On another occasion, when he had arranged a combination of bamboo and morning-glory, he had carefully wrapped strips of paper around each of the flowers early in the morning before they had opened. Later in the afternoon, and just before this flower arrangement was to be shown to a company of guests, he had removed these paper wraps, and, by pouring a certain liquid into the water, had caused the flowers slowly to unfold before the eyes of the delighted spectators. Entertainments of this character, where guests are invited to view various arrangements of flowers made especially for the occasion, are often given. Sometimes a guest is invited to make an extemporary arrangement, the flowers and everything necessary being provided for the purpose. On one occasion, on a visit to the girls' high school in Kioto, I found a class of twenty or thirty girls receiving a lesson in flower arrangement. The professor, an old and distinguished-looking man, was seated before a low stand with a heap of flowers and shrubs at his side, and as Japanese houses are not provided with tables and chairs, the pupils and master were seated on the matted floor. The teacher selected a few sprays from the heap and after carefully trimming off the decayed leaves and twigs, proceeded to arrange the blossoms in a vase standing before him. The lines given to the branches and stems of flowers were not always natural, but the character was given by much twisting and bending, as well as in the manner in which they were fastened in the vase; the stems of the flowers being held firmly in place by two short sticks of wood, wedged in tightly across the neck of the vase. In some instances a forked twig serves the same purpose. The chief feature of Japanese flower arrangement is simplicity, and usually but few flowers are required. The object of this device, therefore, is to give to the stems a firm position and enable them to rise erect out of the centre of the vase. Sometimes small metal crabs, or tortoises, are utilized as wedges. [Illustration: Corner of Japanese Nursery.] [Illustration: Kohenai, Iris and Chrysanthemum in Bamboo Vase.] As the professor arranged the flowers, he carefully explained his method to a group of five or six girls who were seated opposite to him. He impressed upon them the fact that flower arrangements are linear in character: being, in most instances, based on three lines rising gracefully from the neck of the vase. The centre or principal line should be the longest, the second one-half, and the third one-fourth the length of the first. He cautioned them against allowing these three stem-lines to cross one another in a way to form angles, nor should they be permitted to run in parallel lines. Other arrangements are based on five and seven lines and sometimes as many as nine or eleven, but these are uncommon and are rarely seen.