SKU: 33898655396
lavender twist weeping redbud tree zone

lavender twist weeping redbud tree zone Lavender Twist Weeping Redbud

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Description

lavender twist weeping redbud tree zone Lavender Twist Weeping RedbudForm and Flowers Lavender Twist Weeping Redbud Small, Cascading Accent Tree Beautiful Pink Flowers in Spring Amazing Fall Color Attracts Butterflies & Hummingbirds Versatile in the Landscape Living Sculpture! Heart Shaped Leaves Unique Zig Zag Stems Easy Care Full Sun to Part Shade It's nearly impossible to resist the charm of this tiny, adorable tree. With its amazing spring and fall color and unique umbrella shape, the Lavender Twist Weeping Redbud

Form and Flowers Lavender Twist® Weeping Redbud

  • Small, Cascading Accent Tree
  • Beautiful Pink Flowers in Spring
  • Amazing Fall Color
  • Attracts Butterflies & Hummingbirds
  • Versatile in the Landscape
  • Living Sculpture!
  • Heart-Shaped Leaves
  • Unique Zig-Zag Stems
  • Easy-Care
  • Full Sun to Part Shade

It's nearly impossible to resist the charm of this tiny, adorable tree. With its amazing spring and fall color and unique umbrella shape, the Lavender Twist® Weeping Redbud tree (Cercis canadensis 'Covey') packs a lot of interest into a small plant!

The impact is accentuated by the weeping, twisted branches tipping towards the ground. This tiny tree explodes in the spring with electric lavender flower clusters cascading along the bare, weeping branches in early spring.

You'll be amazed how quickly hummingbirds and butterflies will flock to its fragrant branches. They'll adore the early nectar source!

As the season transitions into summer, the density of the Lavender Twist®s canopy becomes another very attractive feature. Large, dark, heart-shaped leaves cover the plant all through the growing season.

The leaves have a glossy upper surface and will shimmer in the sunlight. The brilliant yellow fall color adds another highlight to the performance.

No matter how large - or how small - your landscape is, there is always room for a Lavender Twist® or two.

We sell out of this fabulous tree every single year. If you see it in stock, order today to avoid disappointment!

How to Use Lavender Twist® Weeping Redbud in the Landscape

It's easy to use this versatile, endearing tree in many places in the landscape. It makes an incredible focal point as a living sculpture. It can also be used as a very effective accent tree.

Use Lavender Twist® to block out unwanted low views in the garden. You can think of it as a cute, little screen to give strategic privacy.

You'll love the way this pretty plant helps you relax on your patio. Plant it behind a loveseat or near a side door to boost your sense of space. Even if you can't plant it in the ground, it will do well when grown in a container. Use one of the enormous commercial-grade containers available now for decades of enjoyment.

Include one or more in your front yard. It's wonderful as a small tree in a foundation planting. Try it at the corner of your house, situated 15 feet away from the exterior wall. It will be a graceful accent to welcome guests.

Plant several Lavender Twist® along a rocky slope, then, simply allow the branches to grow long and cascade down to soften the wall. This tree can add a bold touch of drama without much extra care beyond providing water as needed.

Or, use 3, 5, or 7 in a berm (large raised mound) planting. We would advise grouping them into smaller clusters for the most natural look. If you use 7, for instance, try a group of 3 in a loose triangle. Then, give breathing room between another group of 4.

This tree has such a sculptural look with its twisting and turning branches. Give each one some breathing room with at least 10 feet between each plant.

Before you plant, draw out your plan on paper. Once your plants arrive, take another moment to place each tree while it's still in the container.

You'll also want to study each of your plants. Decide which trees you'll partner up together. Decide which direction you want each tree to face.

You really, truly can't go wrong or make a mistake with the Lavender Twist® Weeping Redbud.

For a unique screen, plant a row of them 6 - 8 feet apart and let the branches grow down to the ground. This will be an interesting feature all year long. Even in winter, the zigs and zags of the branches will draw your eye.

No matter where you place them, they will look amazing and add so much character. Order now and enjoy!

