +<div class='hang1'>Lady Clanmorris. <i>Alex. Dickson</i>, 1900. Creamy white, delicate salmon centre.</div> + +<div class='hang1'>Lady Quartus Ewart. <i>Hugh Dickson</i>, 1904. Paper white.<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span></div> + +<div class='hang1'>Ligne-Arenberg. <i>Soupert et Notting</i>, 1903. Creamy white, pink edge.</div> + +<div class='hang1'>L'Innocence. <i>Pernet-Ducher</i>, 1898. Pure white.</div> + +<div class='hang1'>Madame Joseph Combet. <i>J. Bonnaire</i>, 1894. Creamy white.</div> + +<div class='hang1'>Madame Maria Capalet. <i>Schwartz</i>, 1905. Rosy white, tinted salmon, centre rosy yellowish salmon.</div> + +<div class='hang1'>Mdlle. Pauline Bersez. <i>Pernet-Ducher</i>, 1900. Creamy white, with yellow centre.</div> + +<div class='hang1'>Mdlle. Alice Furon. White, shaded lemon.</div> + +<div class='hang1'>Marjorie. <i>Alex. Dickson</i>, 1895. White, suffused with salmon pink.</div> + +<div class='hang1'>Marguerite Guillot. <i>P. Guillet</i>, 1903. Pure white.</div> + +<div class='hang1'>Marie Girard. <i>Buatois</i>, 1899. White, shaded salmon yellow.</div> + +<div class='hang1'>Marquise Jeanne de la Chataigneraye. <i>Soupert et Notting</i>, 1902. Silvery white, centre yellow.</div> + +<div class='hang1'>Mildred Grant. <i>Alex. Dickson</i>, 1901. Silvery white, edge of petals shaded and bordered with pink.</div> + +<div class='hang1'>Mrs. Conway Jones. <i>Alex. Dickson</i>, 1904. Creamy white, flushed salmon pink.</div> + +<div class='hang1'>Mrs. Theodore Roosevelt. <i>Hill & Co.</i>, 1903. Creamy white, centre rose.</div> + +<div class='hang1'>Pharisäer. <i>W. Hinner</i>, 1903. Rosy white, shaded salmon.</div> + +<div class='hang1'>Pie X. <i>Soupert et Notting</i>, 1906. Creamy white, suffused pale rose.</div> + +<div class='hang1'>Robert Baessler. <i>Hinner</i>, 1904. White, edge of petals tinted rose.</div> + +<div class='hang1'>Rosomane Gravereux. <i>Soupert et Notting</i>, 1899. White, with tinge of pink.</div> + +<div class='hang1'>Souv. de Madame Eugénie Verdier. <i>Pernet-Ducher</i>, 1895. Electric white, shaded saffron yellow.</div> + +<div class='hang1'>White Lady. <i>Wm. Paul & Son</i>, 1890. Creamy white.</div> + +<div class='hang1'>Yvonne Vacherot. <i>Soupert et Notting</i>, 1906. Porcelain white, suffused pink.</div><p><span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span></p> + + +<div class='center'><br /><span class="smcap">Irish Single Roses.</span><br /> +Alex. Dickson & Sons.</div> + +<div class='hang1'>Irish Beauty, 1900. Pure white, bright golden anthers.</div> + +<div class='hang1'>Irish Brightness, 1903. Vivid crimson, shading to pink base.</div> + +<div class='hang1'><a href="#Irish_Elegance2">Irish Elegance</a>, 1905.<a name="FNanchor_4_5" id="FNanchor_4_5"></a><a href="#Footnote_4_5" class="fnanchor">[4]</a> Buds bronzy orange-scarlet, opening to apricot, a very beautiful rose.</div> + +<div class='hang1'>Irish Engineer, 1904. Bright scarlet, large flowers.</div> + +<div class='hang1'><a href="#Irish_Glory">Irish Glory</a>, 1900. Petals silvery marbled pink, flamed outside with crimson.</div> + +<div class='hang1'>Irish Harmony, 1904. Variable, saffron-yellow veined claret.</div> + +<div class='hang1'>Irish Modesty, 1900. Coral pink, ecru base to petals.</div> + +<div class='hang1'>Irish Pride, 1903. Ecru, suffused old rose and gold.</div> + +<div class='hang1'>Irish Star, 1903. Rose du Barri, with lemon star centre.</div> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span></p> + +<h2>CHAPTER VIII</h2> + +<div class='chaptertitle'>HYBRID PERPETUALS</div> + + +<p><span class="smcap">Mr. Thomas Rivers</span>, that father of scientific rose +culture in England, gives a most interesting account +in his famous book, <i>The Rose Amateur's Guide</i>, +1840, of the origin of the Hybrid Perpetual rose.</p> + +<p>"<i>The Crimson Perpetual</i>, <i>Rose du Roi</i>, or <i>Lee's +Crimson Perpetual</i>,<a name="FNanchor_5_6" id="FNanchor_5_6"></a><a href="#Footnote_5_6" class="fnanchor">[5]</a> ... was raised from seed, in +1812, in the gardens of the Palace of St. Cloud, then +under the direction of Le Comte Lelieur, and named +by him Rose du Roi.... It is asserted it was +raised from the <i>Rosa Portlandica</i>, a semi-double +bright-coloured rose, much like the rose known in +this country as the <i>Scarlet Four-seasons</i> or <i>Rosa +Pæstana</i>.</p> + +<p>"Every gentleman's garden ought to have a +large bed of Crimson Perpetual Roses, to furnish +bouquets during August, September, and October; +their fragrance is so delightful, their colour so rich, +and their form so perfect."</p> +<p><span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span></p> +<p>What would that great pioneer say to our Crimson +Perpetuals of to-day?</p> + +<p>But though this rose was the first, and probably +the parent of many of the earlier Hybrid Perpetuals, +the true development of this glorious race took place +by other means. The Hybrid Chinas,<a name="FNanchor_6_7" id="FNanchor_6_7"></a><a href="#Footnote_6_7" class="fnanchor">[6]</a> such as <i>Blairii +No. 2</i>, <i>Chenédolé</i>, <i>Brennus</i>, and many others, now, as +I have said, most unjustly neglected, were the offspring +of the China rose, <i>R. Indica</i>, crossed with the +Provence and other hardy summer flowering roses. +These were not perpetual, with the notable exception +of <i>Gloire de Rosamènes</i>. But several of them bore +seed freely. These fertile varieties were again crossed +with different kinds of China and Bourbon roses. +And their seed produced the new race of strong, hardy +roses, the Hybrid Perpetuals, flowering through the +whole summer and autumn.</p> + +<p>Of those early parents of this fine race but very +few are known now. <i>Gloire de Rosamènes</i> (Vibert, +1823) is still in cultivation. But in vain I search +English and French catalogues for those marked by +my father in 1844 in Mr. Rivers' book. Where +is <i>Mme. Laffay</i>, 1839, with its fine foliage and rosy-crimson, +highly fragrant flowers; or <i>Fulgorie;</i> or +<i>Rivers</i>, with its large red flowers "produced in +clusters of great beauty"; or <i>La Reine</i>, 1843; or +<i>William Jesse?</i> Probably they still exist as "old +and nameless roses" in my own and many other<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> +gardens. Yet one would like to give them back +the names and honourable places they possessed +in one's childhood, and compare them with their +splendid descendants. In fragrance they would +certainly hold their own; for the fragrance of their +Damask grandparent was stronger in them than +in too many of the modern Hybrid Perpetuals.</p> + +<p>The great development in the race began in the +fifties, and was at its height in the sixties and +seventies: but for the last fifteen years and more +the tide has turned in favour of the Hybrid Teas; +and comparatively few new Hybrid Perpetuals are +raised each year. In 1853, Margottin gave the +enchanted rose-world <i>Jules Margottin</i>, parent of +many most excellent roses. And in the same year +the delightful <i>General Jacqueminot</i> was raised by +Roussel, and became the parent of many of our +finest deep reds. Then in 1859 came Lacharme's +famous <i>Victor Verdier</i>, a rose still in favour, and +one to which the class owes, perhaps, more than +any other as a parent. And in 1861 came <i>Charles +Lefebvre;</i> also raised by Lacharme.</p> + +<p>From that date new and magnificent roses were +sent out in numbers every year by the well-known +French and Continental houses of Lacharme, Verdier, +Pernet, Gautreau, Liabaud, Guillot, Postans, Levet, +Margottin, Rambaud, Levêque, Jamain, Schwartz, +Soupert et Notting. And in England by Messrs. +Wm. Paul & Son, B. R. Cant & Sons, Bennett,<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> +Laxton, Paul & Son, Cocker, Alex. Dickson & Sons, +Turner, Hugh Dickson, Cooling, Harkness, Ward, etc. +While, in 1901, Lambert produced that grandest of +white roses, <i><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></i>.</p> + +<div class="figcenter" style="width: 550px;"><a name="Frau_Karl_Druschki" id="Frau_Karl_Druschki"></a> +<img src="images/ill-0183.jpg" width="550" height="422" alt="Hybrid Perpetual. FRAU KARL DRUSCHKI." title="" /> +<div class="caption3"><span style="margin-right: 10em;">Hybrid Perpetual.</span><br /> +FRAU KARL DRUSCHKI.</div> +</div> + +<p>The pure pinks, and the rich crimsons and scarlets +of the Hybrid Perpetuals are of surpassing beauty. +And though there is a craze just now for Hybrid +Teas, the Hybrid Perpetual must for ever hold its +own in the garden on its own lines. For it will +flourish where the more tender race would die; +and its magnificent size, colour, strong growth, and +rich foliage, must always render it indispensable for +decoration and as a cut flower.</p> + +<p>As with the Teas and Hybrid Teas, these roses +create their finest effect in the garden when grouped +together in beds of one colour. And if we wish to +specialize yet further in the matter of colours, they +may be graduated from dark to light, or light to dark, +with admirable success. A magnificent bed may be +filled with such crimsons, scarlets, and cherry reds +as the following, beginning with dark and medium +crimsons, <i>A. K. Williams</i>, <i>Duke of Edinburgh</i>, +<i>Duke of Wellington</i>, <i>Dr. Andry</i>, <i>Charles Lefebvre</i>, +<i>Countess of Oxford</i>, <i>Fisher Holmes</i>, <i>Louis Van +Houtte</i>, <i>Mrs. Harry Turner</i>, <i>Victor Hugo;</i> and +the lighter crimsons, <i>Alfred Colomb</i>, <i>Beauty of +Waltham</i>, <i>Captain Hayward</i>, <i>Duchess of Bedford</i>, +<i>Duke of Teck</i>, <i>Dupuy Jamain</i>, <i>General Jacgueminot</i>, +<i>Gloire de Margottin</i>, <i>Hugh Dickson</i>, <i>Marie<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span> +Baumann</i>, <i>Senateur Vaisse</i>, <i>Star of Waltham</i>, +<i><a href="#Ulrich_Brunner">Ulrich Brunner</a></i>.</p> + +<div class="figcenter" style="width: 443px;"><a name="Ulrich_Brunner" id="Ulrich_Brunner"></a> +<img src="images/ill-0186.jpg" width="443" height="500" alt="Hybrid Perpetual. ULRICH BRUNNER." title="" /> +<div class="caption2"><span style="margin-right: 6em;">Hybrid Perpetual.</span><br /> +ULRICH BRUNNER.</div> +</div> + +<p>Other yet darker crimson roses, with maroon or +purple shading, are <i>Abel Carrière</i>, <i>Black Prince</i>, +<i>Prince Camille de Rohan</i>, <i>Xavier Olibo</i>.</p> + +<p>For a very effective rose-pink and carmine bed +we may use <i>François Michelon</i>, <i>Helen Keller</i>, <i>John +Hopper</i>, <i>Jules Margottin</i>, <i>Magna Charta</i>, <i>Marquise +de Castellane</i>, <i>Suzanne Marie Rodocanachi</i>, <i>Victor +Verdier</i>.</p> + +<p>An pure pink bed is most attractive, when filled +with such lovely roses as <i>Baroness Rothschild</i>, <i>Mdlle. +Eugénie Verdier</i>, <i>Mrs. Sharman Crawford</i>, <i>Mrs. +John Laing</i>, <i>Pride of Waltham</i>. And although +<i>Captain Christy</i> is now, wisely, called a Hybrid +Tea, it has so much the habit of the Hybrid Perpetuals, +that it really goes better in a bed with them +than among the more delicate-foliaged Teas.</p> + +<p>For a white and pale blush bed we have the pure +white <i>Boule de Neige</i>, <i>Coquette des Blanches</i> (both +Dwarf Hybrid Noisettes), <i><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></i>, and +<i>Marchioness of Londonderry</i>, which is very beautiful +when it does well, though this is not always the +case.</p> + +<p>And for white with a faint blush, <i>Margaret +Dickson</i> and <i>Merveille de Lyon</i>, though these are +sadly given to mildew. But for sheer effect and +mass of bloom, a bed of <i><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></i> is +unequalled. If the long shoots are pegged down<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span> +every bud upon them will throw a flower-shoot, +producing a sheet of blossom throughout the whole +season.</p> + +<p>Another very effective arrangement may be made +by gradating a broad border from a white centre, +through clear pinks on either side to bright scarlets, +and ending at each extremity with deepest crimsons. +This I have seen carried out successfully with a central +group of <i><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></i>, flanked on either side +by the clear pinks of <i>Mrs. Sharman Crawford</i> and +<i>Mrs. John Laing</i>, and beyond them, right and left, +<i>General Jacqueminot</i>, <i>François Michelon</i>, <i>Prince +Camille de Rohan</i>, <i>Fisher Holmes</i>, <i>Duke of Edinburgh</i>, +<i>Mrs. Harry Turner</i>, <i>Dr. Andry</i>, <i>Duke of +Wellington</i>, <i>Victor Hugo</i>, <i>Captain Hayward</i>, <i>Duke +of Teck</i>, <i>Horace Vernet</i>.</p> + +<p>As standards many of the Hybrid Perpetuals +make grand heads, their sturdy constitution being +particularly suitable to this form of growth.</p> + +<p>Among the best for this purpose are, <i>Captain +Hayward</i>, <i>Charles Lefebvre</i>, <i>Clio</i>, <i>Dr. Andry</i>, +<i>Duke of Edinburgh</i>, <i>Dupuy Jamain</i>, <i>Ferdinand +de Lesseps</i>, <i>Fisher Holmes</i>, <i><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></i>, +<i>General Jacqueminot</i>, <i>Gloire de Margottin</i>, <i>Heinrich +Schultheis</i>, <i>Hugh Dickson</i>, <i>Mme. Gabriel +Luizet</i>, <i>Mme. Victor Verdier</i>, <i>Margaret Dickson</i>, +<i>Marie Baumann</i>, <i>Mrs. Cocker</i>, <i>Mrs. John Laing</i>, +<i>Mrs. R. G. Sharman Crawford</i>, <i>Paul Jamain</i>, +<i>Pride of Waltham</i>, <i>Prince Arthur</i>, <i>Prince Camille<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span> +de Rohan</i>, <i>Senateur Vaisse</i>, <i>Suzanne Marie +Rodocanachi</i>, <i><a href="#Ulrich_Brunner">Ulrich Brunner</a></i>.</p> + +<p>Besides those dwarfs I have enumerated as particularly +good for massing in colour, many other +excellent roses for general use will be found in the +following lists.</p> + + +<div class='center'><br />HYBRID PERPETUAL ROSES<br /> +<br /> +<span class="smcap">Red.</span></div> + +<div class='hang1'>Abel Carrière. <i>E. Verdier</i>, 1875. Purple crimson, fiery red centre.</div> + +<div class='hang1'>Alfred Colomb. <i>Lacharme</i>, 1865. Bright carmine red.</div> + +<div class='hang1'>Alfred K. Williams. <i>Schwartz</i>, 1877. Bright carmine red; an exhibitor's rose.</div> + +<div class='hang1'>Baron de Bonstetten. <i>Liabaud</i>, 1871. Blackish crimson.</div> + +<div class='hang1'>Ben Cant. <i>B. R. Cant & Sons</i>, 1902. Deep crimson.</div> + +<div class='hang1'>Beauty of Waltham. <i>Wm. Paul & Son</i>, 1862. Rosy crimson.</div> + +<div class='hang1'>Black Prince. <i>Wm. Paul & Son</i>, 1866. Deep blackish crimson.</div> + +<div class='hang1'>Camille Bernadin. <i>Gautreau</i>, 1865. Light crimson, paler edges.</div> + +<div class='hang1'>Captain Hayward. <i>Bennett</i>, 1893. Scarlet crimson, sweet scented.</div> + +<div class='hang1'>Charles Darwin. <i>Laxton</i>, 1879. Brownish crimson.</div> + +<div class='hang1'>Charles Lefebvre. <i>Lacharme</i>, 1861. Brilliant velvety crimson.