,,art-,,studies ,,from ,,nature1        
,as applied to ,design3                 
,,for ,,the ,,use ,,of                  
,,architects1 ,,designers1 ,,and        
,,manufacturers4                        
,,comprised ,,in ,,four ,,papers ,,by   
,f4 ,e4 ,,hulme1 ,f4,l4,s41 ,f4,s4,a42  
,j4 ,,glaisher1 ,f4,r4,s42              
,s4 ,j4 ,,mackie1 ,f4,g4,s41 ,f4,s4,a42 
,,robert ,,hunt1 ,f4,r4,s4              
,,reprinted ,,from ,,the                
,,art-,,journal4                        
,,with ,,numerous ,,illustrations ,,on  
,,wood4                                 
,,london3               ,,virtue  ,,co41
 #bf1 ,,ivy ,,lane1 ,,paternoster ,,row4
                                        
#ahgb4                                  
,,london3                               
,,printed ,,by ,,virtue ,,and ,,co41    
,,city ,,road4          ,,preface4      
,nature may be studied in many aspects2 
her wealth of service and beauty  is    
freely open to all who seek2 and while  
the man of science1 by patient  study   

and assiduous toil1 may learn something 
of her mystery1 and gather  from her not
 unwilling hands rich treasure of       
knowledge for the benefit  of humanity  
7for without the midnight watch and the 
elaborate  calculation of the astronomer
 navigation would yet be in its infancy2
  without the enthusiasm of the botanist
 as he toils in the tropic forest  the  
virtues of many a healing plant would be
 unknown2 without the keen  perception  
of the geologist the miner's task would 
be in vain71 so the  man of art in no   
less degree may find in her study       
richest elements of  beauty1 loveliest  
suggestions of colour1 forms of infinite
 grace4 ,a  delight in the study of     
,nature1 a desire to realise something  
of its  grandeur1 is a source of        
unbounded pleasure to its possessor1 for
 to him  no walk can be a weariness1 no 
season of the year dreary1 no soil so   
sterile as to be barren of interest3--  
8,the meanest flow'ret of the vale1     
,the simplest note that swells the gale1

       ,the common sun1 the air1 the    
skies1       ,to him are opening        
,paradise40    ,the lichen on the rock1 
the wayside grass1 the many-coloured    
fungi1 are  no less full of beauty than 
the forms that more ordinarily attract  
attention1 and are no less worthy of    
study4 8,the works of the ,lord are     
great1 sought out of all them that have 
pleasure therein20 and ,nature  has ever
 to the devout mind1 from its own       
inherent beauty and its  testimony to   
,him its creator and sustainer1 been a  
study of the deepest  interest4 ,some   
who glance over these opening remarks   
before entering  upon the search for    
such material in the body of the book as
 may seem  available for their immediate
 purpose1 may consider that this view of
  the subject is unpractical2 but we    
would remind such that all art1         
pictorial1 sculptural1 decorative1 or   
what not1 is only noble and worthy  of  
the name so far as it affords food for  
thought in the spectator1 and  testifies

 to thought in the artist1 and that the 
nobility of the work is  in direct      
proportion to such evidence of inner    
life4 ,art that is  sthetic and         
sensuous1 though pleasing to the eye1   
must ever in the  nature of things hold 
a subordinate place to that art which is
 symbolic1  to those forms in which an  
inner meaning may be traced2 and though 
one  work of art may perhaps necessarily
 contain less of this reflected  thought
 than another1 yet this proposition we  
think will hold good1 that  no work of  
art that does not in some way testify to
 this can be  altogether satisfactory1  
for while pleasing for a time to the    
eye1 it  yet leaves the mind            
unsatisfied3 the reverse will equally   
hold good1 and  we may safely repeat    
that in proportion to the thought       
bestowed and  expressed by the artist   
will be the enjoyment and profit to be  
derived  by others from it4 ,the true   
artist will not consider with how small 
expenditure of trouble he may attain his

 end2 he will1 on the contrary1  have a 
heart full of sympathy with all that is 
beautiful4 ,this will  become a wealth  
of knowledge1 will prove a precious     
possession to  himself1 and the result  
must be visible in his work1 and stamp  
it with  ,promethean fire4 ,to the      
artist then who is worthy of the name1  
nothing  can be too petty for regard1   
nothing that the ,creator has pronounced
  8very good0 too insignificant for     
notice2 for in ,nature beauty is        
scattered with a lavish hand1 and the   
fungus that passes through all the      
stages of its existence during a        
summer's night1 and the snow-flake      
still more transient in its duration--  
8,frail1 but a work divine3       ,made 
so fairily well1       ,so exquisitely  
minute1       ,a miracle of design0--   
have a charm of their own no less than  
the higher forms1 while to give  but one
 other example from the many that       
present themselves1 the                 
,foraminifera--animal remains met with  

in chalk cliffs--though only  visible   
with high microscopic power1 have the   
curves of their shells as  graceful1    
designs as varied1 markings as          
intricate1 as perhaps any other  natural
 objects whatsoever4 ,we therefore      
appreciate the quaint fancy1  the       
studied thought of the designer who in  
some old glass that we have  noticed at 
,ockham ,church1 in ,surrey1 while      
making some of his quarry  designs of   
columbine1 rose1 and other lovely forms1
 chose for one of  them a little fungus 
surrounded by cup moss1 and springing   
from the  turf2 frail creatures of a    
day1 meet emblems--like the withering   
grass1  the fading flower--of the short 
estate of man1 the transience of all    
his glory4    ,in the endeavour to      
suggest something of these humbler types
 of beauty  to the artist1 the designer1
 the architect1 and the manufacturer1   
the  following papers have been         
collected from the pages of the         
,art-,journal1 the periodical in which  

they originally appeared1 and  after    
careful revision by their several       
writers1 have been published in  this   
detached form1 in order that they may be
 still more commonly  accessible4       
,the first article is an endeavour on   
the part of the author to indicate      
something of the profusion of beautiful 
form that may be met with in our  hedges
 and skirting our roadsides1 to point   
out the source from whence  the medival 
artists gathered their inspiration1 and 
to plead for its  greater use by their  
successors1 that by a like loving       
appreciation we  too may create like    
forms of beauty4    ,the second essay   
deals with marine forms of vegetable    
life1 and dwells  on the immense variety
 of form that may be met with in the    
sea-weeds  that surround our shores1 and
 the applicability of many of the       
species  to the varied purposes of the  
designer4 ,it is curious that these     
wonderful forms should not have been    
employed more largely in the  decorative

 work of any people4 ,with the exception
 of the singularly  waved and bossed    
foliage seen in the stone carving and   
metal-work of the  later years of the   
,decorated period of ,gothic1 and which 
may possibly  have been originally      
suggested by the ,fucus vesiculosus1 one
 of our  commonest shore weeds1 we know 
of no instance of their introduction    
into  ornamental art4 ,hence here at    
once a wide field is open to the        
designer1 and this essay cannot fail to 
be full of valuable material4    ,as the
 first and second articles have striven 
to illustrate the  beautiful forms that 
inhabit the land and the sea            
respectively1 so the  third article1    
leaving        8,the deep's untrampled  
floor       ,with green and purple      
sea-weeds strewn10    and the more      
familiar forms of earth1 deals with     
those delicate forms of  the air1 the   
flakes of falling snow1 and points out  
the immense variety  of graceful forms  
afforded by their crystals4    ,symmetry

 and geometry are both so commonly met  
with in ornamental art1  and are also so
 conspicuously present in the forms of  
snow crystals1  that the application of 
those forms to design cannot fail to    
follow when  once their beauties are    
brought under the notice of the designer
 and  manufacturer4    ,symmetry shows  
itself in a general beauty of           
proportion1 and balance of  masses in a 
composition2 or1 in the more limited    
sense in which we now  use the word1 in 
the likeness of one half or part to     
another in the unit  of design4 ,we     
speak of a design being bi-symmetrical  
or tri-symmetrical1  or if it goes      
beyond this1 as in snow crystals and in 
many other cases  where the ornament may
 be bounded by a circle1 it is termed   
multi-symmetrical4 ,bi-symmetrical      
arrangements will be found most         
appropriate for the decoration of       
upright surfaces1 as wall-papers or     
curtains1 which will always be seen one 
way1 while multi-symmetrical  star-like 

forms are more suitable for floor-cloth 
or carpet patterns1  because a star-like
 pattern on the floor looks equally well
 from all  parts of the room2 while a   
design having its halves merely alike   
can  only be viewed to advantage from   
one point4 ,it is curious to observe    
that in ,nature the rule seems to be    
that the lower forms shall be           
multi-symmetrical1 made up of several   
similar parts1 while the higher  forms  
of life are bi-symmetrical3 thus in the 
first class we get snow  crystals1      
sea-anemones1 star-fishes2 and in the   
second1 the more  advanced forms of     
animal life--insects1 birds1 quadrupeds1
 and man  himself4 ,there are numerous  
exceptions1 however1 to this3 thus we   
have  flowers multi-symmetrical1 and    
their leaves only alike in their halves1
  though undoubtedly the flower1 in view
 of its functions in vegetable          
physiology1 and also from the           
ornamentist's stand-point1 cannot be    
considered lower in the scale of        

creation than the leaf4 ,the charm      
produced by the mere repetition of parts
 may be well seen in the  kaleidoscope1 
where a series of irregular pieces of   
glass develop into  various ornamental  
forms1 owing to their symmetrical       
arrangement and  radiation from one     
centre--an effect still more clearly and
 beautifully  seen in the crystals of   
snow1 where the unit is itself of       
pleasing form4    ,the influence of     
geometry upon design has in almost all  
periods of art  been very marked--in    
some styles1 as the ,early ,english     
,gothic1 and the  ,italian of the       
thirteenth century1 much more so than in
 others2 but in  no style is it         
altogether ignored4 ,whether we study   
the examples of  decorative art produced
 in our midst1 the result of modern     
skill2 or  turn to the remains of       
,egyptian and ,assyrian ornament1 the   
brain-work  and handiwork of men who    
toiled thousands of years ago1 or       
whether we  contrast the delicacy of    