#ProPlantTips for Care

Lavender Twist® Weeping Redbud tree does require well-drained soil. If puddles remain on your soil after a rain or watering, consider elevating the planting area. Add 18 - 24 inches of soil above the native soil line and plant your tree directly in that mound.

Please don't plant your tree too low in the soil. For container plants, plant at the same level as the nursery soil line. For bareroot trees, look for the color change (soil line) and plant at that depth.

For best results in warm, dry climates, give protection from the hot afternoon sun. Provide a 3-inch deep layer of mulch. You'll start about 2 inches away from the trunk and apply mulch thickly all around the tree to a distance of 3 feet outside the canopy. This will keep the root system nice and cool.

Give it regular summer watering. This is especially important in hardiness Zones 9 - 10.

In the fall, you'll appreciate how quickly the leaves drop once the plant goes dormant. This makes fall cleanup a breeze.

Staking Tips for Young Trees

This beautiful plant naturally grows as a 5-foot-high groundcover, spilling over the ground if left to its own devices. It will spread out over a wide area and can cascade over walls.

But the expert growers at Nature Hills will field train the plant into a small tree with a sturdy trunk that grows upright. The head of the tree will be comprised of downward cascading branches.

Staking Lavender Twist® as a young plant will help continue to develop the height of the trunk. Train it to grow as tall as you'd like.

We do recommend that you keep it staked until the trunk is at least 4 to 5 feet tall. You can even keep it tied to a 10-foot bamboo pole until the trunk is 8 feet tall.

Check the tying tape regularly to ensure it doesn't grow too tight. Retie if you need to as your tree trunk thickens up in caliper.

You can also influence the look of the branches with easy pruning techniques.

Pruning Tips for Lavender Twist® Weeping Redbud

Prune your tree after flowering to direct the spring growth and allow airflow into the canopy.

As the plant matures, fall pruning is required to remove dead, weak, or crossed limbs inside the dense canopy. This will help maintain good airflow.

You also need to decide how long you want to let the branches grow.

Some people allow the cascading limbs to grow to the ground, where they spread out as ground cover around the base of the tree. This bold look grabs attention in any landscape, especially if you have a slope or rock wall.

Lavender Twist® also looks incredible when the straight trunk is exposed. You can prune the lowest branches right back to the main trunk. You can create a manicured umbrella tree by pruning the weeping laterals at the same length all around.

Any way you want to grow it, Lavender Twist® creates a spectacular look in the garden. Place your order now!

Explore More from Nature Hills

If you're drawn to the unique charm of the Lavender Twist® Weeping Redbud, consider exploring other redbud trees and flowering trees that bring spring color to your landscape. For comprehensive care guidance, check out our #ProPlantTips: Best Redbud Tree Varieties & Care Guide and Magical Weeping Trees & How To Care For Them! for specialized advice on weeping varieties. You might also appreciate browsing our collection of native plants to complement this North American beauty in your garden design.