</div> + +<div class='hang1'>Commandant Félix Faure. <i>Boutigny</i>, 1902. Crimson, flushed lake.</div> + +<div class='hang1'>Comte de Raimbaud. <i>Roland</i>, 1867. Clear crimson.</div> + +<div class='hang1'>Comtesse de Ludre. <i>V. Verdier</i>, 1880. Light crimson.</div><p><span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></p> + +<div class="figcenter" style="width: 600px;"><a name="Gustave_Piganeau" id="Gustave_Piganeau"></a> +<img src="images/ill-0191.jpg" width="600" height="346" alt="Hybrid Perpetual. GUSTAVE PIGANEAU." title="" /> +<div class="caption2"><span style="margin-right: 6em;">Hybrid Perpetual.</span><br /> +GUSTAVE PIGANEAU.</div><br /> +</div> + +<div class='hang1'>Countess of Oxford. <i>Guillot</i>, 1869. Bright carmine red.</div> + +<div class='hang1'>Dr. Andry. <i>E. Verdier</i>, 1864. Deep carmine red.</div> + +<div class='hang1'>Dr. Sewell. <i>Turner</i>, 1879. Maroon crimson, reflexes bright red.</div> + +<div class='hang1'>Duchess of Bedford. <i>Postans</i>, 1879. Velvety crimson, suffused scarlet.</div> + +<div class='hang1'>Duke of Connaught. <i>Paul & Son</i>, 1876. Bright velvety crimson.</div> + +<div class='hang1'>Duke of Edinburgh. <i>Paul & Son</i>, 1868. Scarlet crimson.</div> + +<div class='hang1'>Duke of Teck. <i>Paul & Son</i>, 1880. Bright crimson scarlet.</div> + +<div class='hang1'>Duke of Wellington. <i>Granger</i>, 1864. Velvet red, shaded crimson.</div> + +<div class='hang1'>Dupuy Jamain. <i>Jamain</i>, 1868. Very bright cerise.</div> + +<div class='hang1'>Earl of Dufferin. <i>Alex. Dickson</i>, 1887. Rich velvety crimson.</div> + +<div class='hang1'>Éclair. <i>Lacharme</i>, 1883. Vivid fiery red.</div> + +<div class='hang1'>Étienne Levet. <i>Levet</i>, 1871. Carmine red.</div> + +<div class='hang1'>E. Y. Teas. <i>E. Verdier</i>, 1874. Very bright red.</div> + +<div class='hang1'>Fisher Holmes. <i>E. Verdier</i>, 1865. Shaded crimson scarlet.</div> + +<div class='hang1'>General Jacqueminot. <i>Roussel</i>, 1853. Brilliant scarlet crimson; a noble old rose.</div> + +<div class='hang1'><a href="#Gustave_Piganeau">Gustave Piganeau</a>. <i>Pernet-Ducher</i>, 1889. Brilliant shaded carmine; chiefly an exhibitor's rose.</div> + +<div class='hang1'>Horace Vernet. <i>Guillot</i>, 1866. Crimson scarlet, dark shading.</div> + +<div class='hang1'>Hugh Dickson. <i>Hugh Dickson</i>, 1904. Crimson, shaded scarlet.</div> + +<div class='hang1'>Hugh Watson. <i>Alex. Dickson</i>, 1904. Crimson, shaded carmine.</div> + +<div class='hang1'>J. B. Clark. <i>Hugh Dickson</i>, 1905. Deep scarlet, shaded plum.</div> +<div><span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span></div> +<div class='hang1'>Jean Soupert. <i>Lacharme</i>, 1876. Deep velvety purple.</div> + +<div class='hang1'>Jules Margottin. <i>Margottin</i>, 1853. Bright cherry red.</div> + +<div class='hang1'>Lady Helen Stewart. <i>Alex. Dickson</i>, 1887. Bright crimson, shaded scarlet.</div> + +<div class='hang1'>Le Havre. <i>Eude</i>, 1871. Vermilion red.</div> + +<div class='hang1'>Louis Ricard. <i>Boutigny</i>, 1902. Velvet crimson, shaded vermilion and black.</div> + +<div class='hang1'>Louis Van Houtte. <i>Lacharme</i>, 1869. Deep crimson, shaded maroon.</div> + +<div class='hang1'>Madame Crapelet. <i>Fontaine</i>, 1859. Beautiful light crimson.</div> + +<div class='hang1'>Madame Victor Verdier. <i>E. Verdier</i>, 1863. Bright cherry red; still one of the best.</div> + +<div class='hang1'>Maharajah. <i>B. R. Cant & Sons</i>, 1904. Large single flowers, deep velvet crimson; a very fine pillar rose.</div> + +<div class='hang1'>Marie Baumann. <i>Baumann</i>, 1863. Soft carmine red.</div> + +<div class='hang1'>Marie Rady. <i>Fontaine</i>, 1865. Brilliant red.</div> + +<div class='hang1'>Maurice Bernadin (<i>syn.</i> Exposition de Brie). <i>Granger</i>, 1861. Shaded crimson.</div> + +<div class='hang1'>M. H. Walsh. <i>Alex. Dickson</i>, 1905. Velvety crimson, suffused scarlet.</div> + +<div class='hang1'>Oberhofgartener A. Singer. <i>P. Lambert</i>, 1904. Pure carmine, darker centre.</div> + +<div class='hang1'>Prince Arthur. <i>B. R. Cant</i>, 1875. Rich deep crimson.</div> + +<div class='hang1'>Prince Camille de Rohan. <i>E. Verdier</i>, 1861. Crimson maroon.</div> + +<div class='hang1'>Reynolds Hole. <i>Paul & Son</i>, 1873. Maroon, shaded crimson; an exhibitor's rose.</div> + +<div class='hang1'>Ruhm der Gartenwelt. <i>Jacobs</i>, 1904. Dark pure red.</div> + +<div class='hang1'>Senateur Vaisse. <i>Guillot</i>, 1859. Fine dazzling red; one of the best still.</div><div><span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span></div> + +<div class='hang1'>Sir Rowland Hill. <i>Mack</i>, 1888. Rich port wine, shaded maroon.</div> + +<div class='hang1'>Star of Waltham. <i>Wm. Paul & Son</i>, 1875. Deep crimson.</div> + +<div class='hang1'>T. B. Haywood. <i>Paul & Son</i>, 1895. Crimson scarlet, dark shading.</div> + +<div class='hang1'>Tom Wood. <i>Alex. Dickson</i>, 1896. Cherry red.</div> + +<div class='hang1'><a href="#Ulrich_Brunner">Ulrich Brunner</a>. <i>Levet</i>, 1881. Bright cherry red; fragrant, excellent.</div> + +<div class='hang1'>Urania. <i>Walsh</i>, 1906. Cherry crimson.</div> + +<div class='hang1'>Victor Hugo. <i>Schwartz</i>, 1884. Dazzling crimson.</div> + +<div class='hang1'>Xavier Olibo. <i>Lacharme</i>, 1864. Velvety black, shaded amaranth.</div> + + +<div class='center'><br /><span class="smcap">Rose.</span></div> + +<div class='hang1'>American Beauty. <i>Bancroft</i>, 1886. Deep rose; needs fine weather.</div> + +<div class='hang1'>Annie Laxton. <i>Laxton</i>, 1872. Clear rose, flushed cherry.</div> + +<div class='hang1'>Countess of Rosebery. <i>Postans</i>, 1879. Deep salmon rose.</div> + +<div class='hang1'>David R. Williamson. <i>Wm. Paul & Son</i>, 1905. Soft rich carmine rose.</div> + +<div class='hang1'>Duchesse de Morny. <i>E. Verdier</i>, 1863. Delicate bright rose.</div> + +<div class='hang1'>François Michelon. <i>Levet</i>, 1871. Deep rose, reverse of petals silver.</div> + +<div class='hang1'>Heinrich Schultheis. <i>Bennett</i>, 1882. Delicate pinkish rose.</div> + +<div class='hang1'>Helen Keller. <i>Alex. Dickson</i>, 1895. Rose cerise.</div> + +<div class='hang1'>John Hopper. <i>Ward</i>, 1862. Bright rose, reverse pale lilac.</div> + +<div class='hang1'>Madame Eugène Verdier. <i>E. Verdier</i>, 1878. Bright silvery rose.</div> + +<div class='hang1'>Magna Charta. <i>Wm. Paul & Son</i>, 1876. Bright rose.</div><div><span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span></div> + +<div class='hang1'>Marie Finger. <i>Rambaud</i>, 1873. Light salmon rose, deeper centre.</div> + +<div class='hang1'>Marie Verdier. <i>E. Verdier</i>, 1877. Pure rose.</div> + +<div class='hang1'>Marquise de Castellane. <i>Pernet</i>, 1869. Bright clear rose.</div> + +<div class='hang1'>Suzanne Marie Rodocanachi. <i>Lévêque</i>, 1883. Glowing rose; one of the best.</div> + +<div class='hang1'>Ulster. <i>Alex. Dickson</i>, 1899. Salmon pink.</div> + + +<div class='center'><br /><span class="smcap">Pink.</span></div> + +<div class='hang1'>Baroness Rothschild. <i>Pernet</i>, 1867. Light pink.</div> + +<div class='hang1'>Clio. <i>Wm. Paul & Son</i>, 1894. Pale flesh, deeper centre.</div> + +<div class='hang1'>Dr. William Gordon. <i>Wm. Paul & Son</i>, 1905. Brilliant satin pink.</div> + +<div class='hang1'>Her Majesty. <i>Bennett</i>, 1885. Pale rose pink.</div> + +<div class='hang1'>Jeannie Dickson. <i>Alex. Dickson</i>, 1890. Rosy pink, edged silvery pink.</div> + +<div class='hang1'>Lady Overtown. <i>H. Dickson</i>, 1906. Pale salmon pink, centre silvery pink.</div> + +<div class='hang1'>Laurence Allen. <i>Cooling</i>, 1896. Clear soft pink, lighter shading.</div> + +<div class='hang1'>Madame Gabriel Luizet. <i>Liabaud</i>, 1877. Light silvery pink.</div> + +<div class='hang1'>Marchioness of Downshire. <i>Alex. Dickson</i>, 1894. Beautiful satin pink.</div> + +<div class='hang1'>Mrs. Cocker. <i>Cocker</i>, 1899. Soft pink.</div> + +<div class='hang1'>Mrs. John Laing. <i>Bennett</i>, 1887. Soft pink; one of the best.</div> + +<div class='hang1'>Mrs. R. G. Sharman Crawford. <i>Alex. Dickson</i>, 1894. Clear rosy pink; one of the best.</div> + +<div class='hang1'>Mrs. Rumsey. <i>Rumsey</i>, 1897. Rosy pink.</div> + +<div class='hang1'>Pride of Waltham. <i>Wm. Paul & Son</i>, 1881. Delicate flesh, shaded bright rose pink.</div> + +<div class='hang1'>Rosslyn. <i>Alex. Dickson</i>, 1900. Delicate rosy flesh.</div><p><span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></p> + + +<div class='center'><br /><span class="smcap">White and Blush.</span></div> + +<div class='hang1'>Bertha Giemen. <i>Wm. Paul & Son</i>, 1899. Creamy white sport from Marchioness of Dufferin.</div> + +<div class='hang1'>Boule de Neige (Noisette). <i>Lacharme</i>, 1867. Pure white.</div> + +<div class='hang1'><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a>. <i>Lambert</i>, 1900. Snow white.</div> + +<div class='hang1'>Mabel Morrison. <i>Broughton</i>, 1878. Pure white, not much substance.</div> + +<div class='hang1'>Mademoiselle Renée Denis. <i>Chedane</i>, 1907. White, shaded rose.</div> + +<div class='hang1'>Marchioness of Londonderry. <i>Alex. Dickson</i>, 1893. Ivory white.</div> + +<div class='hang1'>Margaret Dickson. <i>Alex. Dickson</i>, 1891. White, pale flesh centre.</div> + +<div class='hang1'>Merveille de Lyon. <i>Pernet</i>, 1882. White, centre slightly rosy peach.</div> + +<div class='hang1'>Perfection des Blanches. <i>Schwartz</i>, 1873. Pure white.</div> + +<div class='hang1'>White Baroness. <i>Paul & Son</i>, 1883. Pure white.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></p> +<h2>CHAPTER IX</h2> + +<div class='chaptertitle'>BOURBON, CHINA, AND POLYANTHA ROSES</div> + + +<p><span class="smcap">Besides</span> the three great races of perpetual flowering +Roses, the Teas, Hybrid Teas, and Hybrid Perpetuals, +on which the chief interest of the modern rose-world +is centred at the present time, there are other perpetual +flowering roses, which are of great importance +both for their value in the past and their beauty in +the present. For although the modern hybrids have +somewhat obscured the fame of their ancestors, many +of them owe their origin to the Bourbon and China +roses, which, in the early years of the nineteenth +century, before the advent of Hybrid Perpetuals, were +almost the only autumn flowering roses on which to +depend.</p> + + +<div class='center'><br /><span class="smcap">The Bourbon Rose</span>, <i>R. Bourboniana</i>.</div> + +<p>According to that invaluable book,<a name="FNanchor_7_8" id="FNanchor_7_8"></a><a href="#Footnote_7_8" class="fnanchor">[7]</a> to which I owe +an untold debt of gratitude since first I began to +study rose-growing seriously—the original Bourbon, +"a beautiful semi-double rose, with brilliant rose-coloured<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span> +flowers, prominent buds, and nearly evergreen +foliage," was discovered in the Isle of Bourbon.</p> + +<div class="figcenter" style="width: 426px;"><a name="Souvenir_de_la_Malmaison" id="Souvenir_de_la_Malmaison"></a> +<img src="images/ill-0199.jpg" width="426" height="500" alt="Bourbon. SOUVENIR DE LA MALMAISON." title="" /> +<div class="caption2"><span style="margin-right: 5em;">Bourbon.</span><br /> +SOUVENIR DE LA MALMAISON.</div> +</div> + +<p>It appears that the land there was—probably is +still—enclosed by "hedges made of two rows of roses, +one row of the common China Rose, the other of the +Red Four Seasons, the Perpetual Damask." In +planting one of these hedges, a proprietor found a +rose quite different in appearance to the rest of his +young plants, and transferred it to his garden. Here +it flowered, and proved to be a new type, evidently a +seedling from the two sorts, which were the only +ones known in the island. "M. Bréon arrived at +Bourbon in 1817, as botanical traveller for the +Government of France, and curator of the Botanical +and Naturalization Garden there. He propagated +this rose very largely; and sent plants and seeds of +it in 1822 to Monsieur Jacques, gardener at the +<ins title="Transcriber's Note: original reads 'Chateau'">Château</ins> de Neuilly, near Paris, who distributed it +among the rose cultivators of France. M. Bréon +named it 'Rose de l'Isle Bourbon,' and is convinced +that it is a hybrid from one of the above roses, and a +native of the island."</p> + +<p>The true Bourbon roses are thoroughly perpetual, +with rose, blush, or white flowers, smooth solid stems, +and dark, almost evergreen, foliage. One has only to +mention the well-known and well-beloved <i><a href="#Souvenir_de_la_Malmaison">Souvenir +de la Malmaison</a></i> to recall the type. <i>Gloire de +Rosamènes</i><a name="FNanchor_8_9" id="FNanchor_8_9"></a><a href="#Footnote_8_9" class="fnanchor">[8]</a> is a hybrid, as I have said: but <i>Hermosa</i>,<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span> +or <i>Armosa</i> (1840), and the charming <i>Mrs. Bosanquet</i> +(1832), often classed among the China roses, are pure +Bourbons, and so are <i>Mme. Isaac Pereire</i>, <i>Mrs. Paul</i> +(1891), <i>Queen of the Bourbons</i>, <i>Boule de Neige</i>, +<i>Setina</i> a climbing form of <i>Hermosa</i>, and <i>Zephirine +Drouhin</i> (1873), a good climbing rose. <i>Hermosa</i>, +which is constantly mistaken for a very full, globular +pink China, is an excellent rose for massing in the +garden, as it is in continuous bloom from spring till +late autumn, the dwarf, bushy plants being covered +with flowers. The charming hybrid Tea rose, <i>Camoëns</i>, +which resembles it in habit, but is a rather larger +flower of a rich China pink, may also be used in the +same way. A group of small beds arranged in a +simple geometrical pattern, and planted with either +or both these roses, is an extremely pretty feature in +the garden. <i>Hermosa</i> has been for years largely used +in this way on the Continent and in England; for +instance, 20,000 have been planted in the Sandringham +gardens alone. But I was told last year in +Luxembourg, that in Holland, where it is most +popular, <i>Camoëns</i> is almost superseding it; one +Dutch lady who had a large portion of her garden +planted with nothing but <i>Hermosa</i>, is now using +hundreds of <i>Camoëns</i> in the same way, as it is +equally generous in bloom, richer in colour, and as +neat and strong in growth.</p> +<p><span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span></p> + + +<div class='center'><br /><span class="smcap">The China Rose</span>, <i>R. Indica</i>.<br /><br /></div> + +<div class='center'><span class="smcap">The Crimson China Rose</span>, <i>R. Semperflorens</i>.</div> + +<p>These old favourites were introduced into England +in the eighteenth century. The <i>Old Blush Monthly</i> +came first, in 1718; and in 1789 the <i>Old Crimson</i> +(<i>R. Semperflorens</i>), a much less vigorous plant, +arrived. It is not surprising that both should have +found instant popularity; for roses which in warm +situations are practically in flower the whole year +through, must indeed have been precious adjuncts +to the gardens of those days. In England they were +popularly known as "Monthly roses"; while in France +they are known as <i>Rosiers du Bengal</i>.