much of our ,english work with the rude 
carving  or pottery of the ,south ,sea  
,islander1 we still cannot fail to      
notice  that amidst much that is very   
marked and distinctive in comparing one 
period with another1 or the handiwork of
 one race or nation with  another1 this 
one great principle of the adaptation of
 geometry to  ornament is exhibited more
 or less prominently in all4 ,where a   
sense of  flatness is desirable1 as in  
designs for floor-coverings--as mosaic1 
tile-work1 carpeting1 c4--the use of    
geometrical forms appears  especially   
appropriate1 since the feeling of       
flatness is easily  obtainable1 and yet1
 accompanying this essential feature1   
almost any  degree of complexity and    
richness of effect4 ,these remarks upon 
the use  of geometry must1 however1 be  
considered to apply more especially to  
the  simpler kinds of design1 to those  
intended to fill but a subordinate      
place4 ,as we rise higher1 geometry1    
though still valuable in the setting    

out and defining of leading lines and   
masses1 gives place to higher  forms1   
those based on animal or vegetable life4
 ,in a fourteenth-century  diaper the   
part we admire is not the geometric     
basis of the design1 but  the delicate  
filling in of oak or maple1 buttercup or
 ivy1 though we  unconsciously admire   
this the more on account of the         
enclosing straight  lines--lines that we
 should at once miss if they were       
removed as  superfluous4    ,the fourth 
essay of our series deals with the      
suggestive ornamental  forms so freely  
met with in organic remains4 ,as in the 
previous essay we  found in the clouds  
above forms of beauty well adapted for  
our needs as  ornamentists1 so in this  
one we delve beneath the surface of our 
earth1  and again have the lesson       
impressed upon us1 that in every        
situation  forms of beauty abound1 that 
the world is full of suggestive material
  for the student of ornamental art1 and
 that in what at first sight  appears a 

barren and profitless waste1 fresh proof
 is given of the  universal reign of    
law1 order1 and beauty throughout the   
whole range of  creation4 ,these four   
essays1 then1 should prove a welcome    
addition to  the ornamentist's store of 
material1 since 7though no book-work can
 take  the place of actual observation7 
they may at least suggest to him other  
forms1 and cause him to turn his        
attention in fresh directions4 ,with    
this hope1 then1 we conclude1 trusting  
that our efforts thus to  illustrate in 
some degree the wealth of ,nature may   
not have been  altogether in vain4      
,f4 ,e4 ,h4          ,,contents4        
,i4                                     
,,page    ,,the ,,adaptability ,,of     
,,our ,,native ,,plants ,,to ,,the      
,,purposes ,,of ,,ornamental ,,art4 ,by 
,f4 ,,edward  ,,hulme1 ,f4,l4,s41       
,f4,s4,a4                               
#a    ,,ii4    ,,sea-,,weeds ,,as       
,,objects ,,of ,,design4 ,by ,s4 ,j4    
,,mackie1  ,f4,g4,s41 ,f4,s4,a4         

#ia    ,,iii4    ,,the ,,crystals ,,of  
,,snow ,,as ,,applied ,,to ,,the        
,,purposes  ,,of ,,design4 ,by ,,james  
,,glaisher1 ,f4,r4,s4                   
#acc    ,,iv4    ,,the ,,symmetrical    
,,and ,,ornamental ,,forms ,,of         
,,organic  ,,remains4 ,by ,,robert      
,,hunt1 ,f4,r4,s4                       
#agg          ,i4    ,,the              
,,adaptability ,,of ,,our ,,native      
,,plants ,,to ,,the ,,purposes ,,of     
,,ornamental ,,art4    ,,by ,,edward    
,,hulme1 ,f4,l4,s41 ,f4,s4,a4      ,in  
this series of papers it will be our    
desire to direct the attention  of the  
architect1 manufacturer1 and designer1  
to some of the beautiful  forms of      
nature1 which1 though easily accessible1
 seem to have scarcely  received the    
consideration they deserve2 to give a   
brief account of the  habits1           
peculiarities1 and localities of the    
plants as they come before  us2 to cite 
from time to time examples1 either      
,english or foreign1 of  their use in   

the ornament of the past2 and generally 
to add such details  as may directly or 
indirectly tend to create an interest in
 the plant in  question4 ,we find1 on   
looking back at the past history and    
practice of  ornamental art1 in the     
midst of many marked differences of     
style1 one  principle very generally    
observed--the use in the ornament of any
 given  country of the plants familiar  
to the people4 ,hence1 the ,egyptians   
exclusively used in their ornament the  
plants of their own land2 we see  the   
palm branch1 the papyrus1 and the       
beautiful lily of the ,nile  constantly 
recurring4 ,we find the ,greeks and     
,romans employing the  acanthus1 olive1 
and vine2 the ,japanese1 the light and  
graceful bamboo2  and in our own ,gothic
 styles and those of the                
,continent--,french1 ,german1  or       
,spanish--we meet with more or less     
conventionalised representations  in the
 carvings1 paintings1 illuminations1    
fabrics for dress1 hangings1  c41 of the

 familiar forms of our hedgerows1       
streams1 and meadows1 such  as the wild 
rose1 oak1 maple1 iris1 buttercup1 and  
many others4 ,it is  then with the      
desire to awaken our decorators to the  
fact1 that  beautiful as the ,greek     
anthemion and other allied forms are1   
they by  no means represent the limit   
available in ornamental art1 that the   
following papers have been prepared1    
since we are persuaded that if once  the
 inexhaustible riches of nature were    
sought after by our architects1  and    
their beauties brought before the eyes  
of the people in their work1            
architecture would thus be taking one   
long step nearer to the sympathies  and 
appreciation of many to whom it is now a
 matter of indifference4 ,the  works of 
a few of our leading architects owe at  
least some of their  beauty to their    
recognition of this truth2 and we would 
desire1 while  acknowledging the        
services rendered to architecture by    
such men as  ,pugin1 ,collings1 ,street1

 and ,gilbert ,scott1 to add our mite to
 the  revival going on around us4       
,botany1 or the study of plants 7,gr4   
botane1 a plant71 is capable of  many   
subdivisions3 thus we have one          
department which1 from its dealing  with
 the vital functions of the plant1 we   
term physiology 7,gr4 physis1           
nature--logos1 science72 another which1 
from its more especially  dealing with  
the organization and structure of the   
plant1 is called  organography1 or      
structural botany2 while a third great  
division1  systematic botany1 derives   
its name from its teaching how the      
multifarious forms of vegetable life may
 yet be classified into genera1  and    
these again into orders and species from
 certain points of  resemblance in the  
plants thus classed together4 ,botany1  
in itself a  science in the ordinary use
 of the term1 may1 however1 render      
valuable  service to art2 and it is this
 phase of the subject which we more     
especially propose to develop1 treating 

only of the more exclusively  scientific
 points so far as we find them necessary
 for our present  purpose2 and in this  
we think we are fully justified1 for    
though numbers  of excellent works are  
accessible to the student who desires to
 study  botany as a science1 but few    
fully recognise its importance in a     
modified form to the art-student1 and   
more especially to the designer4  ,to   
the ornamentist a knowledge of the laws 
of plant growth is of really  the same  
importance as the study of anatomy to   
the figure-painter or  sculptor1 and the
 absence of this knowledge is to the    
initiated1 in  either case1 as readily  
detected4 ,many who are now content to  
forego  this precise knowledge are no   
doubt partly debarred by the            
technicalities which meet them at every 
sentence in ordinary botanical  works4  
,bearing in mind1 therefore1 the special
 requirements of our  readers1 we shall 
endeavour to avoid as far as possible   
the use of terms  which1 though         

scientifically valuable1 and in fact    
essential to correct  and true          
description1 are not such as we may     
reasonably assume our  readers1 without 
special botanical study1 to be familiar 
with4 ,a  knowledge of these terms is1  
however1 very desirable1 since their    
conciseness renders them valuable1 and  
more especially1 also1 because  many    
excellent works1 which it will be of    
advantage to the student to  consult1   
largely employ them4 ,we trust that in  
the few cases where such  terms are in  
the present work introduced1 a clear    
explanation of their  force and utility 
will be found to accompany them2 we     
shall also1 as a  further assistance1   
add the source from whence the term is  
derived1  wherever the introduction will
 tend to throw additional light on the  
meaning of the word4    ,as we cannot   
hope1 in the limited space at our       
command1 to supply every  requirement1  
give every detail1 or bring forward more
 than a few of the  more common plants1 

the present work must be considered     
rather as a  suggestive list of the more
 striking plants which1 from their      
ornamental  characteristics1 will1 we   
trust1 be found of service to designers1
 than  an exhaustive catalogue4 ,it is  
very far indeed from being a complete   
list4    ,to render the work as         
practically useful as possible1 we add  
to each  plant mentioned the names of   
some standard books in which reliable   
drawings of the plant in question may be
 found2 for though nature should        
always1 if possible1 be consulted1 it   
may not at all times be within the      
power of the student to do so1 owing to 
press of work1 the season of the  year1 
and many other disturbing causes4       
,the following books are thus referred  
to1 the illustrations in them  being of 
a trustworthy character4 ,after the name
 of each book is the  abbreviation used 
in the present work when it is necessary
 to quote  it3--      ,the ,flora       
,londinensis of ,curtis4 ,first ,edition