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SKU: 33898655396

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Mary L Mazzocco
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These small books fit into a toddlers hand with vibrant pictures and just enough text to hold their interest. The box is fun to carry
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Nice books! Bought these for my 2 year old grandson fits his little hands perfect. Cute and durable carrying case.
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Dayna
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Charles McDade
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R. C. Walker
Battle Creek, US
★★★★★ 5
The jewel in modern Russia's literary crown.
The problem with modern totalitarian regimes - the most disgusting form of government - is that they produce no art: no music, no literature, no poetry, no architecture, no visual arts. The art that does come out of such states comes from those who hate what they are and oppose them (at least passively). One of the most terrifying possibilities of the 21st Century is that the ultra-conservative/religious right wing of American politics will realize its long-held aim of a totalitarian theocracy. (Another case of the need to be careful what you wish for: the NRA's policy of making sure white supremacists have an adequate supply of Uzis may backfire. If the rightwingers establish their tyranny, one of the first things they'll do is repeal the 2nd Amendment.) The tyrannies of the 1930s and `40s were classics of the form - although reading Orwell's "1984" shows the terrifying possibility that more far-reaching totalitarianism could occur. In prewar Stalinist Russia, the alleged art of the state was "Soviet realism". Even the actual (and therefore anti-Soviet) artists of Russia occasionally felt the brunt of Stalin and his thugs - with results such as Shostakovich's intensely Stalinist (and therefore antimusical) "Hymn of the Forest". The dreary banality of all the arts under such antihuman regimes as Bolshevik Russia and Nazi Germany was almost beyond belief. Even so, flowers bloomed in the virtually sterile artistic soil of Stalin's Russia. Great musical talents such as Prokofiev and Kabalevsky - although no fans of their genocidal dictator - were able produce pretty much what they wanted because their styles tended not to offend Stalin and his cultural goon squad. Literature in the Soviet period suffered even more than music: Russia's greatest writers could publish their works, if at all, abroad. What the government allowed to be published were propagandistic (although not entirely hack) works like Shokolov's "Virgin Soil Upturned". Although the hack writers of the Stalinist period didn't lack talent, the really great writers of the Bolshevik state were obliged to work mostly sub rosa. From the 1920s to the end of his life, Mikhail Afanasyevich Bulgakov lived and worked within the Stalinist tyranny. Denied permission to emigrate and virtually denied permission to create, he lived unhappily until 1940 when he died prematurely of cancer. Paradoxically, Stalin was actually rather fond of Bulgakov, having seen and enjoyed one of his plays. Bulgakov died early enough to avoid Stalin's usual betrayal of nearly everyone he originally befriended (however marginally). The dictator died before he got around to Lavrentiy Beria and some others, but they were certainly on his list by that time. Even at that late date, more than a decade after his death, Bulgakov remained an obscure figure. His greatest work was not published in any form until 1966. This work is "Master and Margarita", one of a small handful of immortal novels produced within (and in defiance of) Soviet Russia - and possibly the greatest of them. The greatness of M&M is advanced by its universality. This is achieved by abstracting it to a large extent from the political reality of 1930s Moscow. While the novel paints a vivid picture of life in the Soviet capital, the Stalinist system is virtually invisible and its founder totally so. M&M could be taking place in the capital of any strongly centrist European state. It should be noted that many editions of M&M exist. The only one you will wish to purchase is this one (translated by Burgin and O'Connor). It is far above the others in the accuracy and felicity of its translation, not to mention its wonderful notes and analytical essay ("Afterword"). The "Master" of the novel's title is in many respects Bulgakov himself: a brilliant writer with little success at being published, whose masterpiece (a novel) seems condemned to nonpublication. The novel in this case is about Pontius Pilatus, the Procurator of Judea until mid-36 CE (the year in which Yeshua bar-Yosif ["Jesus son of Joseph"] was crucified). Some chapters of this novel appear in M&M, allowing the author to tie many elements of M&M together. Bulgakov is well versed in Gospel history, learnedly referring to Yeshua as "ha-Notsri". This term is frequently mistranslated as "the Nazarene" or "of Nazareth" (leading the author of "Matthew" of quote a probably nonexistent older text). It actually means "of the branch", from netser or nezer ("branch") - generally taken to mean a claimed descent from the very early Israeli king David. Bulgakov cleverly gives Pilatus a character that doesn't match what we know of him from Josephus. Similarly he gives us a different Yeshua and Yehudah ("Judas") than we would expect. The "Margarita" of the title, the Master's muse, is in some respects Bulgakov's 3rd wife (and also his muse), Elena Sergeyevna Shilovskaya. In terms of text devoted to her, Margarita is a far more important than the Master. The