</p> + + +<div class='center'><br /><span class="smcap">The "Common" China, or Monthly Rose</span> (1796),</div> + +<div class='unindent'>though it has many newer rivals, is one of those which +has never gone out of favour, and justly so; for what +can be more pure and lovely than it is when well +grown. Either as a bedder, or a bush in the herbaceous +border, or, still more, when grown as a dwarf hedge, +its fresh loveliness is a never-ending delight. Indeed, +one wonders why it is not more generally used in +England in this last manner; for both in the South +of France and Switzerland, hedges of the pink Monthly +rose are common, and of exceeding beauty. <i>Cramoisie +Supérieure</i> (1834), a form of the Crimson China, should +be grown in masses, as its weak and straggling growth +is unsuited to the above purposes. But many of the<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span> +newer varieties are admirable in whatever way they +are used. <i><a href="#Laurette_Messimy">Laurette Messimy</a></i> (1887), rose, shaded +yellow, and <i>Madame Eugène Resal</i> (1895), copper +and bright China-rose, are two of the very best of these, +and are brilliantly effective as bedding roses. So are the +rosy-apricot <i>Queen Mab</i> (1906), and the yellow-apricot +and orange <i>Arethusa</i> (1903). <i>Comtesse du Cayla</i> +(1902) is a fine carmine crimson, with orange on the +outer petals, varying to orange-yellow shaded carmine. +<i>Cora</i> is a pretty clear yellow, often tinted carmine, a +rose of a charming habit. <i>Le Vesuve</i> bears some +flowers rich crimson and some rosy pink. <i>Ducher</i> +(1869) is the best white; <i>Frau Syndica Rœloffs</i>, +yellow, shaded coppery-red and peach; <i>Nabonnand</i>, +a large flower, velvety purple-red, shaded coppery-yellow. +<i>Souvenir d'Aimée Terrel des Chênes</i> is a +small, beautiful, and well-shaped flower, coppery-pink, +shaded carmine, the pointed buds being golden +yellow. <i>Climbing Cramoisie Supérieure</i> and <i>Field +Marshal</i> are both deep crimson climbers, but the last +does best under a glass or in a warm position out of +doors.</div> +<div class="figcenter" style="width: 510px;"><a name="Laurette_Messimy" id="Laurette_Messimy"></a> +<img src="images/ill-0204.jpg" width="510" height="381" alt="China. LAURETTE MESSIMY." title="" /> +<div class="caption2"><span style="margin-right: 10em;">China.</span><br /> +LAURETTE MESSIMY.</div> +</div> + +<hr style="width: 45%;" /> + +<p>We now come to a quite modern class of perpetual +flowering roses, which is as yet too little known, +except among those ardent rose-growers who keep +closely in touch with the marvels of modern hybridization. +And this special race is indeed one of its +most extraordinary results. For<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span></p> + + +<div class='center'><br /><span class="smcap">The Dwarf Polyantha Roses</span>, <i>R. Multiflora</i>,</div> + +<div class='unindent'>are derived from the summer flowering, climbing +<i>Multiflora</i>, and in them we get a first cousin of, say, +<i>Crimson Rambler</i>, so dwarf as to make a charming +two-feet high edging to an ordinary rose-bed, and +so thoroughly perpetual, that from May to December +it is thickly covered with its hundreds of miniature +flowers in clusters. How these tiny roses, which +remind one of the "Fairy Rose" of long-ago nursery +days, came into being is not exactly known. But +they were evidently the result of crossings with the +Tea rose strain. M. J. B. Guillot developed the +first, <i>Ma Paquerrette</i>, pure white, flowering in large +bunches, in 1875. In 1879, Rambaux followed with +the charming <i>Anna Maria de Montravel</i>, one of the +best known of the class. The next year Ducher +brought out the lovely <i>Cecile Brunner</i>, blush, shaded +pink, and the race was fully recognized. Since then +nearly every year has seen fresh varieties; and the +charming little plants are growing in favour.</div> + +<p>These roses may be roughly divided into two +classes: one showing the Polyantha blood very +strongly; the other the Tea blood.</p> + +<p>In the first, the flowers, whether double or single, +are borne in dense upright clusters, after the manner +of the true <i>Multiflora</i>. Some of the best of these +are <i>Gloire des Polyantha;</i> <i>Schneewittchen;</i> the fine +<i>Mme. N. Levavasseur</i>, really a miniature <i>Crimson</i><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span> +<i>Rambler;</i> the even more attractive <i>Mrs. W. H. +Cutbush</i>, a bright pink <i>Crimson Rambler;</i> and +the exquisite little <i>Baby Dorothy</i>, which has created +such a sensation as a pot plant since it was shown +in the spring of 1907. These are all admirably +fitted for planting in masses. In the famous Pépinière, +or Public Gardens of Nancy, beds of <i>Madame N. +Levavasseur</i> last autumn (1907) were remarkably +effective. In one the ground was thickly covered +among the plants with a very dwarf grey-blue +Ageratum; and the effect of the erect crimson +clusters of the rose over the soft grey flowers +was most striking; while another bed of the same +rose was edged with a dwarf bronze-foliaged fibrous +Begonia. Even more charming was a whole bed of +<i>Mrs. W. H. Cutbush</i>, which I saw in MM. Soupert et +Notting's garden at Luxembourg, the rich rosy colour +being much finer.</p> +<div class="figcenter" style="width: 436px;"><a name="Perle_DOr" id="Perle_DOr"></a> +<img src="images/ill-0208.jpg" width="436" height="500" alt="Dwarf Polyantha. PERLE D'OR." title="" /> +<div class="caption2"><span style="margin-right: 3em;">Dwarf Polyantha.</span><br /> +PERLE D'OR.</div> +</div> + +<p>In the other class the Tea blood is shown as +strongly; the flowers are borne singly, or at most in +heads of four or five, on smooth and delicate yet firm +little stalks; while the foliage is that of a miniature +Tea rose. These as to the actual blossoms are perhaps +even more attractive. For what can be prettier +than a perfectly formed flower the size of a Fairy +rose—and sweetly scented too—such as those of +<i>Étoile d'Or</i>, lemon shaded with sulphur; or <i><a href="#Perle_DOr">Perle +d'Or</a></i>, nankeen yellow with orange centre; or <i>Eugénie +Lamesch</i>, coppery pink; or the beautiful <i>Cecile</i><span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span> +<i>Brunner</i>, its well-shaped flowers blush with a deeper +pink centre?</p> + +<p>In one or two we get an example of the double +strain. For the velvety crimson flowers of <i>Perle +des Rouges</i> are borne in clusters, though in substance +and foliage the plant appears to take after the Tea rose.</p> + +<p>But I deprecate the tendency which I see among +some varieties, to produce much larger flowers such +as those of <i>Clothilde Soupert</i> and <i>Georges Pernet</i>. +This quite alters the character of the pretty little +plants; giving us a rose that is neither one thing or +another, neither a fine bedding rose or a miniature +edging rose.</p> + + +<div class='center'><br /><span class="smcap">Bourbon Roses</span>, <i>R. Bourboniana</i>.</div> + +<div class='hang1'>Baron Gonella. <i>Guillot père</i>, 1839. Violet rose.</div> + +<div class='hang1'>Baronne de Maynard. One of the best white roses.</div> + +<div class='hang1'>Catherine Guillot. <i>Guillot fils</i>, 1861. Purple red.</div> + +<div class='hang1'>Comtesse de Barbantane. <i>Guillot père</i>, 1859. Flesh colour.</div> + +<div class='hang1'>Gloire de Rosamènes. <i>Vibert</i>, 1825. Scarlet crimson, semi-double.</div> + +<div class='hang1'>Hermosa (Armosa). <i>Marcheseau</i>, 1840. Deep pink. J. B. M. Camm. Pale salmon pink.</div> + +<div class='hang1'>Kronprinsessin Victoria. <i>L. Späth</i>, 1888. Milky white outside, sulphur-yellow centre.</div> + +<div class='hang1'>Lorna Doone. <i>Wm. Paul & Son.</i> Magenta carmine, shaded scarlet.</div> + +<div class='hang1'>Madame Isaac Pereire. <i>Margottin</i>, 1880. Rosy carmine.</div> + +<div class='hang1'>Madame Pierre Oger. <i>Oger</i>, 1879. Cream white, shaded and edged lilac.</div><div><span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span></div> + +<div class='hang1'>Marie Paré. <i>Pavie</i>, 1880. Flesh colour, deeper centre.</div> + +<div class='hang1'>Mrs. Allen Chandler. <i>Chandler</i>, 1904. Pure white sport from Mrs. Paul.</div> + +<div class='hang1'>Mrs. Bosanquet. <i>Laffay</i>, 1832. Salmon white.</div> + +<div class='hang1'>Mrs. Paul. <i>Paul & Son</i>, 1852. Pinkish white; a fine rose.</div> + +<div class='hang1'>Paxton. <i>Laffay</i>, 1852. Fiery rose.</div> + +<div class='hang1'>Philémon Cochet. <i>Cochet</i>, 1896. Bright rose.</div> + +<div class='hang1'>Queen of the Bourbons. <i>Mauger</i>, 1852. Salmon rose.</div> + +<div class='hang1'>Queen of Bedders. <i>Nobbe</i>, 1878. Deep crimson.</div> + +<div class='hang1'>Reine Victoria. <i>Schwartz</i>, 1878. Bright rose, perfect form.</div> + +<div class='hang1'>Setina. <i>Henderson</i>, 1879. Pink, a climbing Hermosa.</div> + +<div class='hang1'>Souv. de la Malmaison. <i>Beluze</i>, 1843. Tender flesh white.</div> + +<div class='hang1'><a href="#Souvenir_de_la_Malmaison">Souv. de la Malmaison rose</a>. <i>Verschaffelt</i>, 1862. Fine rose colour.</div> + +<div class='hang1'>Zephirine Drouhin. <i>Bizot</i>, 1873. Bright silvery pink.</div> + + +<div class='center'><br /><span class="smcap">China or Bengal Roses</span>, <i>R. Indica</i>.<br /> + +<i>R. Semperflorens.</i></div> + +<div class='hang1'>Abbé Cretin. <i>Mille-Toussaint</i>, 1906. Light rose, shaded salmon.</div> + +<div class='hang1'>Alexina. <i>Beluze</i>, 1854. Almost pure white.</div> + +<div class='hang1'>Alice Hamilton. <i>Nabonnand</i>, 1904. Bright velvety crimson reflexed madder.</div> + +<div class='hang1'>Antoinette Cuillerat. <i>Buatois</i>, 1898. Electric white on copper base.</div> + +<div class='hang1'>Arethusa. <i>Wm. Paul & Son</i>, 1903. Yellow, tinted apricot.</div> + +<div class='hang1'>Aurore. <i>Schwartz</i>, 1897. Creamy yellow, tinted salmon rose.</div><div><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></div> + +<div class='hang1'>Baronne Piston de St. Cyr. Pale flesh, distinct and attractive.</div> + +<div class='hang1'>Bébé Fleuri. <i>Dubreuil</i>, 1907. Varying from China rose to currant red.</div> + +<div class='hang1'>Cardinal. <i>Welter</i>, 1904. Dark red, centre yellow.</div> + +<div class='hang1'>Common (old Blush Monthly). <i>Parsons</i>, 1796. Pale pink.</div> + +<div class='hang1'>Comtesse du Cayla. <i>Guillot</i>, 1902. Coppery-carmine, shaded orange and yellow.</div> + +<div class='hang1'>Cora. <i>Vve. Schwartz</i>, 1899. Clear yellow, tinted carmine.</div> + +<div class='hang1'>Cramoisi Supérieur. <i>Coquereau</i>, 1832. Velvety crimson, large clusters.</div> + +<div class='hang1'>Cramoisi Supérieur. A climbing sport.</div> + +<div class='hang1'>Crimson China (Sanguinea). <i>Evans</i>, 1810. Dark crimson.</div> + +<div class='hang1'>Ducher. <i>Ducher</i>, 1869. Pure white.</div> + +<div class='hang1'>Duke of York. <i>Wm. Paul & Son</i>, 1894. Variable from white to red.</div> + +<div class='hang1'>Eugène de Beauharnais. <i>Fellemberg</i>, 1838. Amaranth.</div> + +<div class='hang1'>Fabvier. <i>Laffay.</i> Scarlet crimson, finest of its colour.</div> + +<div class='hang1'>Field Marshall. <i>Wm. Paul & Son.</i> Blood crimson, shaded amaranth.</div> + +<div class='hang1'>Frau Syndica Rœloffs. <i>Lambert</i>, 1900. Bright yellow, shaded copper red.</div> + +<div class='hang1'>Irene Watts. <i>P. Guillot</i>, 1896. White, tinted salmon pink.</div> + +<div class='hang1'>Jean Bach Sisley. <i>Dubreuil</i>, 1899. Silvery rose, outer petals salmon-rose, veined carmine.</div> + +<div class='hang1'>Le Vesuve. <i>Sprunt</i>, 1858. Bright red and pink.</div> + +<div class='hang1'>Madame Eugène Resal. <i>Guillot</i>, 1894. Nasturtium red or bright red, on yellow base.</div> + +<div class='hang1'>Madame H. Montefiore. <i>Bernaix</i>, 1900. Salmon yellow, shaded apricot and carmine.</div><div><span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span></div> + +<div class='hang1'>Madame Laure Dupont. <i>Schwartz</i>, 1907. Vivid carmine, reflexed silver rose.</div> + +<div class='hang1'><a href="#Laurette_Messimy">Madame Laurette Messimy</a>. <i>Guillot fils</i>, 1887. China rose, shaded yellow.</div> + +<div class='hang1'>Martha. <i>P. Lambert</i>, 1906. Copper red, flowers in large corymbs.</div> + +<div class='hang1'>Queen Mab. <i>Wm. Paul & Son</i>, 1896. Rosy apricot, shaded orange and rose.</div> + +<div class='hang1'>Red Pet. <i>Paul & Son</i>, 1888. Miniature rose, deep crimson.</div> + +<div class='hang1'>Souv. d'Aimée Terrel des Chênes. <i>Schwartz</i>, 1897. Coppery rose, shaded carmine.</div> + +<div class='hang1'>Unermüdliche. <i>Lambert</i>, 1904. Crimson, shaded red, always in bloom.</div> + + +<div class='center'><br /><span class="smcap">Dwarf Polyantha Roses</span>, <i>R. Multiflora.</i></div> + +<div class='hang1'>Aennchen Mueller. <i>J. C. Schmidt</i>, 1907. Large clusters, brilliant rose.</div> + +<div class='hang1'>Amélie-Suzanne Morin. <i>Soupert et Notting</i>, 1899. White, yellow centre.</div> + +<div class='hang1'>Anne-Marie de Montravel. <i>Rambaux</i>, 1879. Pure white, immense cluster.</div> + +<div class='hang1'>Aschenbrodel. <i>Lambert</i>, 1903. Peach, centre salmon.</div> + +<div class='hang1'>Bébé Leroux. <i>Soupert et Notting</i>, 1901. White, centre canary yellow.</div> + +<div class='hang1'>Blanche Rebatel. <i>Bernaix</i>, 1889. Bright carmine, reverse white.</div> + +<div class='hang1'>Canarienvogel. <i>Welter</i>, 1904. Golden yellow, flaked orange and rose.</div> + +<div class='hang1'>Cecile Brunner. <i>Ducher</i>, 1881. Bright rose, yellowish centre.</div> + +<div class='hang1'>Clara Pfitzer. <i>Soupert et Notting</i>, 1889. Light carmine.</div> + +<div class='hang1'>Clotilde Soupert. <i>Soupert et Notting</i>, 1890. Pearly white, rose centre, rather large flowers.</div><div><span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></div> + +<div class='hang1'>Dr. Ricaud. <i>Corbœuf-Marsault</i>, 1907. Rosy salmon, copper base.</div> + +<div class='hang1'>Étoile de Mai. <i>Gamon</i>, 1893. Nankeen yellow, rather large.</div> + +<div class='hang1'>Étoile d'Or. <i>Dubreuil</i>, 1889. Citron yellow, shaded sulphur.</div> + +<div class='hang1'>Eugénie Lamesch. <i>Lambert</i>, 1900. Orange yellow, passing to clear yellow, shaded rose.</div> + +<div class='hang1'>Filius Strassheim. <i>Soupert et Netting</i>, 1893. Rosy cream, orange base.</div> + +<div class='hang1'>Georges Pernet. <i>Pernet-Ducher</i>, 1888. Rather large, bright rose, shaded yellow.</div> + +<div class='hang1'>Gloire des Polyanthas. <i>Guillot fils</i>, 1887. Bright rose, white centre.</div> + +<div class='hang1'>Golden Fairy. <i>Bennett</i>, 1889. Clear buff, yellow and white.</div> + +<div class='hang1'>Hermine Madele. <i>Soupert et Notting</i>, 1888. Cream, reflexed yellow.