            ,f4 ,l4    ,medical ,botany4
 ,woodville4 ,first ,edition            
,m4 ,b4    ,medical ,botany4 ,stephenson
 and ,churchill4 ,first ,edition   ,s4  
,c4    ,illustrations of ,natural       
,orders of ,plants4 ,e4 ,twining     ,t4
 ,n4 ,o4    ,english ,botany4 ,sowerby4 
,third ,edition                    ,e4  
,b4    ,vegetable ,world4 ,figuier      
,v4 ,w4    ,school ,botany4 ,lindley    
,s4 ,b4    ,woodlands1 ,heaths1 and     
,hedges4 ,coleman                    ,w4
 ,h4 ,h4    ,grammar of ,ornament4 ,owen
 ,jones                           ,g4   
,o4    ,the first five on this list have
 coloured plates4 ,to these we may be   
allowed to add ,plant ,form 7,p4 ,f471 a
 work prepared by the author for the    
especial use of designers4    ,the      
plants described in the following pages 
are1 to facilitate  reference1 arranged 
in regular alphabetical sequence1       
according to their  ,english names1     
since most of my readers will more      
readily recognise a  plant by its       

familiar title than by its botanical    
appellation4 ,thousands  are familiar   
with the little daisy who would never   
recognise it in any  description headed 
,bellis perennis4 ,at the same time1 we 
in every case  give the scientific      
nomenclature as well1 since in most     
works you may  desire to consult1 that  
will be of greater prominence than the  
one used  colloquially4 ,a difficulty   
here arises from the fact that several  
of our  ,english flowers have numerous  
synonyms given to them2 we have1        
however1  chosen the name which we      
believe to be most commonly used1       
referring  also to the others in the    
course of our remarks on the plant4     
,in the introduction of vegetable growth
 into any ornamental composition1  we   
must be careful to remember that what is
 wanted is not so much a  direct        
imitation of nature1 which after all can
 only be faulty at the  best1 as a due  
adaptation of the natural form to the   
purpose of our  design--a recognition of

 the impossibility of a close copy of   
nature1  together with a feeling of its 
undesirableness even if it could be     
accomplished4 ,our representations must 
therefore be more or less  conventional3
 in a flower-painting we naturally      
expect to see a direct  transcript of   
nature1 while in decorative art a direct
 transcript  offends us4    8,in the    
multitude of counsellors there is       
safety20 we will1 therefore1  here quote
 some few passages from the works of    
those whom we think we  can all agree   
are entitled to speak with authority and
 to be heard with  respect4 ,ruskin1 in 
speaking on this subject1 says1--8,all  
noble  ornamentation is the expression  
of man's delight in ,god's work20 and   
again1 8,ornamentation should be        
natural1 that is to say1 should in some 
degree express or adopt the beauty of   
natural objects2 it does not hence      
follow that it should be an exact       
imitation of1 or endeavour to           
supersede1 ,god's work2 it may consist  

only in a partial adoption of1 and      
compliance with1 the usual forms of     
natural things1 without at all going  to
 the point of imitation1 and it is      
possible that the point of  imitation   
may be closely reached by ornaments     
which nevertheless are  entirely unfit  
for their place1 and are the signs only 
of a degraded  ambition and an ignorant 
dexterity4 ,bad decorators err as easily
 on the  side of imitating nature as of 
forgetting her1 and the question of the 
exact degree in which imitation should  
be attempted under given  circumstances 
is one of the most subtle and difficult 
in the whole range  of criticism40      
,wornum thus defines the difference     
between naturalism and  conventionalism3
 8,a natural treatment implies natural  
imitation and  arrangement1 but an      
ornamental treatment does not           
necessarily exclude  imitation in the   
parts1 as1 for instance1 a scroll may be
 composed of  strictly natural parts1   
but as no plant would grow in an exactly

 spiral  direction1 the scroll form     
constitutes the ornamental or           
conventional  arrangement2 we may1      
however1 have conventionalism of details
 as well as  conventionalism of         
arrangement40 ,hudson says1--8,there is 
a great  difference between the terms   
applied and adapted2 they1 in fact1     
express  the wrong and the right use of 
vegetable forms4 ,all natural forms     
require certain modifications to adapt  
them for other than their own  natural  
situations1 and it is the neglect of    
this1 and the simple  application of    
these forms without adapting them1 which
 constitute a  false principle40        
,dresser thus illustrates the           
difference3 8,mere  imitation is not    
ornamentation1 and is no more art in the
 higher sense  of the term than writing 
is itself literature4 ,vegetable nature 
treated  conventionally will not be     
found to be far removed from truth1 but 
will  be merely a natural form1 or a    
series of natural forms1 neither marred 

by blights nor disturbed by winds1      
adapted to the fulfilment of a  special 
purpose1 and suited to a particular     
position--for the most  perfect examples
 of what is usually termed              
conventionalised nature are  those which
 express the intention of nature1 if we 
may thus speak1 or  are manifestations  
of natural objects as undisturbed by    
surrounding  influences and unmarred by 
casualties40 ,in the same way we might  
bring  forward passages from the works  
of ,owen ,jones1 ,sir ,gardiner         
,wilkinson1  and many others1 in        
illustration of our remarks2 enough1    
however1 has1  we trust1 been brought   
forward to confirm the position taken   
up4    ,we will now1 without further    
prelude1 proceed to the brief           
consideration of the few representative 
plants we have selected for our         
remarks4    ,the ,,agrimony4 ,this      
plant1 the ,agrimonia ,eupatoria of     
botanists1 and  the ,agremoine of old   
writers1 is ordinarily met with in      

hedgerows and  waste places by the      
roadside4 ,the flowers are bright       
yellow1 and are  arranged in what is    
termed botanically a spike 7,lat4 spica1
 an ear of  corn2 when the flowers grow 
in succession direct from a central     
stem74  ,the leaves are very ornamental 
in character1 the central line giving   
off  large side leaflets1 and the       
intermediate spaces being filled by     
smaller  ones4 ,the edges of all the    
leaves are deeply serrate 7,lat4 serra1 
a  saw2 notched like the teeth of a     
saw74 ,very suitable and suggestive for 
lace or wall-papers1 where a somewhat   
delicate form with a decidedly  upright 
mode of growth is desirable4 ,drawings  
of the plant may be seen  in ,s4 ,b4    
#abf2 ,e4 ,b4 #dag2 ,f4 ,l4 vol4 v4 #cb2
 and ,m4 ,b4 #beh4 ,the natural  plant  
will be found in flower during ,july and
 ,august4    ,the ,,white or ,,wood     
,,anemone 7,anemone nemorosa71 or1 as it
 is often  termed in old botanical      
works1 the ,wind-flower4 ,this older    

name refers  to the same fact alluded to
 in its generic name1 ,anemone1 the     
fragility and delicacy of the flowers1  
and their exposure to the bleak  and    
boisterous winds that sweep through the 
almost leafless woods in  early spring1 
or1 as others believe1 from an old fancy
 that the flowers  will not open until  
buffeted by the gales of ,march1 anemone
 being  derived from the ,greek word1   
anemos1 the wind4 ,the second name1     
nemorosa1 signifies woody1 and bears    
obvious reference to the  localities    
most favourable to    ,illustration3    
,anemone4    the growth of the anemone4 
,the plant may be found in flower during
 the  months of ,march1 ,april1 and     
,may1 the blossoms being pure white1    
with a  bright yellow centre1 and the   
outer surface of the sepals of a        
delicate  purple tinge4 ,it abounds in  
moist woods throughout the country1     
generally in such profusion as to cover 
large tracts of ground with a  snowy    
whiteness2 and the plant being          

perennial1 we shall1 when it is  once   
established in any spot1 find it        
regularly recurring as each  spring-time
 comes round4 ,the manner of growth of  
the anemone is very  distinct and       
characteristic1 and not being subject to
 any variation1  cannot well be modified
 in the employment of the plant in      
ornamental  art without destroying its  
individuality1 as from the single stem  
thrown  up from the ground three        
equal-sized leaves1 identical in form1  
are  produced from a point about six    
inches from the soil1 and the stalk is  
then continued for about the same       
distance again before bearing at its    
summit its single flower2 each and every
 plant1 therefore1 consists of a        
central stem1 a terminal flower1 and    
about midway up the stem a group of     
three leaves4 ,this rigid law1 though   
extremely beautiful in itself1 and      
admirably adapted for treatment for some
 ornamental purposes1 may1  perhaps1    
somewhat restrict its use in decorative 

art4 ,we are not aware  of any examples 
of its employment in past art4 ,in our  
illustration1 the  plan of the plant1   
the view with which we are most         
familiar1 as we see  it in its natural  
position1 is shown1 having the single   
central flower1  and below it the three 
leaves radiating from the stem4 ,it will
 be found  that this strong             
individuality of growth more especially 
adapts itself  to the trefoil1 or any   
other form based on the figure three4,a 
,the  garden-anemone 7,a4 coronaria7 is 
an allied species of the same family1   
modified by cultivation3 in its wild    
state it is a native of the ,south  of  
,europe4    ,the ,,arrow-,,head         
7,sagittaria sagittifolia71 one of our  
most beautiful  aquatic plants1 must be 
so well known to our readers that any   
lengthened  description of it will be   
superfluous4 ,its generic1 specific1 and
  ,english names all alike point out its
 leading characteristic1 the  beautiful 
arrow-headed shape of its               

leaves2--sagitta1 ,lat41 an arrow4  ,the
 calyx and corolla are each composed of 
three parts1 the petals being  a        
brilliant white1 with a pale pink       
irregular blotch at their bases4 ,the   
forms of the flowers1 fruit1 and leaves 
are all equally adapted for  decorative 
purposes1 though it does not appear to  
have received in the  past the attention
 which its merits might very fairly     
claim1 the only  instances of its       
application in ornamental art with which
 we are  acquainted being in a running  
band of ornament round a tomb1          
fourteenth  century1 in the cloisters1  
,burgos4 ,the flowers are incorrectly   
represented in that example as having   
four petals1 but the general  effect is1
 nevertheless1 very good4 ,see ,e4 ,b4  
#adcf and ,p4 ,f4 #gb for  drawings of  
the natural plant4    ,illustration3    
,arrow-head4    ,the ,,arum 7,arum      
maculatum7 is a plant of very common    
occurrence  throughout ,england1 though 
rarely to be found either in ,scotland  

or  ,ireland4 ,it may be met with in    
shady groves and thickets1 and nestled  
among the long grass and other herbage  
upon our hedge-banks4 ,the plant  will  
be found in flower during ,april and    
,may2 but from the mode of  growth1 and 
also from the pale green colour of the  
spathe surrounding  the central organs1 
it is by no means conspicuous among the 
surrounding  foliage4 ,the upper portion
 of the central body or spadix--that    
part of  it which is seen in our        
illustration--is generally of a dark    
crimson  colour4 ,the plant is far more 
likely to attract attention in the      
autumn  and winter than during its      
season of flowering1 as towards the     
close of  the year the leaves of the    
arum die away1 and the hedgerows also   
being  stripped of the greater part of  
their    ,illustration3 ,arum4          
foliage1 we notice the brilliant scarlet
 berries of the present plant  rising in
 a dense mass to the height of some     
three or four inches from  the ground4  