Master's story line in this work is reality mostly hers. Her name is an important clue to the novel as a whole. Marguerite (Margarita) is one of the names given to Faust's inamorata. In her passionate devotion to the Master, in her uncompromising and uncompomisable innocence, Margarita is a dramatic picture of Marguerite - but more real and compelling than the portraits of Goethe and Gounod. In a literary sense, Margarita as a shadow of Marguerite, just as M&M is a shadow of the Faust legend. It seems equally obvious that the Master must be a shadow of Faust himself. Yet the connection seems improbably remote. The Master appears as anything but Faustian, and rather than immersing himself in the world he has removed himself from it and immured himself in an asylum. Even so, his connection with Faust is palpable and compelling. Faust sought something that was not approved by the mediaeval state: knowledge (particularly of the dark arts). Bulgakov sought something deeply disapproved by the Stalinist state: truth. Indeed, no tyrant or would-be tyrant can tolerate truth. (This, I believe, explains Führer Bush's hatred of the truth and Vice-Führer Cheney's pathological fear of it.) The trinity Faust-Marguerite-Mephisopheles brings us inevitably to the protagonist (dare I say hero?) of M&M, Woland. His name, founded on the German for "where?", raises instant questions about where he is actually from and, consequently, who he actually is. That he is the "devil" of New Testament legend becomes quickly and readily apparent. He begins his visit to Moscow by going after a number of unsavory individuals. That they are of little consequence is a necessary reflection of the fact that going after people of real consequence would have landed Bulgakov in a non-mythical hell thanks to Russia's non-mythical devil (Stalin). That Woland's real mission is salvation - at least of Margarita and the Master - will seem far-fetched to the reader until it actually happens. The question is whether that mission was deliberate - for as Goethe says of his devil, "That Power I serve ... wills forever evil yet does forever good." More accurately in M&M, Woland's mission seems to be insuring that evil begets evil and good begets good. Woland in turn is part of yet another trinity: himself, Behemoth, and Korovyov. Behemoth ("the Beast", one might say) appears mostly in the form of a 6-foot upright cat. Korovyov is more human in form but just as obviously a demon. This trinity turns parts of Moscow upside-down through the use of particularly bizarre pranks. (It might be observed that the prominent presence in their company of an owl and a mirror suggests "[Till] Eulenspiegel", another famous prankster.) The merriment begins almost at once with the death of the unpleasant Rimsky, run over by a streetcar. The image of his head, rolling kabumpty-bumpty-bump down the street is hilariously macabre. Much of the novel is full of this trinity's high-jinks. I'd have to reread the novel with a mind to make notes in this regard, but I suspect that other trinities appear with some frequency in M&M. As the pranks in Moscow wind down, the story shifts gears to focus on the adventures of Margarita with Woland and his entourage. There is a grand ball that takes place in an impossibly large space. This is a reflection of Dante Alighieri's "Inferno". There is then a witch's Sabbath in a remote location. This Faustian episode is accompanied by another, a wild ride on black horses, that appears again at the end of the novel. Throughout, as earlier, it is Woland who guides and directs the activities. Finally, it is Woland, saying he does so at the request of Yeshua, who arranges the salvation of the Master and Margarita. Bulgakov - who has been standing things on their heads throughout the text - thus ultimately stands Christian mythology on its head. It is one of his greatest achievements that he uses the Master's novel and his own novel's ending to add a deep and refreshing humanity to hoary and less human New Testament myths. M&M has lent several sayings to popular Russian culture. Most important of them is the non sequitur, "manuscripts don't burn". In the novel, the Master burns his novel, just as Bulgakov burned the original ms. of M&M. The phrase comes from Woland, but magically produces the Master's ms. Bulgakov, on the other hand, re-transcribed his work from memory. The problem here is, and Bulgakov certainly knew it, that manuscripts do burn. If that were not so, we should now be able to purchase a CD of Sibelius' 8th Symphony. Still, it's amazing how many musicians and authors have left posthumous instructions that certain mss. should be burned, only to have people with a better grasp of reality refuse to burn them. Bulgakov's incomparable novel ends in a chapter of ravishing prose, of which I would like to quote a small paragraph. "'And there too," said Woland, pointing backward. `What would you do in your little basement?' The fragmented sun dimmed in the glass. `Why go back?' continued Woland in a firm and gentle voice. `O Master, thrice a romantic, wouldn't you like to stroll with your beloved under the blossoming cherry trees by day and then listen to Schubert by night? Wouldn't you like to sit over a retort, like Faust, in the hope of creating a new homunculus? Go there! Go there! There where a house and an old servant already await you, where the candles are already burning, but will soon go out because you are about to meet the dawn. Take that road, Master, that one! Farewell! It is time for me to go.'"
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Reviewed in the United States on June 29, 2007

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