</div> + +<div class='hang1'>Katherine Ziemet. <i>Lambert</i>, 1901. Pure white, very fragrant.</div> + +<div class='hang1'>Kleiner Alfred. <i>Lambert</i>, 1904. Ground colour red, suffused ochre yellow.</div> + +<div class='hang1'>Le Bourguignon. <i>Buatois</i>, 1901. Electric madder yellow.</div> + +<div class='hang1'>Leonie Lamesch. <i>Lambert</i>, 1900. Bright copper red, golden centre.</div> + +<div class='hang1'>Liliput. <i>Paul & Son</i>, 1897. Cerise carmine, flushed crimson.</div> + +<div class='hang1'>Little Dot. <i>Bennett</i>, 1889. Soft pink, flaked deeper on outside petals.</div> + +<div class='hang1'>Madame E. A. Nolte. <i>Bernaix</i>, 1892. Buff yellow, passing to rosy white.</div> + +<div class='hang1'>Madame N. Levavasseur. <i>Levavasseur</i>, 1904. Bright carmine red; the dwarf Crimson Rambler.</div> + +<div class='hang1'>Madame Zelia Bourgeois. <i>Vilin</i>, 1907. Small double white flowers.</div><div><span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span></div> + +<div class='hang1'>Ma Fillette. <i>Soupert et Notting</i>, 1898. Peach rose, yellow ground.</div> + +<div class='hang1'>Ma Petite Andrée. <i>Chauvry</i>, 1899. Deep carmine red.</div> + +<div class='hang1'>Marie Pavié. <i>Alégatière</i>, 1889. White, rose centre, large.</div> + +<div class='hang1'>Martha. <i>Lambert</i>, 1906. Strawberry pink, coppery buds.</div> + +<div class='hang1'>Maxime Buatois. Copper yellow, changing to carmine yellow.</div> + +<div class='hang1'>Mignonette. <i>Guillot</i>, 1881. Soft rose, changing to white.</div> + +<div class='hang1'>Mosella. <i>Lambert & Reiter</i>, I 896. Yellowish white, centre rose.</div> + +<div class='hang1'>Mrs. W. H. Cutbush. <i>Levavasseur</i>, 1907. A pink Mme. N. Levavasseur.</div> + +<div class='hang1'>Pâquerette. <i>Guillot fils</i>, 1875. Pure white; flowers in immense panicles.</div> + +<div class='hang1'><a href="#Perle_DOr">Perle d'Or</a>. <i>Dubreuil</i>, 1883. Nankeen yellow, orange centre.</div> + +<div class='hang1'>Perle des Rouges. <i>Dubreuil</i>, 1896. Velvety crimson, reflexes bright cerise.</div> + +<div class='hang1'>Petit Constant. <i>Soupert et Notting</i>, 1900. Deep nasturtium red.</div> + +<div class='hang1'>Petite Léonie. <i>Soupert et Notting</i>, 1893. Rosy white, carmine centre.</div> + +<div class='hang1'>Philipine Lambert. <i>Lambert</i>, 1903. Silvery pink, centre deep flesh.</div> + +<div class='hang1'>Primula. <i>Soupert et Notting</i>, 1901. Bright China rose, centre snow white.</div> + +<div class='hang1'>Rosalind. <i>Paul & Son</i>, 1907. Bright pink, with deeper buds.</div> + +<div class='hang1'>Rosel Dach. 1907. Bright cherry rose.</div> + +<div class='hang1'>Schneewittchen. <i>Lambert</i>, 1901. Creamy white, passing to snow white.</div> + +<div class='hang1'>Schneekopf. <i>Lambert</i>, 1903. Snow white, in large clusters.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span></p> +<h2>CHAPTER X</h2> + +<div class='chaptertitle'>ROSE PESTS</div> + + +<p><span class="smcap">The</span> enemies of the rose are many. They are of +two classes; the insect foes, and diseases caused by +Fungi. And their prevention and destruction are +tasks, as every rose-grower knows only too well, which +call for ceaseless vigilance and constant work, more +especially in the early months of the season. For +if remedies are applied in good time, the pests of +both kinds give comparatively little trouble after +May and June until the early autumn, when a fresh +crop of both appears.</p> + +<p>No such powerful weapon has ever before been put +in the hand of the rose-grower, as the remarkable +handbook on the <i>Enemies of the Rose</i>, published this +spring (1908) by the National Rose Society. For +here the veriest tyro can recognize the diseases which +puzzle him and the insects which drive him to +despair in all stages of their mischievous existence, +figured in exquisitely drawn and coloured plates; +while in the terse and admirable letter-press he is +told how to combat their destructive ways. This +little book can be obtained by non-members of the<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span> +Society for 2<i>s.</i> 6<i>d.</i>, through any member; and it +ought to find a place on the shelf of every rose +lover.</p> + +<p><b>Mildew</b>, of all Fungoid diseases, is the worst we +have to contend with. Some roses, such as the lovely +<i>H. T. Killarney</i>, the <i>Crimson Rambler</i>, the <i>H. P. +Margaret Dickson</i>, and others, are specially subject +to this pest; and unless measures are taken against +it when the very first sign appears, it quickly spreads +to other roses. Two seasons ago a plant of <i>Margaret +Dickson</i> had it badly in my garden, and infected +its neighbour, <i><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></i>, to an alarming +extent.</p> + +<p>This odious disease, though more or less always +present in the garden, appears generally in marked +strength twice in the season—first in spring, when +the foliage is just fully developed, and secondly +after the midsummer shoots are grown.</p> + +<p>It must be attacked early before it gets any hold, +in fact, before it actually shows, if we have reason to +suspect its presence. <i>Flowers of Sulphur</i> is the +most usual and effective preventive. It is blown +over the plants with bellows made specially for the +purpose. Floating like a fine cloud all over the +garden it settles on every part of the plant. The +early morning before the dew is gone is the time to +apply it, as the evaporation of the dew has some +subtle effect on the sulphur which greatly increases<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span> +its efficacy. Rev. F. Page-Roberts strongly recommends +<i>Black Sulphur</i> instead of the ordinary yellow, +used with one of the "Ideal" Powder Bellows, made +by W. Wood & Son, Wood Green.</p> + +<p>Another preventive, which is advised in the +National Rose Society's handbook as extremely +efficacious, is syringing with <i>Potassium Sulphide</i>, +<i>Liver of Sulphur</i>—half an ounce to a gallon of +water. The handbook advises adding a tablespoonful +of liquid glue, or the whites of two eggs to every +gallon of water, as this causes the solution to adhere +better to the foliage. If thoroughly and carefully +applied with a very fine syringe, such as the Abol +Syringe, using the bend attached to get at the under-side +of the leaves where the fungus first appears, this +wash acts rapidly upon the pests.</p> + +<p><i>Mo-Effic</i>, a new preparation, has been highly +recommended in the last two years. I have not +tested it myself. But Mr. Mawley considers it most +successful.</p> + +<p><b>Black Spot</b> is another troublesome pest. It attacks +the foliage alone, and not only spoils the appearance +of the leaves, but so injures them that they fall off +prematurely. The disease can be best checked by +spraying with the <i>Liver of Sulphur</i> wash, beginning +early in the spring and going on at intervals.</p> + +<p><b>Rose Rust</b> and <b>Rose Leaf Scorch</b> may also be +combated with <i>Liver of Sulphur</i> wash.</p> + +<p>But in all these three last diseases, it is a matter<span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span> +of the greatest importance to collect the badly diseased +leaves on the plant, and especially to pick up every +one lying on the ground, and to see that they are burnt +at once and not thrown on the rubbish heap, where +they will only infect the soil.</p> + +<p><b>Sooty Mould</b>, the unsightly black stuff which +often covers the foliage, is a parasitic fungus not upon +the leaf itself but upon the "honey dew" deposited +by Green Fly. If therefore the honey dew is kept off +by destroying the Aphides which secrete it, <i>Sooty +Mould</i> will not appear.</p> + + +<div class='center'><br /><span class="smcap">Insect Pests.</span></div> + +<p><b>Green Fly</b>, or <b>Rose Aphis</b>, is alas! too well +known in every garden to need much description. +But the reason why it is so difficult sometimes to +get rid of this pest is not so commonly known. The +Aphides breathe through pores at the sides of their +bodies. And in order to kill them, some substance +must be used which will close these pores. Therefore +syringing with water or any clear liquid is absolutely +useless; for if a few Green Fly are knocked off one +shoot they will only settle on some other. We often +hear people say after a thunderstorm, "This will +clean the roses and wash off the Green Fly nicely." +Far from it. They only increase the faster; while +the caterpillars rejoice, and flaunt themselves openly +on every bush. Then in despair some one uses<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span> +paraffin or some violently caustic wash for spraying +the Green Fly, and destroys his roses thereby.</p> + +<p>Nature has mercifully provided some enemies to +prey on the Green Fly—and these help in some small +degree to keep the pest down. The chief of these +is the Ladybird, which both in its adult and in its +larval state devours them ceaselessly. The pretty +green Lace-wing Fly or Aphis Lion is also useful, as +its larvæ are provided with "large sickle-shaped jaws +for picking the Green Fly off the plants."</p> + +<p>The Hover Fly—which looks like a small, slim +two-winged bee or wasp—lays its eggs in the thick +of a mass of Green Fly, and its green and grey leech-like +maggots feed upon them. And the Ichneumon +and Chalcid Flies lay their eggs in the bodies of the +Aphides and their maggots feed on them from within.</p> + +<p>But all these are of comparatively little help to +the unhappy rosarian, who must therefore devise +unnatural means to clear his plants.</p> + +<p>As far as I know, with the exception of an Aphis +brush—a useful invention, but one which needs very +gentle handling—there are only two safe remedies +for this universal plague. The usual one is a wash +of soft-soap and quassia, in these proportions—</p> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="remedy"> +<tr><td align='left'>Best soft-soap</td><td align='right'>1 lb.</td></tr> +<tr><td align='left'>Quassia chips</td><td align='right'>2½ lb.</td></tr> +<tr><td align='left'>Water</td><td align='right'> 25 gallons.</td></tr> +</table></div> + + +<p>Even this wash, excellent as it is, will sometimes<span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span> +fail to get rid of the scourge in a bad year. But +I have found "Abol, White's Superior," a never-failing +remedy. It is also much easier to use, as +one only has to mix it with cold water according to +the directions on each can, and it is ready in a +minute.</p> + +<p>If either of these remedies are used the moment +the Green Fly appears, and the dose repeated a couple +of days later in order to kill any that may have +escaped the first spraying, we have very little more +trouble until the second crop of Green Fly appears in +September. It is well to syringe the plants thoroughly +with pure water a few days after the second dose +of either of these washes, as this knocks off the +dead Aphides, and leaves the foliage clean and +sweet.</p> + +<p>Although paraffin in various forms is often recommended, +let me urge upon my readers that it is a +most dangerous substance to use upon the rose—a +naturally delicate plant—as any remedy of a caustic +nature is sure to do it far more harm than good.</p> + +<p>Tobacco wash is recommended by the Continental +rose-growers for Aphis, 1 part of tobacco-juice to +15 parts of water. If a little soft-soap is added it +makes a better wash. This is also a good wash for</p> + +<p><b>Cuckoo Spit</b> or <b>Frog-Fly</b>.—This frothy substance +if washed off will be found to contain a yellow +creature, often closely wedged into the angle of leaf +and shoot, or at the base of a flower bud. This is<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span> +a "nymph" or young Frog-Fly—a most destructive +insect—and unless removed it will so quickly suck +the sap of the leaf and bud that it dies and falls off.</p> + +<p>To get rid of them requires patience. We must +either hand-pick the roses—or if we spray with the +tobacco wash it is necessary to syringe the plant with +plain water first, using some force, to wash off the +white froth—and then spray with the tobacco wash +to kill the "nymph."</p> + +<p>This leads us to the more active and the worst of +all the pests we have to fight against.</p> + + +<div class='center'><br /><span class="smcap">Beetles, Bees, Flies, and Moths,</span></div> + +<div class='unindent'>which either in their adult form or as maggots and +caterpillars prey upon the rose.</div> + +<p>Four Beetles are among the enemies of the rose. +The beautiful green <b>Rose Beetle</b> or <b>Rose Chafer</b> +does harm in both stages. As a grub it feeds underground +on the roots; and as a beetle eats the foliage +and the petals and anthers of the flowers. I find it +is particularly fond of the delicate blossoms of the +<i>Yellow Persian Briar</i>.</p> + +<p>The <b>Cock Chafer</b> also eats the foliage, and its +large white grubs devour the roots of the roses to +such an extent that they often kill the plant. As the +grubs remain for three years in the ground the +damage they can do is incalculable; and they attack +other plants besides roses. Among the roots of a +herbaceous Spiræa I lifted this last winter, I caught<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span> +forty of these grubs, and found they had so honey-combed +the roots that the plant had to be burnt.</p> + +<p>The <b>Summer Chafer</b> and <b>Garden Chafer</b> also +attack roses.</p> + +<p>Where these four chafers are prevalent there is no +cure but hand-picking. The beetles must be collected +off the bushes; and the grubs carefully picked out of +the roots, if we have reason to think they are present +from the rose appearing unhealthy. Or they may be +tempted out of the soil by placing grass turves +upside down close to the plants, when they can +be picked out and killed with a little boiling +water.</p> + +<p>The <b>Rose Leaf-cutting Bee</b> spoils the foliage by +cutting semi-circular pieces out of the leaves to line its +nest. A few years ago I found that a fine young +plant of <i>Tea Rambler</i> was so relished by this bee +that hardly a leaf was left intact. There is no cure +but to watch the bee going into her nest and there to +destroy it after dusk.</p> + +<hr style="width: 45%;" /> + +<p>Of all pests that the rose-grower has to fight against</p> + + +<div class='center'><br /><span class="smcap">Caterpillars and Maggots</span></div> + +<div class='unindent'>are the very worst. For there is no real remedy +against their endless and varied depredations save +hand-picking; or as some one has tersely put it, +"just a little gentle washing with non-caustic substances, +and just a lot of finger-and-thumb work."<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span> +This is tedious, and often disgusting; but it is the +only way.</div> + +<p>These loathsome pests are the larvæ of certain flies +and many kinds of moths.