,if the fresh root of the plant be      
tasted1 it excites a  burning and       
pricking sensation in the mouth that    
will remain for several  hours2 and if  
sliced and applied to the skin1 it will 
frequently produce  blisters4 ,this     
virulence1 however1 like the acrimonious
 principle met  with in the leaves1     
yields to the influence of heat1 and in 
former times  an excellent starch was   
prepared from the root4 ,in the writings
 of the  old medical authors and poets  
we meet with the wild arum under a great
  variety of names1 many of them1       
through the lapse of time and from      
disuse1 being now meaningless to us2    
such1 for example1 as abron1 janus1     
barba-aron1 calf's-foot1 ramp1 and      
wake-robin4 ,a very common name for  the
 plant at the present day with country  
children is lords-and-ladies2  and an   
equally familiar name1 both with        
children and also in  descriptions of   
the plant in botanical works1 is the    
cuckoo-pint3 this  may possibly allude  

to the slight resemblance of the        
enclosing spathe to  a measure for      
liquids4 ,another old name for the plant
 is the starchwort1  in obvious allusion
 to its domestic use4 ,like most other  
plants1 it was  held by the medical     
practitioners of the ,middle ,ages to   
possess very  considerable and valuable 
remedial qualities4 ,a small portion of 
the  leaf1 either dried or in the green 
state1 was esteemed a sure remedy for   
the plague or any poison4 8,the water   
wherein the root hath been boiled1      
dropped into the eyes1 cleanseth them   
from any film or mists which begin  to  
hinder the sight10 or under             
circumstances to which the writer       
delicately hints1 8when1 by some chance1
 they become black and blue40  ,though  
the bold1 simple forms of the flower and
 bud and the rich  arrow-headed shape of
 the leaves appear1 in an especial      
manner1 to fit  it for valuable service 
in ornamental art1 it has been but very 
rarely  thus employed4 ,illustrations of

 the natural growth of the plant will be
  found in ,f4 ,l4 vol4 ii4 #fc2 ,s4 ,c4
 #bb2 and ,p4 ,f4 #da4    ,the ,,avens  
7,geum urbanum71 belonging to the same  
natural order1  ,rosace1 as the         
tormentil and wood-strawberry1 possesses
 also the same  peculiarity of flower1  
the petals being five in number1 while  
the calyx  is composed of five large    
segments1 alternating with five others  
of a  much smaller size4 ,the root is   
very astringent in its nature1 and of   
sufficient value to be included in the  
,materia ,medica4 ,the avens may be     
generally found growing in hedges and   
woods1 flowering during ,june and       
,july1 and attaining to a height of from
 one to two feet4 ,the leaves are  very 
ornamental in character1 and will1      
equally with the flowers1 prove  of     
valuable service to the designer4 ,for  
illustrations of the growth of  the     
plant refer to ,f4 ,l4 vol4 ii4 #cf1 and
 ,p4 ,f4 #ha4    ,illustration3 ,avens4 
,,bedstraw 7,galium verum74 ,this is    

also known as cheese rennet1 gallion1   
and maid-hair4 ,the word bedstraw is in 
allusion to the former use of the  dried
 plant as a cheap material in forming   
beds4 ,the name cheese-rennet  is       
derived from a bygone employment of the 
plant for curdling milk3 we  see this   
same use of the plant referred to in the
 generic term ,galium1  that name being 
derived from the ,greek word for milk4  
,gallion is  evidently a herbalist's    
corruption of ,galium1 while the fourth 
name1  maid-hair1 has obvious reference 
to the lightness and delicacy of the    
plant4 ,the minute yellow flowers grow  
in dense heads of blossom1 while  the   
leaves are in whorls1 that is to say1   
several starting from the same  level1  
and thus growing in a succession of     
rings round the stems4 ,the  number of  
the leaves in a ring is very variable2  
from eight to twelve  is1 however1 the  
usual number4 ,dry banks are the        
ordinary habitat of the  plant4 ,it will
 be found in flower throughout ,june1   

,july1 and ,august4  ,its lightness and 
graceful mode of growth admirably fit it
 for the  purposes of the designer4 ,for
 illustrations of the bedstraw refer to 
,e4  ,b4 #fdh1 or ,f4 ,l4 vol4 vi4 #ac4 
,the old herb-doctors1 ever ready to    
find  or make a medicinal use1 speak in 
high commendation of the present plant  
for its reputed efficacy in relieving   
pains from burns1 inward wounds1  c41   
while 8a decoction of the herb is good  
to bathe the feet of  travellers and    
lacquies1 whose long running causeth    
weariness and  stiffness in their       
sinews40    ,illustration3 ,bindweed4   
,the ,,bindweed1 botanically known as   
the ,calystegia sepium1 is one of  our  
most familiar plants2 large surfaces of 
our hedgerows 7,lat4 sepe1  a hedge7    
being covered by its graceful leaves and
 tubular flowers4 ,it is  a curious fact
 that1 though abundant throughout       
,england and ,ireland1 it  is very local
 in ,scotland4 ,the so-called           
convolvulus major of the  garden is the 

,ipoma purpurea1 a species very widely  
spread over the  tropical and temperate 
regions of the earth4 ,many of the      
family possess  active medicinal        
qualities1 and preparations from them   
are found in the  ,pharmacopia4 ,the    
,english species also were at one time  
thus  employed2 but ,gerarde1 the great 
medical botanist of ,queen ,elizabeth's 
reign1 will not admit that they possess 
any virtue at all1 but rather  the      
contrary4 8,they are not fit for        
medicine1 and unprofitable weeds1  and  
hurtful to each thing that groweth next 
them1 and were only  administered by    
runnegate physick-mongers1 quacksalvers1
 old women  leeches1 abusers of physick1
 and deceivers of people40 ,for study of
 the  natural appearance of the flower  
we would refer you1 if you are unable   
to meet with the plant itself1 to ,e4   
,b4 #ibd2 ,s4 ,c4 #b2 ,t4 ,n4 ,o4 #ig2  
,g4 ,o4  #ii2 and ,p4 ,f4 #gf4          
,,bitter-,,sweet4 ,the ,bitter-sweet    
7,solanum ,dulcamara7 is so called from 

the bitter flavour of the stems when    
first tasted1 a flavour which is        
speedily followed by a peculiar         
sweetness somewhat resembling liquorice 
root4 ,in not only the familiar ,english
 name1 but the specific botanical       
appellation as well1 we see this        
peculiarity of the plant referred to1   
,dulcamara having the same meaning as   
bitter-sweet4 ,the continental  names   
have also this curious reference in     
them1 the plant in ,france  being called
 ,douce-amre2 in ,italy1 ,dulcamara2 in 
,spain1 ,amaradulcis2  and in ,germany1 
,bittersusstangel4 ,the plant is        
frequently called woody  nightshade1    
while the old herbalists1 in addition to
 the names already  given1 call it      
felonwort4 ,solanum is derived from     
solamen1 in  reference to the soothing  
effect of some species of the ,solanace4
 ,the  bitter-sweet has small flowers of
 a deep purple colour1 the petals being 
very much reflexed4 ,the berries are of 
a deep red when ripe1 but change        

considerably in their colour before     
reaching maturity2 thus on the same     
bunch we may frequently see green1      
yellow1 orange1 and crimson fruit4      
,thirty of these berries administered to
 a large dog killed it in less  than    
three hours4 ,refer to ,e4 ,b4 #icj2 ,f4
 ,l4 vol4 i4 #ad2 ,m4 ,b4 #cc2 ,s4 ,c4  
#ag2 ,t4 ,n4 ,o4 #ajj2 and ,p4 ,f4 #ai1 
for illustrations of the natural growth 
of the plant4 ,this shrub is frequently 
confounded with the deadly  nightshade1 
from the slight similarity of name2 but 
there is no other  point of resemblance4
 ,the two plants are totally distinct4  
,the woody  nightshade1 though common in
 most parts of ,england1 is             
comparatively  scarce in ,scotland and  
,ireland4 ,it is a hedgerow plant1      
flowering during  ,june1 ,july1 and     
,august4 ,a variety with white flowers  
is sometimes met  with4    ,the         
,,black-,,thorn or ,,sloe 7,prunus      
spinosa7 is curious and suggestive  from
 an ornamentist's point of view1 from   

the flowers1 unlike most other  plants1 
appearing in profusion before the leaves
 are developed4 ,we see a  plant        
strongly resembling the black-thorn very
 largely used in their  ornament by the 
,japanese1 a plant with numerous        
spreading branches1  leafless1 but      
thickly clustered with flowers4 ,the    
black-thorn may  commonly be met with in
 coppices and hedgerows1 the blossoms   
appearing  in ,march or ,april1 and the 
rich purple fruit in ,august4 ,the name 
sloe is  derived from the ,anglo-,saxon 
sla1 and refers to the extreme acidity  
of  the tempting-looking fruit4 ,the    
natural growth may be seen on reference 
to ,e4 ,b4 #djh1 or ,m4 ,b4 #hd4 ,the   
black-thorn possesses a certain value   
ornamentally1 as being1 like the        
primrose and snowdrop1 a characteristic 
flower of the spring4                   
8,flowers1 as the changing seasons roll 
along1        ,still wait on earth1 and 
added beauties lend2        ,around the 
smiling ,spring a lovely throng         

,with eager rivalry her steps attend2   
,others with ,summer's brighter glories 
blend2        ,some grace mild ,autumn's
 more majestic mien2        ,while some 
few lingering blooms the brow befriend  
,of hoary ,winter1 and with grace serene
      ,enwreath the king of storms with 
mercy's tender sheen40                  
,,barton4    ,illustration3 ,borage4    
,the ,,borage 7,borago officinalis71    
though widely distributed1 is by no     
means a common plant2 and though        
mentioned by several old writers1 must  
be considered as but a doubtful native4 
,the generic name has been  corrupted   
from two ,latin words1 cor1 the heart1  
and ago1 ,i act1 from  a belief1 as old 
as the time of ,pliny1 in its           
exhilarating effects2  hence the old    
saying1 ,ego borago gaudia semper ago1  
8,i borage give  always courage40 ,the  
borage1 like the comfrey and            
forget-me-not1 belongs  to the order    
,boraginace1 and1 in common with most of
 the species of  that order1 is marked  

by the gyrate or scorpoid arrangement of
 its  flowers1 the stem being coiled    
round like the mainspring of a watch4   
,it  may be met with occasionally in the
 ornament of the past--its large and    
striking-looking stellate 7,latin1      
stella1 a star7 flowers1 and the        
general growth of the plant1 being      
admirably adapted to the purposes of    
design4 ,as an example we may instance  
the ,,ms4 ,hours of ,henry ,,vii4 in the
  ,british ,museum1 where the borage is 
introduced upon a golden ground on  one 
of the pages4 ,drawings of this plant   
will be found in ,e4 ,b4 #aaad2 ,m4  ,b4
 #bag2 ,t4 ,n4 ,o4 #ih2 and ,p4 ,f4 #cf4
    ,in studying the application of     
natural vegetable forms to the various  
requirements of ornamental art--such1   
for instance1 as the employment of      
bold1 vigorous plants to stone or wood  
carving1 and the more graceful  and     
delicate growths to such fabrics as     
muslin and lace--we speedily  find that 
in some cases we are unable to treat the

