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is split leaf philodendron a type of fern

is split leaf philodendron a type of fern Split Leaf Philodendron

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Description

is split leaf philodendron a type of fern Split Leaf PhilodendronThe Split Leaf Philodendron is a well known plant that is a new addition to the Plants by Mail catalog! These tropical houseplants are highly sought after because of their large, leafy foliage. So, if you are searching for a refreshing change let us introduce you to your new favorite philodendron. Philodendron can be a slow growing plant that will take 10 to 15 years to fully mature if planted indoors. What's the difference between Split Leaf

The Split Leaf Philodendron is a well-known plant that is a new addition to the Plants by Mail catalog! These tropical houseplants are highly sought after because of their large, leafy foliage. So, if you are searching for a refreshing change - let us introduce you to your new favorite philodendron. Philodendron can be a slow-growing plant that will take 10 to 15 years to fully mature if planted indoors.

What's the difference between Split Leaf Philodendron and Monstera Deliciosa?

Split Leaf Philodendron is commonly mistaken for the monstera deliciosa or Swiss Cheese plant, but these are two different plants. They both are tropical plants with glossy green leaves that feature breaks in the foliage, but that's where the comparisons stop.

What Makes Split Leaf Unique?

The Split Leaf Philodendron has significant splits that extend out from the center and reach up - similar to fingers on an outstretched hand. The fringe of the split leaf ruffles slightly, giving the foliage a rolling appearance with lots of textures. There are also no swiss cheese holes in these leaves.

What Makes Monstera Deliciosa Different?

Swiss Cheese Plant has much larger foliage with no ruffled fringe and an almost leathery appearance. Each Leaf is much larger than the split leaf, and it features a mixture of both splits and swiss cheese-like holes in the foliage.

Where to Use Split Leaf Philodendrons

These tropical plants are members of the Araceae family and are native to the tropical and subtropical climates of Brazil, Bolivia, Argentina, and Paraguay.

Planting Outdoors

In subtropical and tropical climates, this plant is an aggressive grower outdoors. It can be grown outdoors in USDA Zones 9-11. When the philodendron plant is young, provide it with special care in the winter months during intense bouts of cold.

Fully mature split leaf plants can average 15 feet tall and 15 feet wide when grown outdoors. Give them ample space to spread their limbs, and this tropical plant will fill an area with a lush green texture.

Growing Indoors as Container Plant

Split Leaf has become a darling houseplant in social media over the past couple of years, and it's easy to see why. Split Leaf Philodendron grows at a far more modest rate indoors. They will be confined by the size of the room and their pot when used as a houseplant. They grow to a maximum height of 6 feet tall by 6 feet wide.

Choose a container that is right for your area. If you choose a smaller container, the root ball will be contristicted and the plant will have a far more modest growth habit. If you choose a pot that is larger, it will allow the root ball to get larger and the plant will become taller and fuller as a result.

Their characteristic ruffled leaves will remain a part of their growth indoors, but they do not get as large as they would outside. The leaves also can cleanse the air by removing formaldehyde.

Like other Philodendrons, the Split Leaf enjoys moist soil that is never soggy! Excessive moisture can quickly lead to root rot at the base of the plant.

Split Leaf Philodendron Care

Are Split Leaf Philodendrons Cold Hardy?

The split leaf philodendron plant is hardy in USDA Zones 9 - 11, making it a tropical plant that doesn't tolerate long bouts of cold. Therefore, you should give extra care to these plants in the winter months of USDA Zone 9 areas. Philodendron prefers high humidity and moderate temperatures year round.

Since these Split Leaf plants are commonly used as houseplants, you can bring your container inside any time to avoid less than ideal conditions.

Sunlight Requirements

Split-leaf philodendrons need lots of bright indirect light to thrive. However, don't plant them in full sun, or they may brown. Instead, provide them with lots of dappled or indirect sun to help them thrive. Low light conditions can lead to leggy plants reaching for the sun.

Planting Tips

Well-draining soil is essential for Split Leaf Philodendrons as they are highly susceptible to root rot. Use neutral pH soil mix for best results. This indoor plant enjoys moist but not soggy potting soil. Allow the top 2 inches of the soil to dry before watering again. Yellow to brown leaves is the number one sign of overwatering your root ball.

Cleaning this plant is a relatively easy task, but it is essential to the health of the foliage. You will want to routinely mist the leaves with water and wipe them down with a soft cloth.

Fertilizing is a great way to ensure that your split leaf remains healthy and thriving. When it comes time to fertilize, we recommend once a month from spring until fall.

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Amanda Becker
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★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
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Great face mask
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Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
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Tammy Marshall
Chelsea, US
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Charlottesville, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Fort Morgan, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002

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