</p> + +<p><b>Sawflies</b>, the little black and shiny flies which +infest the roses in May and June, are a terrible pest, +as the eggs they lay on the leaves turn quickly into +small, green larvæ. There are several kinds of sawflies, +and their destructive methods vary. The Leaf-rolling +Sawfly, whose larvæ roll the rose-leaves like +paper spills, has become a serious pest among garden +roses of late years, and if these rolls are carefully unfolded +the little green maggot will be found in one +of them. It must be caught with care, as it is very +lively, and if allowed to fall to the ground will remain +there, and produce a fresh brood in the next year.</p> + +<p>The <b>Rose Slugworm</b> is much more common, +and most destructive, eating the upper surface of the +leaves and leaving the lower to shrivel up. It has +two broods in the year.</p> + +<p>The <b>Rose Emphytus</b> is another of the sawflies, +and one of the worst. Its larva eats the whole leaf +away, beginning at the mid rib, and also works its way +into a cell in the branches till the next spring, thus +killing the tender growths above. This is the green +caterpillar which we find coiled up on the under-side +of the rose-leaves, or in early morning and late evening +curled round the base of a rose-bud, working its +way through the calyx into the heart of the flower.<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span> +It is far easier to catch, as it is somewhat sluggish +in movement, clean and hard in substance—and +therefore less disgusting to touch than others that +squash in one's fingers. The best remedies for these +pests are: first, prevention, by spraying with hellebore +wash, which I have found most useful. Second, by +careful hand-picking when the larvæ appear. And +third, by removing the surface soil in which the +cocoons are buried, and all dead wood, during the +winter.</p> + +<p>Hellebore wash is made in the following proportion—</p> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Hellebore wash"> +<tr><td align='left'>1 oz. fresh-ground hellebore powder.</td></tr> +<tr><td align='left'>2 oz. flour.</td></tr> +<tr><td align='left'>3 gallons of water.</td></tr> +</table></div> + + +<p>Mix the hellebore and flour with a little water till +dissolved; then stir into the rest of the water and +apply with a fine Abol Syringe.</p> + +<p><b>Caterpillars</b> of many moths are among the most +deadly foes of the rose. Some eat the foliage—such +as the Buff Tip and Vapourer Moths; others tunnel +into the leaves. But the worst of all are the Tortrix +Moths or Rose Maggots, whose repulsive grubs eat the +unopened blossoms and spin the delicate young leaves +together, destroying the whole top of the new shoots. +There are many varieties of Tortrix, which are all +quite small moths, and their caterpillars or "Maggots" +are the most unpleasant and destructive of all we<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span> +have to deal with. The worst of all are the Red and +the Brown Rose Maggots. These creatures are dirty +red or brown, with black heads; they are soft, and +grow very fat, and when full grown are half an inch +long. They spin the leaves together at the top of +the tender young flowering shoots, often bending the +top down; and not only eat the leaves in the midst +of this filthy fortress, but eat their way into the buds +and destroy them.</p> + +<p>Other Tortrix Moths have green and yellow-green +maggots. The worst is the Green Rose Maggot—bluish-green +with a black head. It also spins the +leaves together, and grows nearly as large as the brown. +It is extremely active, and very soft and slimy.</p> + +<p>These all turn to pupæ among the leaves instead +of in the soil; and any left in the foliage must be +picked out and burnt. If we wait until the shoots +and buds are eaten and the foliage spoilt—nay, till +often the whole of our early flowers are ruined—the +only remedy is to pinch the leaves which conceal the +maggot, if we have courage to do so, or to hand-pick +every one we see. But happily a way exists of preventing +these loathsome pests from destroying our +roses. And this is to spray the plants from the middle +of April to early in May with <i>arsenate of lead</i>.<a name="FNanchor_9_10" id="FNanchor_9_10"></a><a href="#Footnote_9_10" class="fnanchor">[9]</a> +This should be done twice, and will prevent many other +caterpillars from feeding on the foliage.</p> + +<p><b>The Vapourer Moth</b>, the little golden brown<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span> +moth with a tiny white crescent on each wing, is +unfortunately common everywhere, in town as well +as country; and its caterpillars are as destructive as +they are beautiful. These caterpillars are found in +great masses upon the hawthorn and fruit trees, and +attack the rose as well. They are handsome, hairy +creatures, spotted thickly with bright pink-red tubercles, +with four erect tufts of yellow hairs on the back, +and five longer tufts of darker hairs, two pointing forwards, +one backwards over the tail, and two at the +sides.</p> + +<p>If there are too many to be hand-picked the bushes +must be sprayed with <i>arsenate of lead</i>.</p> + +<p><b>The Buff Tip Moth</b> does most harm in the +autumn, when its caterpillars, yellow and green, with +longitudinal black lines divided by yellow bands, +appear in colonies, feeding upon the surface of the +leaves. They should be picked off at once, before +they grow large, as they reach a length of two inches +when full grown, and disperse, feeding singly. If +very plentiful, spraying with <i>arsenate of lead</i> will +destroy them.</p> + +<p><b>The Winter Moth</b>, which is such a serious pest +among fruit trees, also attacks roses. The caterpillar +is hatched very early, in the end of March and beginning +of April. It is a "Looper," greyish at first and +turning green later, and nearly an inch long when +full grown.</p> + +<p>The grease bands we use on fruit trees to catch<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span> +the wingless female as she creeps up in the autumn +to lay her eggs on the bark, would be difficult to use +for rose-bushes. The only plan therefore is to +spray very early in the season with <i>arsenate of lead</i> +wash.<a name="FNanchor_10_11" id="FNanchor_10_11"></a><a href="#Footnote_10_11" class="fnanchor">[10]</a></p> + +<p>Another "Looper" found early on the roses is that +of the <b>Mottled Umber Moth</b>. It is brown with +yellowish sides, looks almost like a twig, and is over +an inch long. It must be hand-picked.</p> + +<p>The <b>Dagger Moth's</b> caterpillar—a long, grey-black +creature with a yellow line along the back, a large +black hump on the shoulder and a small one at the tail, +is most destructive when it appears in late summer and +early autumn. It is generally found singly; but one +specimen will strip a whole shoot of leaves, leaving +only the mid rib. Hand-picking is the only remedy.</p> + +<p>These are the chief of the pests which we have to +fight against. And if we desire to keep our roses in +health and beauty we must remember that prevention +is better than cure, and begin our treatment in good +time, before the many enemies of the rose get too firm +a hold.</p> + + +<h3>REMEDIES FOR ROSE PESTS</h3> + +<div class='center'>WASHES, ETC.</div> + +<p>For Aphis or Green Fly.</p> + +<div class="blockquot"><p>1. <i>Abol.</i> <i>White's Superior</i>-instructions with each +can.</p></div> +<p><span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span></p> + +<div class="blockquot"><p>2. <i>Soft soap and Quassia Wash.</i></p></div> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Mix"> +<tr><td align='left'>Best soft soap </td><td align='right'>1 lb.</td></tr> +<tr><td align='left'>Quassia chips</td><td align='right'>2½ lb.</td></tr> +<tr><td align='left'>Water</td><td align='right'>25 gallons.</td></tr> +</table></div> + + +<p>Dissolve the soap in boiling (soft) water. Boil the +chips or simmer for twelve hours, adding water from +time to time to cover them. Strain off the liquid, +mix it with the dissolved soap, stirring them together +thoroughly, then add the water.</p> + + +<div class="blockquot"><p>3. <i>Tobacco Wash</i>—also useful for Cuckoo Spit, Thrips +and Leaf-Hoppers.</p></div> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Tobacco wash"> +<tr><td align='left'>1 part tobacco juice.</td></tr> +<tr><td align='left'>15 parts water.</td></tr> +<tr><td align='left'>Add a little dissolved soft soap.</td></tr> +</table></div> + + + +<div class="blockquot"><p>4. <i>Hellebore Wash</i> for Sawflies.</p></div> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Another Hellebore wash"> +<tr><td align='left'>Fresh-ground hellebore </td><td align='left'>1 oz.</td></tr> +<tr><td align='left'>Flour</td><td align='left'>2 oz.</td></tr> +<tr><td align='left'>Water</td><td align='left'>3 gallons.</td></tr> +</table></div> + + +<p>Mix the flour and hellebore powder with a little +water. Then add the rest of the water. It must be +kept stirred, and used with a fine spray. <i>Hellebore +is poison.</i></p> + + +<div class="blockquot"><p>5. <i>Arsenate of Lead</i> for Caterpillars.</p></div> + +<p>This is a poisonous wash, but the only one that +can be used without hurting the roses. It is made<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span> +with the paste known as <i>Swift's Arsenate Paste</i>, mixed +with water.</p> + +<div class="blockquot"><p>6. <i>Flowers of Sulphur</i> blown over the plants for +Mildew.</p></div> + +<p><i>Liver of Sulphur Wash</i> for Mildew and other +fungi, and for Red Spider.</p> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Liver of sulphur wash"> +<tr><td align='left'>Liver of sulphur </td><td align='left'>1 oz.</td></tr> +<tr><td align='left'>Water</td><td align='left'>10 gallons.</td></tr> +</table></div> + + +<p>Powdered hellebore may be dusted over the bushes +for Sawflies, but the hellebore wash is best.</p> + +<p>All these washes can be used with the Abol Syringe. +And in large gardens Vermorel's Knapsack Sprayer is +almost indispensable, as it does equally well for roses +and fruit trees.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span></p> +<h2>CHAPTER XI</h2> + +<div class='chaptertitle'>HOW TO GROW ROSES FOR EXHIBITION</div> + +<div class='center'>(<i>By the</i> <span class="smcap">Rev. F. Page-Roberts</span>, <i>Vice-President National Rose +Society</i>, <i>F.R.H.S.</i>)</div> + + + +<p><span class="smcap">In</span> writing this chapter my purpose is to tell, in +a few clear words, the way to grow fine roses, whether +they be for exhibition or for private delight; for the +method and culture are identical, if the blooms are to +be worth looking at.</p> + +<p>First, then, as to situation and soil. If possible, +choose a position for the beds sheltered from strong +winds, yet not near large trees, or hedges; for the +roots will enter the beds and rob them of moisture +and nutriment. Buildings and walls are the best +shelters.</p> + +<p>Make the beds, if possible, in the highest part of the +garden, and not the lowest; roses like an open situation, +though they need shelter from strong winds, +and shade, if possible, from the midday sun. In writing +these notes I do not wish to say anything that +will discourage any one from trying to grow exhibition +roses; for they can be grown, more or less well,<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span> +in almost any situation, and any soil. Those who +can choose both are to be envied.</p> + +<p>Then as to soil; some varieties, the H. Ps., will +only give the finest blooms in heavy loam; the H. +Teas in a less heavy; and the Teas, the most beautiful, +though perhaps not so popular as the dark H. Ps., +in quite light sandy soil. So the grower must decide +according to his situation and soil what varieties to +grow, remembering that the Teas are liable to suffer +from severe frost.</p> + +<p>I make my beds three feet deep and three feet +wide,<a name="FNanchor_11_12" id="FNanchor_11_12"></a><a href="#Footnote_11_12" class="fnanchor">[11]</a> allowing for two rows of roses, and a grass +path about thirty inches wide between the beds, grass +being more sightly than gravel, and pleasanter to walk +on. The beds, if the soil is heavy, will be all the +better for being raised a little above the level of the +paths; the roots do not like stagnant water. The +beds should be prepared in the autumn, a few weeks +before the end of October, that the soil may settle. +The manure should be below the roots, not touching +them; the roots will find it, and it is better for them +to go down, than to come to the surface and suffer if +the season be dry. A good sprinkling of bone meal +spread over the top soil before planting (with a dusting +of basic slag, three to four ounces per square yard) +will be all that is necessary at this time. Covering +the beds with manure in the winter is not recommended; +and digging, or even turning it in, in the<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span> +spring, is not advisable, however carefully it is done, +as some of the roots must suffer, and, besides, manure +does not protect the roots. The beds should never +be disturbed more than the depth that a hoe will do +it. The beds for H. Ts. and Teas should be prepared +in the same way. Beds wide enough for two rows +are more easily managed than wider ones, there being +no need to tread on the soil when attending to the +plants, and they can be more easily hoed.</p> + +<p>When selecting varieties, consult an expert, or +better still, if you are not a subscriber to the N. R. S. +(and this all rosarians should be), get a copy of the +N. R. S. official catalogue of Roses, which can be obtained +by non-members through a member, price +2<i>s.</i> 6<i>d.</i> This will give you all the information desired. +A list of good roses for exhibition is given at the +end of this chapter. It is advisable to order the +plants early, as nurserymen execute orders in the +order in which they are received, and planting should +be done during the end of October and November; +if not done then it must be deferred till February or +March.</p> + +<p>The distance of plants from each other depends a +good deal upon the varieties. Strong growers should +be planted wider apart than small growers; one foot +apart is about the usual distance in the rows.</p> + +<p>There are some varieties like <i>A. K. Williams</i>, +<i>Mrs. W. J. Grant</i>, and <i>Horace Vernet</i>, that do not +transplant well. These ought to be budded, and not<span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span> +moved, if possible. Dwarf-rooted stocks can be bought +of the nurserymen at a small cost; and the Standard +stocks, the best for Tea roses, can be usually got in +the neighbouring hedges.</p> + +<p><b>Pruning.