 whole of the plant we  have selected   
for our purpose1 owing to the           
limitations placed upon us  by the      
requirements of the work1 the exigencies
 of manufacture1 or the  nature of the  
materials in which our design is to be  
embodied4 ,in some  cases the flowers   
are too small in detail1 or in the      
general mass1 to  accord well from the  
ornamentist's point of view with the    
foliage of the  plant2 the white bryony 
7,bryonia dioica71 for instance1 though 
excellently adapted for muslins1 could  
not in its flowering stage be           
satisfactorily treated for stonework on 
this account1 though the foliage  by    
itself is admirably suited for such     
purpose4 ,in other instances we  find   
the case reversed1 the flower being     
large and beautiful in form1  and the   
leaves unsuited1 either from their      
insignificant size or want of  beauty1  
to the purpose of the ornamentist2 thus1
 while the leaves of the  stonecrop     
7,sedum acre7 are1 from their           

minuteness1 scarcely available  for the 
purposes of design1 the stellate flower 
is exceedingly beautiful  in form1 and  
admirably adapted for diapering and many
 other uses1 when  isolated from the    
rest of the plant4 ,where both leaf and 
flower are from  their beauty and       
relative scale equally adapted for      
art-treatment1 we  are still1 when      
circumstances require it1 quite         
justified in employing  either the one  
or the other by itself3 where a         
monochrome arrangement is  necessary1   
the leaves alone may1 for example1 be   
used2 where a central  radiate form1 the
 flower may be introduced4 ,the rosette 
or patera1 so  freely introduced both in
 ancient and medival art1 is an example 
of  this use of isolated floral forms4  
,the ,,bramble or ,,blackberry 7,rubus  
fruticosus71 a more familiar plant  than
 the last1 has1 so far as we are aware1 
been but little used in  ornamental art1
 though the ,rubus idus1 or wild        
raspberry1 may  occasionally be seen in 

,,mss4 of the sixteenth century4 ,the   
generic name  is highly expressive of   
the prickly nature of the plant1 being  
derived  from an old ,celtic verb1 reub1
 to lacerate or tear away2 while its    
,english name1 bramble1 attests its     
indigenous nature1 descending as it     
does from the ,anglo-,saxon name for it1
 bremel4 ,the stems1 ordinarily  of a   
pale purple colour and with a grey bloom
 upon them1 are pentangular  in section1
 the numerous prickles almost entirely  
confined to the ridges  formed by the   
angles1 and not occurring in the        
intermediate furrows2 the  leaves       
generally with five deeply serrated     
leaflets1 a rich green on the  upper    
surface1 and covered with close white   
down on the lower2 the  petals of the   
blossom varying from pure white or      
delicate pink to a deep  red2 and the   
fruit of a rich crimson1 so intense in  
colour as to appear  almost black4 ,the 
mode of growth    ,illustration3        
,blackberry4    admirably fits it for   

the service of the designer1 the leaves 
being very  ornamental in form1 and the 
long trailing stems admitting of great  
freedom of curve1 while for its use in  
decorative art a further great          
recommendation exists in the power of   
representing the plant under  several   
phases of growth without violating      
natural truth1 as at one and  the same  
time we find the opening bud1 the       
fully-expanded flower1 and  the fruit of
 all sizes and stages of development1   
varying in colour from  green1 light    
red1 and crimson1 to deep purplish black
 in its progress to  maturity4 ,we thus 
gain great variety of form1 and also1   
when admissible1  of colour4 ,the       
bramble appears to be of especial value 
in ornament  where large surfaces       
require to be covered by forms at once  
suitable in  scale1 interesting in their
 details1 and varied in their character2
  hence it would seem admirably adapted 
to muslins and lace1 though1 so  far as 
we have had opportunity of observation1 

it has not been thus  employed4         
,reliable drawings of the blackberry    
will be found in ,w4 ,h4 ,h41  ,plate   
,e1 ,fig4 #a42 in ,t4 ,n4 ,o4 #ea2 ,g4  
,o4 #if2 and ,p4 ,f4 #eg4    ,some      
plants1 beautiful in themselves1 possess
 an increased importance in  the eyes of
 the followers of ornamental art1 from  
their being used  heraldically2 such1   
for example1 are the rose1 the shamrock1
 the broom1  and the thistle4 ,,broom   
7,sarothamnus scoparius7 is thus used as
 the  badge of the ,scottish clan       
,forbes1 and1 as all readers of history 
will  remember1 was also chosen as the  
device of the ,plantagenets4 ,a very    
good  example of its use in past        
art--though scarcely1 from its being    
found in  a ,tudor monument1 having any 
heraldic meaning--will be seen in a     
glass  quarry in ,henry ,,vii4's        
,chapel4 ,sarothamnus is derived from   
two ,greek  verbs1 signifying a shrub1  
and to sweep4 ,the ,english name has the
 same  force of meaning4 ,in an old work

 we have consulted1 the author deems it 
useless to go into a long account of the
 plant1 so well known was it in  his    
time from this domestic use3--8,to spend
 time in writing a  description hereof  
is altogether needless1 it being so     
generally used by  all the good         
housewives almost throughout this land  
to sweep their  houses with1 and1       
therefore1 very well known to all sorts 
of people40  ,the broom may ordinarily  
be found on sandy commons1 railway      
banks1 and  dry hillsides4 ,the large   
yellow pea-shaped flowers appear in     
great  profusion throughout ,may and    
,june1 and are succeeded in due course  
by  the black seed-pods4 ,the plant     
grows from three to six feet high1 and  
when covered with its brilliant blossoms
 is a very striking object4  ,leaves    
very inconspicuous4 ,drawings of this   
very beautiful plant may be  seen on    
referring to ,s4 ,b4 #aba2 ,e4 ,b4 #cbi2
 ,m4 ,b4 #hi2 ,f4 ,l4 vol4 v4 #ca2  ,s4 
,c4 #fg2 ,t4 ,n4 ,o4 #di4    ,,bulbous  

,,crowfoot4 ,we have selected the       
present plant 7,ranunculus  bulbosus7 as
 a good representative of the numerous  
species of plants  familiarly termed    
buttercups1 partly because it is the    
most striking in  effect1 partly because
 it is the one that will most readily be
 met with  under ordinary circumstances2
 for while its fine flowers and         
beautifully-cut leaves render it        
singularly well suited to the purposes  
of ornament1 the abundance of it in     
every meadow throughout the country     
places it within the reach of all who   
would desire to adapt it to any         
artistic purpose4 ,from the commonness  
of the plant1 and its general           
distribution throughout ,england1 it has
 received many other names3  goldknob1  
goldcup1 baffiner1 troil-flower1 polt1  
kingcup1 buttercup1  butter-flower1     
cuckoo-bud1 are all synonyms4 ,the term 
,ranunculus is  derived from rana1 a    
frog1 many of the species being found in
 wet1  swampy places2 while the specific

 name1 bulbosus1 alludes to the         
bulb-like swelling of the lower part of 
the stem in this particular  species4   
,the name crowfoot has been given to the
 plant from the  radiating character of 
the segments of the leaf1 spreading as  
they do  like the divisions of a bird's 
foot2 while the use of the word         
buttercup  points to the old belief that
 the rich yellowness of spring butter is
  owing to the eating of this plant by  
the cows2 the effect must rather1       
however1 be ascribed to the tender      
grass1 as any one who will take the     
trouble to notice the fact will find    
that cows in a meadow will1 as far  as  
possible1 avoid the buttercups4 ,the    
leaves of the bulbous crowfoot1  like1  
with one exception1 those of the rest of
 the family1 are very  acrid1 and will1 
if applied to the skin1 speedily blister
 it4 ,the plant  will be found in flower
 throughout the spring and summer3 a    
variety is  sometimes met with having   
cream-coloured flowers4 ,the crowfoot is

 one of  the favourite plants in the    
ornament of the ,decorated period of    
,gothic4  ,representations of the       
natural plant may be seen on consulting 
,e4 ,b4 #ce1  or ,f4 ,l4 vol4 i4 #ch2   
refer also to 8,water ,crowfoot0 in the 
present work1  page #hd4    ,,celandine 
7,chelidonium majus74 ,the ,celandine1  
though1 so far as we are  aware1 not to 
be met with in ornamental art1 is a     
plant in every way  fitted for the      
purposes of the designer1 whether we    
consider the form of  the flower1 of the
 pods which succeed the blossoms1 or the
 rich outline  of the leaf4 ,the        
inflorescence is umbellate 7,lat4       
umbella1 an  umbrella71 that is to say1 
all the flower-stalks start from the    
same  point in the stem1 as in the case 
of the hemlock1 the cowslip1 flowering  
rush1 and many other plants4            
,chelidonium is derived from the ,greek 
word chelidon1 a swallow1 from an old   
belief that the plant came into  flower 
on the arrival of those birds1 and      

withered when they took their           
departure2 hence in old writings we     
frequently find the ,celandine termed   
swallow-wort4 ,the plant will commonly  
be found in waste places1 and more      
especially near human habitations4 ,it  
attains to a height of about two  feet1 
and flowers throughout ,may1 ,june1     
,july1 and ,august4 ,consult ,s4 ,b4    
#ie2 ,e4 ,b4 #fg2 ,m4 ,b4 #bfc2 ,s4 ,c4 
#hf1 for drawings of the natural growth 
of  the celandine4    ,the ,,cinquefoil 
7,potentilla reptans74 ,this graceful   
little plant may  generally be met with 
in abundance1 a very favourite habitat  
being in  the low grass and coarse      
herbage we so frequently find skirting  
the  pathways in country districts4     
,when it has once taken root upon any   
favourable spot1 it speedily throws out 
long running stems1 which1 in  turn1    
develop roots from the points whence the
 leaves spring2 in a very  short space  
of time a large extent of ground is     
covered with a dense  mass of the plant1

