Apropos of the remarks on these, page 8: Wal-cott, Woods, Atkinson, and other champion exhibitors use young plants, that is, those under one year old, and the above named at any rate, plants that had been planted out during the summer months and lifted and potted in September. John Thorpe tells me he thinks he gets better flowers from all-summer-long pot-grown plants. They would not dare use two or more years old plants, because if they should, defeat would be inevitable. We do not get as fine flowers from old plants as we do from young ones; for example, see our Boston and New York prize groups. The chrysanthemum is a hardy perennial plant at Philadelphia; then why on earth require a rule that the plants should be all along pot-grown? Besides, being a hardy perennial, by what rule or law shall anyone require that the plants when exhibited shall be under one year old?

Bouvardias and Cape heaths are tender, hence regarded as true pot plants; but what sensible rule in horticulture would deny us the privilege of planting them out in the open garden in summer and lifting and potting them in fall, when practical experience teaches us that such is the most successful method of cultivating them? And if we are thus justified in planting out tender plants, how much more are we justified in growing our hardy, herbaceous, perennial plants in our outdoor gardens? It is perfectly inconsistent to suppose we could exhibit specimen plants of chrysanthemums any more than we could of other hardy plants, as lilies, funkias, larkspurs and pentstemons, otherwise than in pots or the like; and just as inconsistent to require that such hardy plants for exhibition purposes should have been, from their youth up, continuously pot-grown.

The claim of chrysanthemums for pot-culture, in whole or part, consists in their late-blooming nature and our desire to enjoy their gorgeous profusion in the greatest perfection and for the longest possible time. Did they blossom at the same time as the coneflowers and clematis we would no more think of growing them in pots than we would paeonias or bellflowers.

Some Of The Newer Chrysanthemums

During the last two years upwards of a hundred and fifty new varieties have passed under my observation. The following are among the very best and worthy of a place in every collection - in fact, the majority are absolutely indispensable - beginning with the Japanese kinds: Admiration, a lovely shade of rose pink; Comte de Germiny, rich orange brown, very broad petals, reverse silvery bronze; Fabias de Maderanaz, immense size, pure white and lemon yellow, much curled; Francois Delaux, very rich, deep chestnut crimson; Earl of Beaconsfield, a new shade of crimson, with yellow markings; J. Delaux, richest maroon of the largest size, superb; Lady Sel-bourne, flowers of the snowiest white, with broad petals; L'or du Rhin, rich bronzy gold, fine and distinct; Mdlle. Lacroix, a lovely white, much twisted, with lemon center; M. Desbrieux, brassy amber, in dense heads; M. Mcnsillac, the nearest approach to scarlet, fine flower; Rubra striata, creamy yellow, lined with salmon red, grand; Striata perfecta, very large, blush with rosy pink markings.

Chinese and incurved varieties: Duchess of Connaught, silvery rose, incurved, beautiful; Crimson King, intense crimson, reflexed, the best of all dark ones; L'Africaine, orange, yellow and crimson; Mabel Ward, silvery primrose, with perfectly incurved flowers; Madam Croizette, silvery lavender and blush, very large; Royal Purple, rich amaranth; Sir B. Seymour, rich orange brown and silvery bronze; Lord Wolesley, a magnificent flower of a peculiar bronzy red shade.

Pompons: Amaranthina, amaranth; Curiosite, scarlet and gold; La Vierge, flowers of the purest white; Ringleader, silver lavender, tubular florets; Orange Beauty, a gem, pure golden orange.

The seedlings certificated by the New York Horticultural Society in November last, of my raising, are likely to come to the front among the best, and the interest awakened by the fine single forms is remarkable. Queens, N. Y.