</b><a name="FNanchor_12_13" id="FNanchor_12_13"></a><a href="#Footnote_12_13" class="fnanchor">[12]</a>—The object of pruning is to give increased +vigour to the plant, and to keep it within +bounds; to make, if possible, a new plant each year, +a new top to the old roots. And to do this, severe +pruning is absolutely necessary. The harder the +pruning, the stronger the growth. Each variety +should be pruned according to its growth. If very +vigorous, they require less cutting back than those +of moderate, or weakly growth.</p> + +<p>H. Ps. will be pruned harder than either H. Ts. or +Teas; the latter, on account of frost, will sometimes +do with little pruning beyond cutting out all dead +and weakly shoots, and shortening slightly the long +straggling ones. In all cases do not allow the centre +of the plant to be crowded. The H. Ps. as a rule, +may be cut down to two or three eyes, leaving the +very vigorous shoots of some kinds even five or six +eyes; but all weak shoots must be cut down to the +base of the plant. This pruning should be done in +March, leaving the Teas till April. If in pruning +the pith be found to be dark in colour, the shoot +must be cut back. Sometimes it will be necessary to +cut it quite away, if no light-coloured pith can be +seen. Then a certain amount of pruning or thinning<span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span> +of the shoots is necessary in the spring, after the +roses have started growing; three to six shoots only, +according to the variety, should be left. A thinning +again in autumn, of the shoots that have done their +work, will give the later shoots a better chance of +ripening.</p> + +<p><b>Manuring.</b>—Farmyard dung is the best of all +fertilisers, and this should be used, as has been +pointed out,<a name="FNanchor_13_14" id="FNanchor_13_14"></a><a href="#Footnote_13_14" class="fnanchor">[13]</a> when the beds are being made, so that +there is plenty of good nutriment below the roots. +Nitrate of soda and Guano, both soluble, may be +sprinkled on the surface alternately once a week after +the plants have begun to grow, and hoed in. Manure +put on for a mulch in winter does little or no good. +The very best and only mulch, winter and summer, +is a loose soil surface; and for this the hoe must be +kept at work, especially after rain or watering. A +good liquid manure is made by putting a barrowful +of fresh cow manure into a large barrel, <i>a big wine +pipe</i> is the thing; add soft water to thin it, put in +a bag of soot, and fill up with rain-water. After +settling, this will be ready for use. Liquid manure +must not be given when the soil is dry, but only +after rain or a good watering. Soot dusted over the +beds is beneficial, and may also destroy a certain +amount of Mildew. The drainage from the farmyard +should not be allowed to waste, as is so often +the case; but if well diluted it makes a good liquid<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span> +manure. Do not apply the fertiliser close to the +stem, but distribute over the whole ground. Remember +when giving liquid manure the same rule +holds good, "Strong meat for men, milk for babes."</p> + +<p>Strong growing varieties will stand more than weak +ones, and no liquid manure should be given to newly +planted trees. A dressing of Basic Slag in the autumn +is recommended.</p> + +<p><b>Pests.</b><a name="FNanchor_14_15" id="FNanchor_14_15"></a><a href="#Footnote_14_15" class="fnanchor">[14]</a>—These are many, and the remedies are few +and simple. Caterpillars, large and small, must be +hunted for daily and killed with finger and thumb +from April to July, however unpleasant the process +may be, or the most promising buds will be spoiled. +For destroying Aphis, which are very troublesome +some years, a solution made by boiling Quassia chips +in water, and adding soft soap when cooling, is often +used; though "finger and thumb" drawn gently up +the stem when the insect is first seen, puts an end to +those on the shoot; and finger and thumb is even +recommended for destroying Mildew on its first +appearance, though this cannot be done when there +is a bad attack.</p> + +<p>Nothing in my experience equals Flowers of Sulphur +for Mildew, when distributed by an "Ideal" powder +bellows. This should be done quite early in the +morning, when there is a promise of a hot, sunny day. +If the wind is not too strong, the Sulphur will float +through the plants like a cloud of smoke, searching +into every part. This should be repeated once a<span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span> +week, and even before there is a sign of Mildew on +the leaves, prevention being better than cure. But I +know no remedy that will quite destroy it.</p> + +<hr style="width: 45%;" /> + +<p><b>Exhibiting.</b>—If the grower wishes to exhibit his +flowers, he should follow the instructions here given; +and I would also advise the reading of the late +Rev. A. Foster Melliar's book on exhibiting, and the +Rev. J. H. Pemberton's—both most excellent books—which +enter more fully into particulars than space +allows me to do.</p> + +<p>The number of shoots having been reduced,<a name="FNanchor_15_16" id="FNanchor_15_16"></a><a href="#Footnote_15_16" class="fnanchor">[15]</a> it will +soon be time to gradually take away all the buds, +except the centre bud and one other. This also +must be taken away, as soon as the centre bud looks +healthy and free from damage. Very strong growers, +like <i>Florence Pemberton</i>, and those varieties having +a great number of petals, will do better if the buds +are not much thinned, or they will be coarse.</p> + +<p>The N. R. S. definition of a good rose is: "The +highest type of bloom is one which has form, size, +brightness, substance, and good foliage, and which is +at the time of judging in the most perfect phase of its +possible beauty."</p> + +<p>It will be necessary in the case of Hybrid Perpetuals +to select the bud, which should be about +three-quarters open, two days before the show (four +or even five days for Teas), and to tie up, not tightly, +the centre of the flower with Berlin wool, leaving the<span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span> +outer petals free, taking care that it is not wet with +rain, or even dew. Bend the shoot down, if possible, +and cover with a shade; some clean litter spread under +dwarfs on the ground will keep the flower from being +splashed by heavy rains. Teas are improved if covered +with a cone of butter paper, as well as the shade; +and some may be cut two days before the show, and +if put in a dry, dark cellar, will remain in good +condition. <i>Maréchal Niel</i> will improve in colour by +being kept in the dark. The best time for cutting H. Ps. +is from four to seven o'clock the evening before the +show; they will lose a little in colour, but will stand +longer than if cut before six o'clock on the morning of +the show. Use garden scissors in preference to a +knife. When getting the blooms, cut the stem five or +six inches long, and remove the lower leaves, which +only fill up the tube and do no good to the flower, +and do not add to its appearance in the box. A +receptacle with water should be taken round when +cutting, and the flowers put in immediately and never +allowed to become dry (the water must not be cold). +The name should be attached at once.</p> + +<p>The regulation size of the N. R. S. for rose boxes is +"4 inches high in front and 18 inches wide, and of +the following lengths (all outside measurements). +For 24 blooms, 3 ft. 6 ins. long; for 18 blooms, +2 ft. 9 ins. long; for 12 blooms, 2 ft. long; for +9 blooms, 1 ft. 6 ins. long; for 6 blooms, 1 ft. long; +for 8 trebles, 3 ft. 6 ins. long; for 6 trebles, 2 ft. 9 ins. +long; for 4 trebles, 2 ft. long." The lid should have<span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span> +a depth of 9 inches to allow room for the blooms. +Boxes are supplied at a moderate price by John +Pinches, 3 Crown Buildings, Crown Street, Camberwell, +who also supplies tubes, wire holders, and shades; +they can also be obtained from horticultural firms. +The tray of the box should be covered with moss. +When the roses are all arranged for the night, give a +little air by putting a prop under the lid, and leave +the box in a cool place. When the boxes are placed +on the show tables, lift the lids sufficiently high to +get at the flowers. Each tube should be lifted and +the rose raised, taking care that the stem is in +the water. All damaged outer petals must be removed, +and the flower if full with substance in it, +may have the wool removed. Assist the opening +of the blooms with a camel's hair brush. A gentle +puff with the mouth at the centre will loosen tightly +packed petals. Care must be taken when "dressing" a +bloom, not to alter its character; for this, according to +N. R. S., "shall count as a bad bloom." The ties must +not be removed from the thin ones (those with few +petals) until the last minute, when it is time to +remove the lids. It will be necessary to take a few +extra blooms in different stages of growth, to replace +any in the box that have expanded; for a rose +showing an eye gains no point. Care must be taken +that there are no duplicates, but all distinct according +to "schedule." Once exhibit at an important show, +and many lessons will be learnt which can only be +learnt there and then.<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span></p> + + +<h3>A SELECTION OF THE BEST EXHIBITION ROSES</h3> + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="A SELECTION OF THE BEST EXHIBITION ROSES"> +<tr><td align='center'><i>Hybrid Perpetuals.</i></td></tr> +<tr><td align='left'>Alfred Colomb</td></tr> +<tr><td align='left'>A. K. Williams</td></tr> +<tr><td align='left'>Bob Davison</td></tr> +<tr><td align='left'>Captain Hayward</td></tr> +<tr><td align='left'>Charles Lefebvre</td></tr> +<tr><td align='left'>Commandant Felix Faure</td></tr> +<tr><td align='left'>Comte Raimbaud</td></tr> +<tr><td align='left'>Dr. Andry</td></tr> +<tr><td align='left'>Duke of Wellington</td></tr> +<tr><td align='left'>Dupuy Jemain</td></tr> +<tr><td align='left'>Fisher Holmes</td></tr> +<tr><td align='left'>François Michelon</td></tr> +<tr><td align='left'><a href="#Frau_Karl_Druschki">Frau Karl Druschki</a></td></tr> +<tr><td align='left'>Helen Keller</td></tr> +<tr><td align='left'>Horace Vernet</td></tr> +<tr><td align='left'>Hugh Dickson</td></tr> +<tr><td align='left'>Hugh Watson</td></tr> +<tr><td align='left'>Marie Baumann</td></tr> +<tr><td align='left'>Mrs. Cocker</td></tr> +<tr><td align='left'>Mrs. John Laing</td></tr> +<tr><td align='left'>Mrs. Sharman Crawford</td></tr> +<tr><td align='left'>Prince Arthur</td></tr> +<tr><td align='left'>Suzanne Marie Rodocanachi</td></tr> +<tr><td align='left'><a href="#Ulrich_Brunner">Ulrich Brunner</a></td></tr> +<tr><td align='left'>Victor Hugo</td></tr> +<tr><td align='center'><br /><i>Hybrid Teas.</i></td></tr> +<tr><td align='left'>Bessie Brown</td></tr> +<tr><td align='left'><a href="#Caroline_Testout">Caroline Testout</a></td></tr> +<tr><td align='left'>C. J. Grahame</td></tr> +<tr><td align='left'>Countess of Derby</td></tr> +<tr><td align='left'>Countess of Gosford</td></tr> +<tr><td align='left'>Dean Hole</td></tr> +<tr><td align='left'>Earl of Warwick</td></tr> +<tr><td align='left'>Florence Pemberton</td></tr> +<tr><td align='left'>George Laing Paul</td></tr> +<tr><td align='left'>J. B. Clarke</td></tr> +<tr><td align='left'>Kaiserin Augusta Victoria</td></tr> +<tr><td align='left'>Killarney</td></tr> +<tr><td align='left'>La France</td></tr> +<tr><td align='left'>Lady Ashtown</td></tr> +<tr><td align='left'>Lady Helen Vincent</td></tr> +<tr><td align='left'>Lady Moyra Beauclerk</td></tr> +<tr><td align='left'>Mme. Melanie Soupert</td></tr> +<tr><td align='left'><a href="#Marquise_Litta">Marquise Litta</a></td></tr> +<tr><td align='left'>Mildred Grant</td></tr> +<tr><td align='left'>Mrs. G. W. Kershaw</td></tr> +<tr><td align='left'>Mrs. John Bateman</td></tr> +<tr><td align='left'>Mrs. Theodore Roosevelt</td></tr> +<tr><td align='left'>Mrs. W. J. Grant</td></tr> +<tr><td align='left'>Perle von Godesberg</td></tr> +<tr><td align='left'>Princesse Marie Mertchersky</td></tr> +<tr><td align='left'>Queen of Spain</td></tr> +<tr><td align='left'>William Shean</td></tr> +<tr><td align='left'>Yvonne Vacherot</td></tr> +<tr><td align='center'><br /><i>Teas.</i></td></tr> +<tr><td align='left'>Anna Olivier</td></tr> +<tr><td align='left'>Auguste Comte</td></tr> +<tr><td align='left'>Bridesmaid</td></tr> +<tr><td align='left'>Catherine Mermet</td></tr> +<tr><td align='left'>Cleopatra</td></tr> +<tr><td align='left'>Comtesse de Nadaillac</td></tr> +<tr><td align='left'>Ernest Metz</td></tr> +<tr><td align='left'>Innocent Pirola</td></tr> +<tr><td align='left'>Mme. Constant Soupert</td></tr> +<tr><td align='left'>Mme. Cusin</td></tr> +<tr><td align='left'>Mme. de Watteville</td></tr> +<tr><td align='left'>Mme. Hoste</td></tr> +<tr><td align='left'>Mme. Jules Gravereaux</td></tr> +<tr><td align='left'>Maman Cochet</td></tr> +<tr><td align='left'>Maréchal Niel</td></tr> +<tr><td align='left'>Medea</td></tr> +<tr><td align='left'>Mrs. Edward Mawley</td></tr> +<tr><td align='left'>Mrs. Myles Kennedy</td></tr> +<tr><td align='left'>Muriel Grahame</td></tr> +<tr><td align='left'>Souv. d'Élise Vardon</td></tr> +<tr><td align='left'>Souv. de Pierre Notting</td></tr> +<tr><td align='left'>Souv. de S. A. Prince</td></tr> +<tr><td align='left'>Souv. d'un Ami</td></tr> +<tr><td align='left'>The Bride</td></tr> +<tr><td align='left'><a href="#White_Maman_Cochet">White Maman Cochet</a></td></tr> +</table></div> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span></p> +<h2>INDEX</h2> + + +<div> +A.<br /> +<br /> +Abol syringe, <a href="#Page_138">138</a>, <a href="#Page_148">148</a>.<br /> +<br /> +Abol, White's Superior, <a href="#Page_141">141</a>, <a href="#Page_148">148</a>.<br /> +<br /> +Aphis.<br /> +<span style="margin-left: 1em;"><i>See</i> <a href="#Green_fly">Green Fly</a>.</span><br /> +<br /> +Aphis Lion, <a href="#Page_140">140</a>.<br /> +<br /> +Arsenate of lead, <a href="#Page_146">146</a>-<a href="#Page_149">9</a>.<br /> +<br /> +<br /> +B.<br /> +<br /> +Beds, depth, <a href="#Page_6">6</a>, <a href="#Page_152">152</a>.<br /> +— size of, <a href="#Page_5">5</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Bee, leaf cutting, <a href="#Page_143">143</a>.<br /> +<br /> +Beetles, <a href="#Page_142">142</a>-<a href="#Page_143">3</a>.<br /> +<br /> +Black spot, <a href="#Page_138">138</a>.<br /> +<br /> +Black sulphur, <a href="#Page_138">138</a>.<br /> +<br /> +Budding, <a href="#Page_27">27</a>-<a href="#Page_30">30</a>.<br /> +<br /> +<br /> +C.<br /> +<br /> +Caterpillars, <a href="#Page_143">143</a>-<a href="#Page_148">8</a>, <a href="#Page_156">156</a>.<br /> +<br /> +Chalcid fly, <a href="#Page_140">140</a>.<br /> +<br /> +Cock chafer, <a href="#Page_142">142</a>.<br /> +<br /> +<a name="Cuckoo_spit" id="Cuckoo_spit"></a>Cuckoo spit, <a href="#Page_141">141</a>-<a href="#Page_142">2</a>.<br /> +<br /> +Cuttings, <a href="#Page_30">30</a>-<a href="#Page_34">34</a>.<br /> +— under glass, <a href="#Page_32">32</a>.