 and1 from its habit of rooting at each 
joint1 it is  with great difficulty     
eradicated1 since if one root alone be  
overlooked1  the labour spent will      
speedily prove to have been but of      
little more  than temporary use4        
,regarding the cinquefoil1 however1     
rather from the  stand-point of the     
ornamentist than of the agriculturist1  
we are struck  by the beauty of its     
growth1 the forms of the individual     
parts1 and the  general fitness of the  
plant for employment in ,decorative art4
 ,the  familiar name cinquefoil clearly 
alludes to the division of the leaves   
into five conspicuous leaflets1 though  
when the plant is growing under         
exceptionably favourable circumstances  
these are very frequently seven  in     
number4 ,the generic name is derived    
from the ,latin potens1  powerful1 and  
refers to the strong medicinal qualities
 possessed by some  of the species of   
,potentilla4 ,the root of the tormentil 
7,p4  tormentilla71 an allied species1  

is very powerfully astringent2 it has   
occasionally been substituted for       
oak-bark in tanning1 and with equal     
success1 the leather being found to be  
in    ,illustration3 ,cinquefoil4    no 
way inferior in quality4 ,the properties
 possessed by the roots of the          
cinquefoil are very similar1 but1 from  
being less powerful in their  operation1
 are now rarely used1 their value being 
naturally greater at a  time when       
stronger foreign astringents were not so
 readily procurable4  ,tormentil root is
 still1 however1 retained in the        
,pharmacopia4 ,the  distinctive specific
 name of the present plant1 reptans1 has
 evident  allusion to the marked feature
 in its growth already referred to1     
being  derived from the ,latin reptare1 
to creep4 ,we are not aware of any      
examples of the use of the cinquefoil in
 the art of any past period1  though    
from the size and beauty of form of the 
leaves and blossoms1 and  from the grace
 and freedom of the curves of which the 

main stem is  capable1 it appears to be 
well adapted to ornamental art4 ,refer  
to ,e4 ,b4  #dcb2 ,f4 ,l4 vol4 i4 #cg2  
,m4 ,b4 #ei2 and ,p4 ,f4 #df1 for the   
natural growth4    ,,cockle4 ,this1     
though now so frequently met with in the
 midst of the  corn1 being in fact so   
common as to be classed amongst the     
farmer's  pests1 is not an indigenous   
plant2 it has1 however1 been established
 so  long that it may very fairly be    
comprehended in our list4 ,the botanical
  name of the plant is ,lychnis githago4
 ,the whole plant is closely  covered   
with soft hairs1 giving it a woolly     
appearance4 ,the large purple  flowers  
are very conspicuous1 and have a curious
 effect1 from the  segments of the calyx
 being so much longer than the petals of
 the  corolla4 7,calyx1 ,gr41 a cup1 the
 outer and generally green portions of  
a flower1 the protecting member for the 
delicate organs within the  flower4     
,when the calyx is cut up into several  
divisions each segment is  termed a     

sepal4 ,corolla1 the floral ring next   
within the calyx1  ordinarily of a      
brilliant colour1 the part which1 for   
instance1 in a  rose is pink3 this1     
though sometimes in one piece1 as in a  
blue-bell1 is  ordinarily1 as in the    
buttercup1 composed of several similar  
members2  these are called petals47 ,the
 cockle will be found in flower during  
the months of ,june1 ,july1 and ,august4
 ,though admirably adapted for  service 
in ornamental art1 the only example we  
can quote occurs in a  sixteenth-century
 ,,ms41 a missal1 in the ,british       
,museum3 the treatment is  very         
naturalistic4 ,drawings of the plant    
will be found in ,f4 ,l4 vol4  iii4 #bg2
 ,e4 ,b4 #bae4    ,,columbine           
7,aquilegia vulgaris71 one of our most  
beautiful wild  flowers1 derives1 like  
the broom1 an additional importance to  
the  ornamentist from its heraldic      
associations1 the columbine being       
adopted  as a badge by the ,house of    
,lancaster1 and also by the ,derby      

family at a  time when every important  
house adopted some such symbol4 ,the    
petals  bear a strong resemblance to    
birds2 hence ,aquilegia is derived from 
the ,latin aquila1 an eagle1 while the  
,english name is derived from  ,lat4    
columba1 a dove4 ,an old ,english name  
for the plant is culverwort1  culfre    
being the ,anglo-,saxon word for pigeon4
 ,it will be found in  hedges and       
thickets1 thriving more especially where
 the soil is  calcareous4 ,both the     
flower and leaf are very rich in        
character1 and  well suited for the     
requirements of ornamental art4         
,examples may be seen  in the church of 
,shearbourne1 ,dorset1 and in the       
spandrels of the canopy  of a brass in  
,exeter ,cathedral1 in memory of ,sir   
,peter ,courteney1 one of  the adherents
 of the ,lancastrian king1 ,henry ,,iv4 
,the columbine is a  favourite flower in
 cottage-gardens1 and may be much more  
generally thus  met with than as a wild 
plant4 ,it is in flower from ,may to    

,july4 ,a very  beautiful gradation of  
form is seen in the leaves1 the lower   
ones being  of a very complex form1     
while the upper ones are very simple in 
outline4  ,refer to ,e4 ,b4 #df1 ,v4 ,w4
 #cfg1 for drawings4    ,the ,,comfrey  
7,symphytum officinale74 ,this plant may
 be very commonly  found by the sides of
 streams1 ditches1 and other moist      
,illustration3 ,comfrey4    situations4 
,the corolla of the flower is generally 
of a yellowish white1  but a variety    
having purple flowers is not uncommon in
 many localities2  we have seen it1 for 
instance1 growing in profusion on the   
banks of the  ,east ,yar1 between       
,brading and ,sandown1 in the ,isle of  
,wight4 ,the generic  name1 ,symphytum  
is derived from a ,greek verb signifying
 to unite1 from  an old belief in the   
efficacy of the ,comfrey in the healing 
of wounds4  ,a very marked peculiarity  
in the growth of the plant is the       
circinate1  or1 as it is frequently     
termed1 scorpoid arrangement of the     

flowers1  from a supposed resemblance   
between the spiral form of the          
inflorescence  and the tail of the      
scorpion2 hence1 in the same way1       
scorpion-grass is  one of the old       
,english names of the familiar          
forget-me-not1 a plant  belonging to the
 same natural order1 the ,boraginace1   
and having the  same peculiarity of     
growth4 ,we need scarcely say that in   
the ,middle ,ages  the favourite dogma  
that each plant had its undoubted value 
as a  remedial agent1 and generally by  
its form or colour indicated its        
medicinal use1 was firmly held2 thus the
 colour and shape of the flower  of the 
foxglove1 formerly called the           
throatwort1 were considered as          
indications of its service in complaints
 affecting the throat1 as its  older    
name implies2 and the deep red colour   
often assumed1 as the summer  advances1 
by the leaves of the herb-robert and    
others of the cranesbill  family1 was   
deemed conclusive proof of the value of 

the plants in  stanching the flow of    
blood from a wound2 hence1 in the case  
of the  forget-me-not1 we find an old   
writer on medicine referring to the     
healing virtues of the plant as shown by
 its mode of growth3 8,the whole        
branche of floures do turne themselves  
round like the taile of the  scorpion4  
,the leaves of scorpion-grass applied to
 the place are a  present remedy against
 the stinging of scorpions1 and likewise
 boyled in  wine and drunke1 prevaile   
against the said bitings1 as also of    
adders1  snakes1 and such venomous      
beasts40 ,drawings of the comfrey may be
 seen  on referring to ,f4 ,l4 vol4 iv4 
#ah2 ,v4 ,w4 #dcb4    ,the ,,field      
,,convolvulus 7,convolvulus arvensis74  
,this pretty little plant  is very      
commonly found on grassy banks1 open    
downs1 or in our  corn-fields1 running  
up the stems of the standing corn1 and  
flowering  during ,june1 ,july1 and     
,august4 ,it is one of the enemies of   
the farmer1  from its spreading1 to the 

detriment of the crops1 over so large an
 area  of ground2 and owing to the great
 depth to which the roots descend1 it   
is exceedingly difficult to get rid of  
it when it has once taken  possession4  
,its generic name1 derived from the     
,latin convolvo1 ,i  entwine1 is very   
descriptive of the nature of the plant1 
and its ,english  name1 bindweed1       
evidently embodies the same idea4       
,another of its old  ,english names1 the
 withwinde1 very beautifully expresses  
its lightness  and delicacy1 unable to  
resist the force of the wind1 but       
conquering by  yielding to its power4   
,where the plant occurs1 it will        
generally be very  common1 many square  
feet of ground being often covered by   
its long  trailing stems4 ,when any     
suitable object1 such as a grass stem1  
is met  with1 the convolvulus1 too weak 
to rise by itself1 ceases to trail along
  the ground1 and twines round the      
support thus afforded1 always ascending 
in a spiral direction to the left1 as do

 also the ,c4 major of the              
flower-garden1 the scarlet-runner bean1 
and many others2 while others1  as the  
hop1 invariably ascend in a spiral      
direction from left to right4  ,it may  
at first sight seem difficult to        
establish this1 but if the  reader will 
imagine the plant in question turning   
round his own body1 he  will at once be 
able to determine whether the plant in  
ascending would  cross in front of him  
from right to left1 or from left to     
right4 ,in  introducing this plant in   
ornament1 it will be    ,illustration3  
,convolvulus4    ,illustration3         
,convolvulus4    necessary to remember1 
that though frequently represented as   
possessing  tendrils1 it does not in    
nature acquire the needed support by    
such  means1 the stalk itself being the 
part of the plant that entwines round   
other plants4 ,the means thus employed  
by climbing plants are very  varied2 the
 ivy1 for instance1 throwing out        
root-like forms from the  stems1 which1 

by their grasp and penetration into the 
hollows of  brickwork or the bark of    
other trees1 amply suffice to support   
the  plant2 the bryony1 passion-flower1 
and many other plants throw out true    
tendrils from the stem2 the goose-grass 
clings by means of the small  hook-like 
appendages with which the stems and     
under sides of the leaves  are          
furnished2 while in the pea the tendrils
 spring from the end of the             
leaf-petiole4 ,the ,c4 arvensis1 like   
the silver-weed1 the pimpernel1  and    
many other equally familiar plants1 seem
 to be cosmopolitan4 ,de  ,candolle1 in 
his 8,gographie ,botanique10 records its
 occurrence in a  truly indigenous state
 in localities so widely differing in   
temperature1  soil1 c41 as ,sweden1     
,siberia1 ,china1 ,india1 ,persia1      
,arabia1 ,egypt1  ,abyssinia1 ,new      
,holland1 ,mauritius1 the ,azores1      
,canada1 ,mexico1 and  ,chili4 ,the only
 instances of the use of the plant in   
medival ornament  with which we are     

acquainted are in wood-carving on the   
ends of the  stalls in ,wells           
,cathedral1 and in a similar position in
 the ,church of  ,st4 ,gereon1 ,cologne2
 in each case the leaves only are       
represented4  ,illustrations of the     
natural growth will be seen in ,s4 ,b4  
#aff2 ,e4 ,b4  #ibc2 ,t4 ,n4 ,o4 #ig2   
and ,p4 ,f4 #ic4    ,the ,,corn         
,,blue-,,bottle 7,centaurea ,cyanus7    
from its delicacy of growth1  and the   
beauty of the flower-heads1 would be a  
valuable plant for the  decoration of   
surfaces requiring a delicate treatment1
 such as muslins  and lace4 ,it is one  
of the characteristic flowers of the    
corn-field1  and1 in conjunction with   
the poppy1 would be valuable in any     
floral  grouping symbolic of autumn4    
,the plant was at one time held to      
possess  great remedial virtue1 though  
its use is now abandoned4 ,the generic  
name1 ,centaurea1 refers to an old      
legend that the ,centaur ,chiron1 when  
wounded by ,hercules1 recovered his     

strength by the use of this herb4 ,a    
very characteristic name in some parts  
of the country is hurt-sickle1  in      
allusion to its hard and wiry stems4 ,an
 example of its use in  ornamental art  
will be found in a sixteenth-century    
,,ms4 in the ,library  of the ,british  
,museum4 ,the treatment1 as is usual at 
that period of the  illuminator's art1  
is very naturalistic4 ,drawings of the  
natural plant  may be seen in ,s4 ,b4   
#aei2 ,e4 ,b4 #gji2 ,f4 ,l4 vol4 vi4    
#fb2 and ,p4 ,f4 #h4    ,the ,,corn     
,,marigold 7,chrysanthemum segetum7 is1 
like the last1 one of  the              
characteristic and striking plants of   
the harvest-field1 the intense  scarlet 
of the poppy1 the rich blue of the      
blue-bottle1 and the  brilliant yellow  
of the present flower1 forming a very   
beautiful trio4  ,the generic name1     
,chrysanthemum1 alludes to this         
brilliancy of colour  seen in several of
 the species1 being derived from two    
,greek words  signifying golden flower4 

,there is considerable quaintness in the
 forms  of the leaves1 and the general  
growth of the plant renders it well     
adapted for art-treatment4 ,we are      
unable to refer you to any examples of  
its introduction in the ornament of the 
past1 but any of our readers  desiring  
to remedy a neglect so unjustifiable    
will find reliable  drawings of it in   
,e4 ,b4 #gac2 ,f4 ,l4 vol4 vi4 #fj2 ,p4 
,f4 #bh4    ,the ,,daffodil 7,narcissus 
pseudo-narcissus74 ,this beautiful      
flower will  be found of value to the   
designer1 both from its own inherent    
beauty1  and also more especially in    
combination with the primrose1 wild     
hyacinth1 or cowslip1 in any design     
where it is desirable to embody the     
idea of spring1 since it is one of the  
most striking plants of that  season of 
the year4 ,the daffodil may be found in 
meadows and copses1 and  is generally   
abundant throughout ,england1 though in 
many cases probably  as an escape from  
the cottage-garden4 ,in ,ireland and    

,scotland it is  never met with except  
under such circumstances4 ,where the    
daffodil has  once established itself it
 grows with great freedom1 and will     
generally  be met with in profusion1    
though it is so local in its growth1    
that even  if abundant in any one spot1 
it may frequently be sought for in vain 
throughout the rest of a district4 ,the 
flowers1 of a pure and brilliant        
yellow1 grow singly upon the stalks1    
each rising directly from the root4     
,the daffodil has a very wide area of   
distribution1 being met with  throughout
 the greater part of ,europe1 and more  
especially in the  south-west2 it is1   
for instance1 one of the characteristic 
plants of the  meadows and hillside     
pastures of ,spain1 together with the   
two-flowered  narcissus 7,n4 biflorus71 
a plant which1 though abundant in       
,southern  ,europe1 has never been      
naturalised in ,england4 ,it may be     
frequently met  with in cultivation1 and
 will easily be distinguished from the  

daffodil  from the flowers being        
generally in pairs upon the stem1 and   
from their  creamy white or straw       
colour4 ,the generic name1 ,narcissus1  
is derived  from a ,greek word          
signifying stupor1 in allusion to the   
heavy and  powerful odour of another    
species1 the ,n4 poeticus4    ,drawings 
of the daffodil will be met with in ,e4 
,b4 #aeja1 and ,p4 ,f4 #hi4  ,the       
daffodil being like the daisy and       
eglantine1 what we may perhaps be       
allowed to term a poet's flower1 a      
further reason for intimacy with it  is 
furnished to the designer1 as he may    
possibly be required to make a  design  
for a page border to some dition de luxe
 of ,wordsworth or  ,herrick4    ,the   
,,daisy 7,bellis perennis74 ,so many    
rural and poetic associations  cluster  
around this 8wee1 modest1 crimson-tipped
 flower10 that our list  would be sadly 
incomplete did it not find a place in   
it4 ,leaving the  consideration of these
 associations1 however1 we would desire 

to point  out that on its own inherent  
merits it is a plant admirably adapted  
for  art-work1 the forms of the leaves1 
buds1 and flowers being all very        
ornamental in character1 and well suited
 to the decoration of any light  fabric4
 ,the generic name1 ,bellis1 testifies  
to the general  appreciation1 being     
derived from the ,lat4 bellus1 pretty4  
,daisy is a  corruption of its old      
,english name1 day's eye4        8,as   
soon as ever the sunne ginneth west     
,to sene this flower1 how it will go to 
rest1       ,for fear of night1 so      
hateth she darkness4       ,well by     
reason men it call maie       ,the      
,daisie1 or else the ,eye of the ,daie40
    ,in ,france it is called            
,marguerite1 from ,lat4 margarita1 a    
pearl1--hence ladies of gentle birth1 of
 that name1 frequently chose it  in the 
days of chivalry as their device4 ,it   
may be seen carved in stone  on the     
gateway of ,st4 ,john's ,college1       
,cambridge1 founded by ,margaret1       

,countess of ,richmond4 ,it also occurs 
in carvings at ,cubberley1              
,gloucestershire2 ,coton1 in            
,cambridgeshire2 and ,culham1 in        
,oxfordshire4        8,the daisie1 or   
flower white and rede1       ,and in    
,french called la belle ,marguerite1    
,to herne ,i have so great affectioun   
,as ,i sayd erst1 when comen is the     
,maie1       ,that in my bedde there    
dawneth me no daie       ,that ,i n'am  
up and walking in the mede       ,to see
 this floure ayenst the sunne sprede1   
,so glad am ,i1 that when ,i have       
presence       ,of it to doue it all    
reverence1       ,as she that is of all 
floures the floure1       ,fulfilled of 
all vertue and honoure2       ,and ever 
ylike faire and fresh of hewe2          
,and ever ,i love it1 and ever ylike    
newe40                                  
,,chaucer4      ,the family of ,parr    
bore as one of their devices a tuft of  
daisies4 ,the  daisy may be met with    
abundantly in pasture land and the      

grassy borders  of country roads1       
blooming freely from ,april to ,october4
 ,illustrations  may be seen in ,e4 ,b4 
#ggb2 ,f4 ,l4 vol4 i4 #fb2 ,t4 ,n4 ,o4  
#gf2 ,p4 ,f4 #fc4    ,the ,,dog-,,rose  
7,rosa canina74 ,this is one of the     
commonest of our  numerous species of   
,english wild rose--a family which1 like
 the  brambles1 willows1 and others1 has
 by some botanists been cut up into     
several species from more or less       
obvious botanical marks1 frequently of  
a nature1 however1 which subjects them  
to be by other observers  considered as 
mere variations depending upon chance   
external influences2  thus1 while one   
writer reduces the various rose forms to
 five specific  types1 another1 of      
equally high standing1 mentions nineteen
 species as  occurring in ,britain4     
,this refinement of scientific          
observation will1  however1 be of no    
real service to the designer3 for his   
purpose the  dog-rose1 the most familiar
 of our ,english species1 may be        

accepted as a  fairly typical flower4   
,the garden varieties of roses are      
derived from  the ,rosa sempervirens of 
,southern ,europe1 the ,r4 ,indica1 an  
,asiatic  species1 and many others4 ,the
 sweet-briar1 ,r4 rubiginosa1 one of our
  wild ,english species1 is also a      
favourite in many gardens from the      
fragrance of its leaves when pressed in 
the hand4 ,the    ,illustration3        
,dog-,rose4    word rose is derived1    
according to some authors1 from the     
,celtic rhos1  which is in turn derived 
from the adjective rhodd1 red2 while    
others  affirm that it descends to us   
from the ,latin rosa1 itself deduced    
from  the ,greek rodon1 derived from    
erythros1 red2 but we are unable to     
give any satisfactory clue to the       
meaning of the prefix 8dog0 in the      
familiar ,english name1 the same idea   
being also evidently expressed in  the  
specific word canina1 in the ,french    
rose de chien1 and the  ,german         
,hundrose4 ,some writers1 however1      

imagine it to refer to the  uselessness 
of the plant1 and quote the scentless or
 dog-violet as  another illustration in 
support of their theory4 ,even on the   
lowest  utilitarian ground this theory  
is scarcely tenable1 since the plant is 
largely used by gardeners as a stock for
 grafting1 while the fruit is  also     
considerably employed in medicine4 ,the 
rose1 though commonly met  with in      
ornament throughout the whole of the    
,decorated and ,perpendicular  periods  
of ,gothic1 is more especially found in 
the latter1 since it was  then employed 
not merely on its own merits1 but also  
as the badge of the  ,tudors2 hence1 as 
an heraldic form1 we frequently meet    
with it in  secular no less than in     
ecclesiastical work4 ,it is also1 we    
need  scarcely say1 the badge of        
,england1 as the shamrock and thistle   
are of  ,ireland and ,scotland          
respectively4 ,it was also the personal 
badge of  ,edward ,i41 and the family   
device of the ,de la ,warres4 ,examples 