<br /> +— open ground, <a href="#Page_33">33</a>-<a href="#Page_34">4</a>.<br /> +<br /> +Cutting dead blooms, <a href="#Page_21">21</a>.<br /> +<br /> +<br /> +D.<br /> +<br /> +Drainage, <a href="#Page_2">2</a>-<a href="#Page_3">3</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Draughts, danger of, <a href="#Page_1">1</a>-<a href="#Page_2">2</a>.<br /> +<br /> +<br /> +E.<br /> +<br /> +"Enemies of the Rose," 136.<br /> +<br /> +Exhibiting, <a href="#Page_157">157</a>.<br /> +— arranging at the show, <a href="#Page_159">159</a>.<br /> +— cutting the blooms, <a href="#Page_158">158</a>.<br /> +— disbudding, <a href="#Page_157">157</a>.<br /> +— rose boxes, <a href="#Page_158">158</a>-<a href="#Page_159">9</a>.<br /> +— rose tubes, <a href="#Page_159">159</a>.<br /> +— shading, <a href="#Page_158">158</a>.<br /> +<br /> +Exhibiting, selecting the bud, <a href="#Page_157">157</a>.<br /> +— thinning the shoots, <a href="#Page_154">154</a>.<br /> +— tying the blooms, <a href="#Page_157">157</a>.<br /> +<br /> +Exhibition roses—<br /> +— — beds for, <a href="#Page_151">151</a>-<a href="#Page_152">2</a>.<br /> +— — distance of plants, <a href="#Page_153">153</a>.<br /> +— — manures, <a href="#Page_152">152</a>, <a href="#Page_155">155</a>.<br /> +— — pruning, <a href="#Page_154">154</a>.<br /> +— — selecting varieties, <a href="#Page_153">153</a>.<br /> +— — soil, <a href="#Page_152">152</a>.<br /> +<br /> +<br /> +F.<br /> +<br /> +Flowers of sulphur, <a href="#Page_137">137</a>, <a href="#Page_150">150</a>, <a href="#Page_156">156</a>.<br /> +<br /> +Frog fly.<br /> +<span style="margin-left: 1em;"><i>See</i> <a href="#Cuckoo_spit">Cuckoo spit</a>.</span><br /> +<br /> +Fungi, <a href="#Page_136">136</a>-<a href="#Page_139">9</a>.<br /> +<br /> +<br /> +G.<br /> +<br /> +<a name="Green_fly" id="Green_fly"></a>Green fly, <a href="#Page_139">139</a>-<a href="#Page_141">41</a>.<br /> +— — remedies for, <a href="#Page_148">148</a>-<a href="#Page_149">9</a>, <a href="#Page_156">156</a>.<br /> +<br /> +<br /> +H.<br /> +<br /> +Heeling in roses, <a href="#Page_9">9</a>.<br /> +<br /> +Hellebore wash, <a href="#Page_145">145</a>, <a href="#Page_149">149</a>.<br /> +<br /> +Hoeing, importance of, <a href="#Page_14">14</a>, <a href="#Page_155">155</a>.<br /> +<br /> +Hover fly, <a href="#Page_140">140</a>.<br /> +<br /> +<br /> +I.<br /> +<br /> +Ichneumon fly, <a href="#Page_140">140</a>.<br /> +<br /> +"Ideal" powder bellows, <a href="#Page_138">138</a>, <a href="#Page_156">156</a>.<br /> +<br /> +<br /> +L.<br /> +<br /> +Labels, <a href="#Page_13">13</a>.<br /> +<br /> +Ladybirds, <a href="#Page_140">140</a>.<br /> +<br /> +Layering, <a href="#Page_34">34</a>-<a href="#Page_36">6</a>.<br /> +<br /> +<a name="Liver_of_sulphur" id="Liver_of_sulphur"></a>Liver of sulphur, <a href="#Page_138">138</a>, <a href="#Page_150">150</a>.<br /> +<br /> +<br /> +M.<br /> +<br /> +Manures—<br /> +<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span>— Basic slag, <a href="#Page_7">7</a>, <a href="#Page_156">156</a>.<br /> +<br /> +Manures, farm yard, <a href="#Page_6">6</a>-<a href="#Page_7">7</a>, <a href="#Page_155">155</a>.<br /> +— Guano, <a href="#Page_155">155</a>.<br /> +— liquid, <a href="#Page_155">155</a>-<a href="#Page_156">6</a>.<br /> +— Nitrate of soda, <a href="#Page_155">155</a>.<br /> +<br /> +Mildew, <a href="#Page_137">137</a>-<a href="#Page_141">141</a>, <a href="#Page_155">155</a>-<a href="#Page_156">6</a>.<br /> +— remedies for, <a href="#Page_137">137</a>-<a href="#Page_138">8</a>, <a href="#Page_150">150</a>, <a href="#Page_156">156</a>.<br /> +<br /> +Mo-Effic, <a href="#Page_138">138</a>.<br /> +<br /> +<br /> +N.<br /> +<br /> +National Rose Society, <a href="#Page_136">136</a>, <a href="#Page_153">153</a>, <a href="#Page_157">157</a>-<a href="#Page_158">8</a>-<a href="#Page_159">9</a>.<br /> +<br /> +Noisette, Philippe, <a href="#Page_68">68</a>.<br /> +<br /> +<br /> +P.<br /> +<br /> +Paraffin, danger of, <a href="#Page_140">140</a>-<a href="#Page_141">1</a>.<br /> +<br /> +Planting, <a href="#Page_10">10</a>-<a href="#Page_14">14</a>.<br /> +— dates for, <a href="#Page_7">7</a>, <a href="#Page_153">153</a>.<br /> +— depth, <a href="#Page_9">9</a>-<a href="#Page_10">10</a>.<br /> +<br /> +Potassium sulphide.<br /> +<span style="margin-left: 1em;"><i>See</i> <a href="#Liver_of_sulphur">Liver of Sulphur</a>.</span><br /> +<br /> +Position, <a href="#Page_1">1</a>, <a href="#Page_151">151</a>.<br /> +<br /> +Propagating, <a href="#Page_27">27</a>.<br /> +<br /> +Provins, <a href="#Page_40">40</a>.<br /> +<br /> +Pruning, <a href="#Page_14">14</a>-<a href="#Page_27">27</a>.<br /> +— Banksia roses, <a href="#Page_26">26</a>, <a href="#Page_54">54</a>.<br /> +— dates for, <a href="#Page_16">16</a>.<br /> +— directions for, <a href="#Page_22">22</a>-<a href="#Page_27">7</a>.<br /> +— for exhibition, <a href="#Page_154">154</a>.<br /> +— Fortune's Yellow, <a href="#Page_26">26</a>.<br /> +— Noisettes, <a href="#Page_20">20</a>.<br /> +— object of, <a href="#Page_19">19</a>, <a href="#Page_154">154</a>.<br /> +— Ramblers, <a href="#Page_20">20</a>.<br /> +<br /> +<br /> +R.<br /> +<br /> +Raffia, <a href="#Page_12">12</a>, <a href="#Page_30">30</a>.<br /> +<br /> +Rivers, Mr. Thomas, <a href="#Page_111">111</a>.<br /> +— Amateur's Rose Guide, <a href="#Page_35">35</a>-<a href="#Page_36">6</a>, <a href="#Page_72">72</a>, <a href="#Page_82">82</a>, <a href="#Page_112">112</a>, <a href="#Page_123">123</a>.<br /> +<br /> +Rose, Apothecary's, <a href="#Page_40">40</a>.<br /> +— Blush tea-scented, <a href="#Page_81">81</a>.<br /> +— Camoëns, <a href="#Page_125">125</a>.<br /> +— Caroline Testout, <a href="#Page_97">97</a>.<br /> +— Cherokee, <a href="#Page_54">54</a>, <a href="#Page_63">63</a>.<br /> +— Conrad F. Meyer, <a href="#Page_46">46</a>.<br /> +— Crimson Perpetual, <a href="#Page_111">111</a>.<br /> +— Crimson Rambler, <a href="#Page_58">58</a>.<br /> +— de Meaux, <a href="#Page_23">23</a>, <a href="#Page_37">37</a>, <a href="#Page_39">39</a>.<br /> +— de Provins, <a href="#Page_39">39</a>.<br /> +— Devoniensis, <a href="#Page_82">82</a>.<br /> +— Fortune's Yellow, <a href="#Page_20">20</a>, <a href="#Page_69">69</a>-<a href="#Page_70">70</a>.<br /> +— Frau Karl Druschki, <a href="#Page_114">114</a>.<br /> +— General Schablikine, <a href="#Page_85">85</a>.<br /> +— Gloire de Dijon, <a href="#Page_82">82</a>.<br /> +— — — Rosamènes, <a href="#Page_112">112</a>, <a href="#Page_124">124</a>.<br /> +— Jaune Desprez, <a href="#Page_69">69</a>.<br /> +— La France, <a href="#Page_93">93</a>.<br /> +— Lyon, <a href="#Page_43">43</a>.<br /> +— Mme. Constant Soupert, <a href="#Page_85">85</a>.<br /> +— Mme. Segond Weber, <a href="#Page_95">95</a>, <a href="#Page_98">98</a>.<br /> +— M. Tillier, <a href="#Page_84">84</a>.<br /> +— Peace, <a href="#Page_85">85</a>, <a href="#Page_99">99</a>.<br /> +— Perpetual Damask, <a href="#Page_124">124</a>.<br /> +— Rêve d'Or, <a href="#Page_71">71</a>.<br /> +— Souv. d'un Ami, <a href="#Page_81">81</a>.<br /> +— Yellow China, <a href="#Page_81">81</a>.<br /> +<br /> +Rose-chafer, <a href="#Page_143">143</a>.<br /> +— Leaf scorch, <a href="#Page_138">138</a>.<br /> +— Pests, <a href="#Page_136">136</a>-<a href="#Page_150">50</a>, <a href="#Page_156">156</a>.<br /> +— — remedies for, <a href="#Page_148">148</a>-<a href="#Page_150">150</a>, <a href="#Page_156">156</a>.<br /> +— roots, care of, <a href="#Page_8">8</a>-<a href="#Page_9">9</a>.<br /> +— — and manure, <a href="#Page_7">7</a>, <a href="#Page_10">10</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Roses—<br /> +— arrangements in colour, <a href="#Page_114">114</a>-<a href="#Page_116">16</a>.<br /> +— Alba, <a href="#Page_41">41</a>, <a href="#Page_48">48</a>.<br /> +— Austrian briars, <a href="#Page_42">42</a>, <a href="#Page_49">49</a>.<br /> +— Autumn flowing climbers, <a href="#Page_68">68</a>-<a href="#Page_79">79</a>.<br /> +— Ayrshire, <a href="#Page_52">52</a>, <a href="#Page_62">62</a>.<br /> +— Banksian, <a href="#Page_53">53</a>-<a href="#Page_54">4</a>, <a href="#Page_63">63</a>.<br /> +— Bourbon, <a href="#Page_123">123</a>, <a href="#Page_130">130</a>.<br /> +— Boursault, <a href="#Page_55">55</a>, <a href="#Page_63">63</a>.<br /> +— Brunonis, <a href="#Page_73">73</a>.<br /> +— Cabbage or Provence, <a href="#Page_38">38</a>, <a href="#Page_47">47</a>.<br /> +— China, <a href="#Page_126">126</a>, <a href="#Page_131">131</a>.<br /> +— Damask, <a href="#Page_41">41</a>, <a href="#Page_48">48</a>.<br /> +— Dwarf Polyantha, <a href="#Page_128">128</a>, <a href="#Page_133">133</a>.<br /> +— Evergreen, <a href="#Page_53">53</a>, <a href="#Page_63">63</a>.<br /> +— French or Gallica, <a href="#Page_39">39</a>-<a href="#Page_40">40</a>, <a href="#Page_48">48</a>.<br /> +— Hungarian, <a href="#Page_56">56</a>, <a href="#Page_64">64</a>.<br /> +— Hybrid China, <a href="#Page_56">56</a>-<a href="#Page_57">7</a>, <a href="#Page_64">64</a>, <a href="#Page_112">112</a>.<br /> +— Hybrid Perpetual, <a href="#Page_111">111</a>-<a href="#Page_122">122</a>.<br /> +— — — climbing, <a href="#Page_74">74</a>, <a href="#Page_76">76</a>.<br /> +— Hybrid Tea, <a href="#Page_92">92</a>-<a href="#Page_110">110</a>.<br /> +— — — climbing, <a href="#Page_76">76</a>-<a href="#Page_79">9</a>.<br /> +— Irish single, <a href="#Page_90">90</a>, <a href="#Page_110">110</a>.<br /> +— Macartney, <a href="#Page_73">73</a>.<br /> +— Moss, <a href="#Page_39">39</a>, <a href="#Page_47">47</a>-<a href="#Page_48">8</a>.<br /> +— Multiflora or Rambler, <a href="#Page_57">57</a>-<a href="#Page_59">9</a>, <a href="#Page_65">65</a>-<a href="#Page_66">6</a>.<br /> +<span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span>— Musk, <a href="#Page_71">71</a>-<a href="#Page_73">3</a>.<br /> +— Noisette, <a href="#Page_68">68</a>-<a href="#Page_71">71</a>, <a href="#Page_74">74</a>-<a href="#Page_75">5</a>.<br /> +— Pernetiana, <a href="#Page_42">42</a>-<a href="#Page_43">3</a>, <a href="#Page_50">50</a>.<br /> +— Prairie, <a href="#Page_55">55</a>, <a href="#Page_64">64</a>.<br /> +— Rugosa or Ramanas, <a href="#Page_45">45</a>-<a href="#Page_47">7</a>, <a href="#Page_50">50</a>-<a href="#Page_51">1</a>.<br /> +— Scotch briar, <a href="#Page_45">45</a>, <a href="#Page_50">50</a>.<br /> +— Sinica, <a href="#Page_54">54</a>, <a href="#Page_63">63</a>.<br /> +— Summer-flowering dwarf, <a href="#Page_36">36</a>-<a href="#Page_51">51</a>.<br /> +— — climbing, <a href="#Page_52">52</a>-<a href="#Page_67">67</a>.<br /> +— Sweet briar, <a href="#Page_44">44</a>, <a href="#Page_50">50</a>.<br /> +— — — Penzance, <a href="#Page_43">43</a>-<a href="#Page_44">4</a>, <a href="#Page_50">50</a>.<br /> +— Tea, <a href="#Page_80">80</a>-<a href="#Page_92">92</a>.<br /> +— — climbing, <a href="#Page_70">70</a>-<a href="#Page_79">9</a>.<br /> +— Wichuraiana, <a href="#Page_60">60</a>-<a href="#Page_62">2</a>, <a href="#Page_66">66</a>-<a href="#Page_67">7</a>.<br /> +<br /> +<br /> +S.<br /> +<br /> +Sawflies, <a href="#Page_144">144</a>-<a href="#Page_145">5</a>.<br /> +<br /> +Sécateurs, <a href="#Page_9">9</a>, <a href="#Page_17">17</a>.<br /> +<br /> +Shades for rose blooms, <a href="#Page_159">159</a>.<br /> +<br /> +Shelter, <a href="#Page_2">2</a>, <a href="#Page_151">151</a>.<br /> +<br /> +Size of beds, <a href="#Page_5">5</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Soil, <a href="#Page_3">3</a>-<a href="#Page_5">5</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Soot, use of, <a href="#Page_155">155</a>.<br /> +<br /> +Sooty mould, <a href="#Page_139">139</a>.<br /> +<br /> +Standards, <a href="#Page_116">116</a>, <a href="#Page_154">154</a>.<br /> +— budding, <a href="#Page_28">28</a>.<br /> +— planting, <a href="#Page_12">12</a>.<br /> +<br /> +<br /> +T.<br /> +<br /> +Tarred twine, <a href="#Page_12">12</a>.<br /> +<br /> +Trenching, <a href="#Page_6">6</a>.<br /> +<br /> +<br /> +U.<br /> +<br /> +Unpacking new roses, <a href="#Page_8">8</a>.<br /> +<br /> +<br /> +W.<br /> +<br /> +Washes—<br /> +— Abol, White's Superior, <a href="#Page_148">148</a>.<br /> +— Arsenate of lead, <a href="#Page_146">146</a>-<a href="#Page_149">9</a>.<br /> +— Hellebore, <a href="#Page_145">145</a>, <a href="#Page_149">149</a>.<br /> +— Liver of sulphur, <a href="#Page_138">138</a>, <a href="#Page_150">150</a>.<br /> +— Soft soap and Quassia, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>, <a href="#Page_156">156</a>.<br /> +— Tobacco, <a href="#Page_141">141</a>-<a href="#Page_142">2</a>, <a href="#Page_149">149</a>.<br /> +<br /> +Wire, danger of, <a href="#Page_12">12</a>-<a href="#Page_13">13</a>.<br /> +</div> + + + + +<hr style="width: 65%;" /> + +<div class='copyright'><p><span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span></p> + +<span class="smcap">Richard Clay & Sons, Limited,</span><br /> +BREAD STREET HILL, E.C., AND<br /> +BUNGAY, <ins title="Transcriber's Note: original reads 'SUFFOK'">SUFFOLK</ins>.<br /> +</div> + + +<hr style="width: 45%;" /> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> See pruning, <a href="#Page_17">p. 17</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> But as these are apt to get moved, whether by human hands, +or by cats and dogs, who take a diabolic pleasure in pulling them +out and knocking them over, it is well to make an exact list of +the position of each rose on paper.</p></div> + + +<div class="footnote"><p><a name="Footnote_3_4" id="Footnote_3_4"></a><a href="#FNanchor_3_4"><span class="label">[3]</span></a> See pruning, <a href="#Page_26">p. 26</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_4_5" id="Footnote_4_5"></a><a href="#FNanchor_4_5"><span class="label">[4]</span></a> See <a href="#Irish_Elegance2">Illustration</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_5_6" id="Footnote_5_6"></a><a href="#FNanchor_5_6"><span class="label">[5]</span></a> This rose, which belongs to the group of Damask Perpetual +roses, <i>R. Damascena</i>, is still cultivated under the same name. +Messrs. Wm. Paul & Son say "this was formerly a favourite +group of autumnal roses."</p></div> + +<div class="footnote"><p><a name="Footnote_6_7" id="Footnote_6_7"></a><a href="#FNanchor_6_7"><span class="label">[6]</span></a> See <a href="#Page_57">p. 57</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_7_8" id="Footnote_7_8"></a><a href="#FNanchor_7_8"><span class="label">[7]</span></a> Rivers' <i>Rose Amateur's Guide</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_8_9" id="Footnote_8_9"></a><a href="#FNanchor_8_9"><span class="label">[8]</span></a> See <a href="#Page_57">p. 57</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_9_10" id="Footnote_9_10"></a><a href="#FNanchor_9_10"><span class="label">[9]</span></a> <a href="#Page_149">p. 149</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_10_11" id="Footnote_10_11"></a><a href="#FNanchor_10_11"><span class="label">[10]</span></a> <a href="#Page_149">p. 149</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_11_12" id="Footnote_11_12"></a><a href="#FNanchor_11_12"><span class="label">[11]</span></a> See <a href="#Page_1">Chapter I</a>, "Making the Beds."</p></div> + +<div class="footnote"><p><a name="Footnote_12_13" id="Footnote_12_13"></a><a href="#FNanchor_12_13"><span class="label">[12]</span></a> See <a href="#Page_15">Chapter II</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_13_14" id="Footnote_13_14"></a><a href="#FNanchor_13_14"><span class="label">[13]</span></a> See <a href="#Page_1">Chapter I</a>, and above, <a href="#Page_152">p. 152</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_14_15" id="Footnote_14_15"></a><a href="#FNanchor_14_15"><span class="label">[14]</span></a> See <a href="#Page_136">Chapter X</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_15_16" id="Footnote_15_16"></a><a href="#FNanchor_15_16"><span class="label">[15]</span></a> See above.</p></div> + +</div> + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_i_ad" id="Page_i_ad">[i]</a></span></p> +<div class='bbox'><h2>H. LANE & SON.</h2> + +<div class='center'><i><b>The Nurseries</b></i>,<br /> + +<span style="margin-left: 4em;"><b>BERKHAMSTED,</b></span></div> + +<p>BEG TO OFFER</p> + + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Best selected roses"> +<tr><td align='right'>12</td><td align='left'> Best</td><td align='left'> Selected</td><td align='left'> Standard</td><td align='left'>H.P.</td><td align='left'>Roses</td><td align='left'>for</td><td align='right'><b>15/-</b></td></tr> +<tr><td align='right'>100</td><td align='center'>"</td><td align='center'>"</td><td align='left'>Dwarf</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='right'><b>60/-</b></td></tr> +<tr><td align='right'>12</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='right'><b>9/-</b></td></tr> +<tr><td align='right'>12</td><td align='center'>"</td><td align='center'>"</td><td align='left' colspan='3'>Climbing Roses</td><td align='center'>"</td><td align='right'><b>10/-</b></td></tr> +<tr><td align='right'>12</td><td align='center'>"</td><td align='center'>"</td><td align='left' colspan='4'>Standard Tea & H.T. Roses </td><td align='right'><b>21/-</b></td></tr> +<tr><td align='right'>12</td><td align='center'>"</td><td align='center'>"</td><td align='left'>Dwarf</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='right'><b>12/-</b></td></tr> +</table></div> + +<div class='center'>———————<br /></div> + + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Selected"> +<tr><td align='right'>10</td><td align='left'> Selected</td><td align='left'> Pyramid</td><td align='left'> Plums,</td><td align='left'> best</td><td align='left'> Dessert</td><td align='left'> for </td><td align='right'><b>15/-</b></td></tr> +<tr><td align='right'>10</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='left'>Kitchen</td><td align='center'>"</td><td align='right'><b>15/-</b></td></tr> +<tr><td align='right'>10</td><td align='center'>"</td><td align='center'>"</td><td align='left' colspan='3'>Pears, best vars.</td><td align='center'>"</td><td align='right'><b>15/-</b></td></tr> +<tr><td align='right'>10</td><td align='center'>"</td><td align='center'>"</td><td align='left'>Apples</td><td align='center'>"</td><td align='left'>Dessert</td><td align='center'>"</td><td align='right'><b>15/-</b></td></tr> +<tr><td align='right'>10</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='center'>"</td><td align='left'>Kitchen</td><td align='center'>"</td><td align='right'><b>15/-</b></td></tr> +</table></div> + + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="More trees, et al."> +<tr><td align='left' colspan='2'>Standard Fruit Trees from</td><td align='right'><b>18/-</b> to <b>30/-</b> doz.</td></tr> +<tr><td align='left' colspan='2'>Grape Vines, from</td><td align='right'><b>5/-</b> to <b>15/-</b> each.</td></tr> +<tr><td align='left'>Dwarf-trained</td><td align='left'> Plums, Pears, Apples and Cherries</td><td align='right'><b>2/6</b> to <b>3/6</b> each.</td></tr> +<tr><td align='center'>"</td><td align='left'>Peaches, Nectarines, and Apricots,</td><td align='right'><b>5/-</b> each.</td></tr> +<tr><td align='left' colspan='2'>Gooseberries and Currants</td><td align='right'><b>4/-</b> to <b>6/-</b> doz.</td></tr> +<tr><td align='left' colspan='2'>Specimen Trees, Conifers, &c. from</td><td align='right'><b>2/6</b> to <b>42/-</b> each.</td></tr> +<tr><td align='left' colspan='2'>100 Flowering Shrubs in Variety for</td><td align='right'><b>40/-</b></td></tr> +<tr><td align='left' colspan='2'>Rhododendrons, from</td><td align='right'><b>18/-</b> doz.</td></tr> +</table></div> + +<div class='center'> +Forest Trees, Evergreen Shrubs, all sizes and<br /> +prices. Climbers, &c.<br /> + + +———————<br /> + + +All our Trees are well grown and very hardy.<br /> + + +———————<br /> + + +<i><b>Write for Catalogue "L," free on Application.</b></i><br /> + + +———————<br /> + + +<i><b>Established 130 Years.</b></i><br /> +<br /> +Telephone: 18 Berkhamsted. Telegrams: "Lane, Berkhamsted."<br /></div> +</div> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_ii_ad" id="Page_ii_ad">[ii]</a></span></p> + +<div class='bbox'> +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="Weed killer"> +<tr><td align='left'><div class="figcenter" style="width: 150px;"> +<img src="images/ill-ad-0246a.png" width="150" height="150" alt="WEEDY LAWNS TRANSFORMED TENNIS COURTS, BOWLING GREENS ETC" title="" /> +</div><br /> +</td><td align='left'><h3><span class="smcap">By "CLIMAX" LAWN SAND</span></h3>which destroys Moss, Daisies, Plantains, and other disfiguring +weeds on lawns and greens, at the same time so promoting +the growth of the finer grasses that spaces previously +occupied by weeds are quickly covered by a sward of fine +close-growing grass which will preserve its good colour under +conditions of continuous use and drought. It may be applied +during dry weather at almost any season of the year.</td></tr> +</table></div> + + + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Further ad"> +<tr><td align='left'><b>THE EFFECT</b></td><td align='left'>of an application is apparent within a few hours. The weeds blacken and die, but the grass soon recovers its colour.</td></tr> +<tr><td align='left'><b>QUANTITY REQUIRED</b></td><td align='left'>28 lbs. will dress from 100 to 150 square yards, according to the number and variety of weeds.</td></tr> +<tr><td align='left'><b>PRICES.</b><br /><span class="smcap">Carriage Paid.</span></td><td align='left'>Packages free; sample tin <b>1/3</b>; 7 lbs., <b>2/-</b>; 14 lbs., <b>3/6</b>; 28 lbs., <b>6/-</b>; 56 lbs., <b>11/-</b>; 1 cwt., <b>20/-</b>; 5 cwt., <b>90/-</b>; 10 cwt., <b>170/-</b>; 20 cwt., <b>£16-10-0</b>.</td></tr> +</table></div> +</div><div class='bbox'> + + + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Weed killer"> +<tr><td align='left'><div class="figcenter" style="width: 150px;"> +<img src="images/ill-ad-0246b.png" width="150" height="150" alt="EVERY WEED DESTROYED ROOT AND BRANCH" title="" /> +</div> +</td><td align='center'><b>ON CARRIAGE DRIVES, ROADS, PATHS, Etc.,</b><br /> +BY A SINGLE APPLICATION OF<br /> +<h3>"CLIMAX" WEED KILLER.</h3> +The use of which dispenses with hoeing and weeding, and +keeps the surface bright and firm. It does not burn, stain or +smell offensively. Used in every County during the last fifteen +years by Municipal Bodies, surveyors, estate agents, etc.</td></tr> +</table></div> + + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Further ad"> +<tr><td align='left'><b>LIQUID<br />WEED<br />KILLER.</b></td><td align='left'>One gall. makes 51 galls. sufficient for 160 to 200 square yards. PRICES (carriage paid) Drums and Casks Free: ½-gall. <b>2/3</b>; 1 gall. <b>3/6</b>; 5 galls. <b>15/-</b>; 10 galls. <b>26/-</b>; 20 galls. <b>50/-</b>; 40 galls. <b>90/-</b>;</td></tr> +<tr><td align='left'><b>POWDER<br />WEED<br />KILLER.</b></td><td align='left'>Packed in air-tight tins. Mixes readily in cold water without heat or fumes. Equal in effectiveness to the liquid. Convenient to store and handle, it will keep for an indefinite period. Measure to make small quantities enclosed with each order.</td></tr> +<tr><td align='left'><b>PRICES</b><br />Carriage Paid Tins Free.</td><td align='left'><b>No. 1 Tin</b> makes 25 galls. to dress 80 to 100 yards, <b>2/-</b>; 2 tins <b>3/6</b>; 12 tins <b>20/-</b>. <b>No. 2 Tin</b> makes 100 galls. to dress 320 to 400 square yards, <b>6/6</b>; 2 tins <b>12/6</b>; 5 tins <b>28/-</b>; 10 tins <b>55/-</b>; 20 tins <b>100/-</b>.</td></tr> +</table></div> +</div> + +<div class='bbox'> + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Aphol"> +<tr><td align='left' rowspan='2'><div class="figcenter" style="width: 150px;"> +<img src="images/ill-ad-0246c.png" width="150" height="148" alt="SLUGS, ANTS, DESTROYED WIREWORM WOODLICE ETC. QUICKLY" title="" /> +</div> +</td><td align='left'><h2>BY 'ALPHOL'</h2></td><td align='left'><b>WHICH IN ADDITION TO PROMOTING +THE GROWTH OF PLANTS WILL +ALSO DESTROY EVERY VARIETY +INSECT INFESTING THE SOIL</b>.</td></tr> +<tr><td align='left' colspan='2'>It is a dry non-poisonous powder which should be freely dug +into the soil to destroy wireworm and other larvæ, while for +Ants, Slugs, and Woodlice, a light sprinkling on the surface +is sufficient. When making up potting soil, manure or leaf +mould, an occasional sprinkling will increase the manurial value +and also destroy the worms and other insects. By use of +'<b>ALPHOL</b>', ground which previously teemed with insect life will grow splendid crops.</td></tr> +</table></div> + + + + +<div class='center'><b>CATS WILL NOT SCRATCH WHERE ALPHOL HAS BEEN USED.</b></div> + + +<div class='center'> +<table border="0" cellpadding="1" cellspacing="0" summary="Further ad"> +<tr><td align='left'><b>QUANTITY<br />REQUIRED</b></td><td align='left'>On medium and heavy land 28 lbs. will dress 250 square yards, or 5 cwt. will dress an acre; on light sandy land, 25% more will be required; for compost and manure heaps 7 to 14 lbs. to each ton.</td></tr> +<tr><td align='left'><b>PRICES.</b><br /><span class="smcap">Carriage Paid.</span></td><td align='left'>7 lbs. <b>2/-</b>; 14 lbs. <b>3/-</b>; 28 lbs <b>5/-</b>; 56 lbs. <b>8/6</b>; 1 cwt. <b>15/-</b>; 5 cwt. <b>75/-</b>; 10 cwt. <b>£7</b>; 20 cwt. <b>£13-10.</b> (Sample Tin <b>1/3</b> post free)</td></tr> +</table></div> +<div class='center'><b>NOTE.—"ALPHOL" IS ALSO AN EFFICIENT MANURE.</b></div> + +</div> +<div class='center'> +<big><b>THE BOUNDARY CHEMICAL Co Ltd., Cranmer St., Liverpool.</b></big><br /> +<b>SEND FOR A COPY OF "RELIABLE GARDEN HELPS."</b><br /> +</div> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_iii_ad" id="Page_iii_ad">[iii]</a></span></p> + + +<div class='bbox'> +<h2><span class="u">ROSES!</span></h2> + + +<p>Indispensable to all lovers of a garden are our +Rose and BULB CATALOGUES, containing +100 unpublished Illustrations.</p> + +<p>FULL CULTURAL DIRECTIONS sent +free on application by</p> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="Ad line up"> +<tr><td align='left'><big><b>GEMEN & BOURG,</b></big></td><td align='left'>LUXEMBOURG,<br />Grand Duchy.</td></tr> +</table></div> + +<div class="center"><i>The Largest Rose Growers and Bulb Importers of the Continent. +Orders from £1 sent free of charge.</i><br /> + +Our products are Stronger, Hardier and Cheaper +than anywhere else.</div></div> + +<hr style="width: 65%;" /> +<div class='bbox'> +<div class='center'><b>Artistic Garden Trellis, Arches, Pergolas, +Arbours, and similar goods for training +Climbing Roses.</b></div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/ill-ad-0247.png" width="300" height="208" alt="Arbor" title="" /> +</div> + +<div><br /> +<span style="margin-left: 6em;"><b><big>WALTERS & Co.,</big></b></span><br /> +<span style="margin-left: 10em;"><b>16 Water Lane,</b></span><br /> +<span style="margin-left: 14em;"><b>Great Tower Street,</b></span><br /> +<span style="margin-left: 18em;"><b>LONDON, E.C.</b></span><br /><br /> +</div> + +<div class='center'>———————<br /><b>MAKERS OF HIGH-CLASS GARDEN FURNITURE. PRICE LISTS FREE.</b></div> +</div> +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_iv_ad" id="Page_iv_ad">[iv]</a></span></p> + +<div class='bbox'> +<h2>ROSES————</h2> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Ad list"> +<tr><td align='left'>One of the most complete Collections on the Globe.</td></tr> +<tr><td align='left'>First-class Plants Unsurpassed.</td></tr> +<tr><td align='left'>Export trade all over the world.</td></tr> +<tr><td align='left'>Raisers of famous Novelties.</td></tr> +<tr><td align='left'>All best New Roses of British, American and Continental raisers.</td></tr> +</table></div> +<div class='center'>———————<br /> +<big><b>SOUPERT & NOTTING</b></big><br /> + +<b>LUXEMBOURG, Grand Duchy.</b><br /> + +<b>Rose Growers by Royal Appointment. Established Half a Century.</b><br /> +———————<br /> +<span style="margin-right: 12em;"><b>Illustrated Catalogue Gratis</b></span><br /> +<b>and Post Free on application.</b><br /> +</div> +</div> +<hr style="width: 65%;" /> + +<div class='center'> <table class="rose" summary="rose"> +<tr><td align='left'><br /><br /><br /><br /><br /> +<b>All Strong</b><br /> +<span style="margin-left: 1em;"><b>and</b></span><br /> +<b>Home-grown</b><br /> +<span style="margin-left: .5em;"><b>Plants.</b></span><br /> +<br /> + +<big><b>Collection "C"</b></big><br /> +<span style="margin-left: 2em;"><big><b>Garden Roses.</b></big></span><br /> + +<div class='blockquot2'>The Finest selection of <b>25 Garden Roses</b> +possible in dwarf plants for <b>15s.</b> (with Acme +Labels, <b>17s. 6d.</b>), carriage and packing free +for cash with order. Full details on application<br /> +<br /> +Send for Catalogue No. 28, giving full details, and +is also a full descriptive list of Roses, Fruits, Ornamental +Trees, Shrubs, and Plants, post free on +application to—</div> + + +<b>Messrs. H. MERRYWEATHER & SONS, Ltd.</b><br /> +<span style="margin-left: 4em;"><b>Garden Specialists,</b></span><br /> + +<span style="margin-left: 8em;"><i><b>SOUTHWELL,</b></i></span><br /> +<span style="margin-left: 12em;"><i><b>NOTTS.</b></i></span><br /> + +<br /><br /><br /><br /></td> +</tr></table></div> +<hr style="width: 65%;" /> +<div class='tnote'><h3>Transcriber's Notes:</h3> +<p>Obvious punctuation errors repaired. Accents, except where noted, were left as in the original.</p> + +<p>The remaining corrections made are indicated by dotted lines under the corrections. Scroll the mouse over the word and the original text will <ins title="Transcriber's Note: original reads 'apprear'">appear</ins>.</p></div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Roses and Rose Growing, by Rose Georgina Kingsley + +*** END OF THIS PROJECT GUTENBERG EBOOK ROSES AND ROSE GROWING *** + +***** This file should be named 33464-h.htm or 33464-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/3/4/6/33464/ + +Produced by Karl Eichwalder, Emmy and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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