of the  heraldic use of the rose are    
very numerous2 it may merely suffice to 
mention ,hampton ,court and ,henry      
,,vii4's ,chapel at ,westminster as     
abounding in illustrations4 ,in the     
church at ,hawton1 ,nottinghamshire1 in 
a sculptured representation of the      
,resurrection1 there is as a  background
 a very elaborate and beautiful diaper  
of the rose--its  leaves1 flowers1 and  
buds being all employed2 this1 as the   
,rose of  ,sharon1 may be considered as 
introduced in a symbolic sense1 though  
we  must here mention that the plant    
ordinarily known as the ,rose of ,sharon
  is not a true rose at all botanically4
 ,it is one of the ,hypericums4 ,a      
golden rose has from time to time been  
given by the popes to those whom  they  
more especially desired to reward for   
services rendered to the  ,church3      
,henry ,,viii4 of ,england received1    
together with his title  8,defender of  
the ,faith10 this mark of honour from   
,pope ,alexander ,,vi4 ,the  dog-rose   

will be found in flower in early summer1
 the colour of the  blossoms varying on 
different shrubs from pure white to a   
deep pink2  the brilliant scarlet fruit1
 an equally ornamental feature1 being   
met  with as the season advances4       
,illustrations of the natural growth of 
the  plant will be seen in ,m4 ,b4 #aci1
 ,s4 ,c4 #ajj1 ,p4 ,f4 #g1 #ij1 #if2 and
 ,t4 ,n4  ,o4 #ea4    ,examples of its  
use in decorative art occur at          
,winchester1 where a  hollow moulding is
 filled with a waved line of rose leaves
 and flowers2  in a boss in ,beverley   
,minster2 in a glass quarry at ,yaxley1 
,suffolk2 in  a more conventionalised   
treatment in a panel of ,perpendicular  
period1  ,east ,harling ,church1        
,norfolk2 a very good example as a glass
 quarry1  ,milton ,church1 ,cambridge2  
in a piece of oak-carving in the stalls 
at  ,wells2 in the carving of a tomb in 
,bourges ,cathedral2 a capital at       
,miraflores2 a hollow moulding wreathed 
with alternate flowers and leaves  in   

one of the doorways of ,notre ,dame1    
,paris4 ,many other instances might  be 
given1 but these will suffice to show   
how favourite a plant the rose  has been
 in past ornament4 ,the following       
extract from the old herbalist          
,gerarde1 though the adulation is1 from 
its implied reference to  ,elizabeth1   
somewhat fulsome1 is a further          
illustration of its  association        
heraldically with the ,tudors3 8,the    
plant of roses1 though it  be a shrub   
full of prickles1 yet it had bin more   
fit and convenient to  have placed it   
with the most glorious flowers of the   
world1 than to  insert the same here    
among base and thorny shrubs0 7this     
allusion refers  to ,gerarde's system of
 classification71 8for the rose doth    
deserve the  chief and prime place among
 all flowers whatsoever1 being not only 
esteemed for his beauty1 vertues1 and   
his fragrant and odoriferous  smell1 but
 also because it is the honour and      
ornament of our ,english  ,scepter1 in  

the uniting of those two most ,royall   
,houses of ,lancaster and  ,yorke40     
,illustration3 ,feverfew4    ,the       
subject of our next illustration is     
derived from the ,,feverfew             
7,chrysanthemum parthenium71 a plant    
widely distributed over ,britain1  but  
at the same time with doubtful claims to
 be considered a true  native2 it is1   
however1 thoroughly at home in those    
places in which it  is to be met with1  
and from the clear white daisy-like     
flowers and the  delicate green of its  
handsome foliage it merits the attention
 of  designers of ornamental art4 ,from 
its lightness and the deep cutting of   
the leaves1 the feverfew would be found 
of more service in painted or  engraved 
ornament than in any kind of relief     
work4 ,the feverfew has a  reputation   
among herbalists as a bitter and tonic2 
and no doubt1 before  the introduction  
of quinine and such-like more powerful  
remedies1 would  possess a valued and   
considerable remedial virtue4 ,the      

familiar ,english  name implies this1   
and is one of the numerous class of     
names1 as  eyebright1 goutweed1         
lungroot1 livelong1 wormwood1 c41 given 
to plants  in recognition of their real 
or fancied medicinal use4 ,drawings of  
the  natural growth of the feverfew may 
be seen in ,e4 ,b4 #gae2 ,m4 ,b4 #bdi2  
,p4  ,f4 #ci4    ,,fool',s ,,parsley4   
,we have selected this plant1 the thusa 
cynapium1 as a  good representative of  
the very large order of plants known    
botanically  as the ,umbellifer4 ,the   
whole of the plants of this order1 as   
the name  implies1 have their flowers   
growing in umbels1 that is to say1 all  
the  flower-stalks start from one point 
on the stem1 and radiate from the       
common centre4 ,many of the ,umbellifer1
 as the parsley1 carrot1  fennel1 and   
celery1 must be familiar to our readers1
 though they may not  have noticed      
particularly this umbellate mode of     
flowering4 ,several of  the species are 
exceedingly poisonous3 of these we may  

instance the  hemlock1 the              
water-dropwort1 and the present plant4  
,with very few  exceptions1 the flowers 
of the whole of the plants of this order
 are  either white or yellow4 ,the      
fool's parsley is so called from a      
slight  resemblance which the plant     
bears to the common parsley of the      
kitchen-garden4 ,though the differences 
are not difficult to detect--the        
flowers1 for instance1 of the fool's    
parsley being white1 and those of       
garden-parsley yellow2 the leaves of the
 first giving a disagreeable  odour when
 bruised1 and those of the second a rich
 aromatic scent--the  want of a little  
circumspection has frequently led to    
serious and even  fatal results4 ,the   
plant is the more dangerous from its    
being rarely met  with except on        
cultivated ground4 ,the generic name1   
thusa1 is given  to it in allusion to   
its acrid nature1 being derived from a  
,greek word  signifying to burn1 while  
cynapium means dog's parsley4 ,though as

 yet  we have said nothing but evil of  
it1 it is but just to add in its  favour
 that1 ornamentally1 it is a very       
desirable plant for insertion in  our   
list1 the leaves1 flower-buds1 and      
general growth being very  graceful1 and
 well suited for the decoration of any  
delicate fabric4 ,for  illustrations of 
the plant we would refer you to ,f4 ,l4 
vol4 i4 #ah2 ,s4 ,c4  #h2 ,s4 ,b4 #aci4 
,it will be found in flower during ,july
 and ,august4    ,the ,,ground-,,ivy    
7,nepeta glechoma71 the subject of our  
next two  illustrations1 is so commonly 
distributed throughout ,britain1 that   
there  can be but little need of our    
dwelling at any great length upon a     
description of it1 though1 from its     
habit of trailing on the ground and     
among the roots of larger plants1 it is 
not so conspicuous to the eye as  many  
others4 ,its ,english name1 ground-ivy1 
refers to its slight  resemblance in    
mode of growth to the common ivy1 though
 in every other  respect they are very  

dissimilar1 the ground-ivy having       
rounded or  reniform leaves growing in  
pairs up the stem1 the flowers large and
 of a  brilliant colour1 tubular and    
bisymmetrical1 while in the ivy the     
leaves  terminate in an acute point1 and
 spring singly from the stem1 the       
flowers small1 pale green1              
multisymmetrical in form1 and composed  
of  five distinct petals4 ,the generic  
name1 ,nepeta1 is derived from  nepa1 a 
scorpion1 from an old belief that the   
bite of the scorpion was  rendered      
harmless if treated by means of a recipe
 of which a preparation  of our present 
plant was the leading ingredient4 ,the  
flower of the  ground-ivy1 though       
generally of a deep purplish blue1 may  
sometimes be  met with of a pure white4 
,this variation from a given colour to  
white is  comparatively not uncommon in 
many of our wild plants1 though more    
especially noticeable in                
,illustration3 ,ground-,ivy4    plants  
of normally blue or purple flowers3 thus

 the purple foxglove1  blue ,jacob's    
ladder1 pink herb-robert1 purple        
snapdragon1 blue harebell1  and many    
others1 are occasionally to be found    
with white blossoms4 ,the  ground-ivy1  
from its abundance1 and also from its   
past and present  medicinal use1 may be 
met with in the works of various authors
 under a  great choice of synonyms3 of  
these alehoof is the most common2       
others1  almost equally familiar1 being 
creep-by-ground and cat's-foot4 ,when   
not  in flower the general appearance of
 the marsh pennywort 7,hydrocotyle      
vulgaris7 is1 to a casual observer1 not 
altogether unlike that of the           
ground-ivy2 but the pennywort is only   
met with on swampy ground1 the  leaves  
are peltate or shield-like1 the stalk   
rising from the centre of  the under    
side of the leaf1 as we see it in the   
more familiar garden  nasturtium        
7,tropolum majus71 differing in these   
respects from the  ground-ivy4 ,when in 
blossom1 the contrast between the       

greenish-yellow  flower of the pennywort
 and the deep purple of the flowers of  
the  ground-ivy is too marked to permit 
of any chance of error4 ,the only       
examples of the use of the ground-ivy   
,illustration3 ,ground-,ivy4    with    
which we are acquainted in the ornament 
of the past are in a small  spandrel in 
one of the doorways at ,rheims          
,cathedral1 and on some of the  flooring
 tiles from the ruins of the ,abbey of  
,chertsey1 ,surrey4 ,in the  latter case
 the leaves are four in number1 in a    
cruciform arrangement  within a         
quatrefoil--a very simple yet true and  
effective treatment of  the plant2 for  
as the leaves grow1 as we have already  
mentioned1 in  pairs1 and as each pair  
of leaves is placed upon the stem at    
right  angles to the pairs immediately  
above and beneath it1 the effect        
produced in looking down upon the plant 
is necessarily cruciform in  character4 
,a great variety of these ,chertsey     
tiles may be seen in the  ,south        

,kensington ,museum3 though very simple 
in design1 they afford  excellent       
examples of the true application of the 
principles which  should govern the     
introduction of natural forms1 and are  
well worthy of  the attention of the    
student of decorative art4 ,in both     
these cases1  ,rheims and ,chertsey1 the
 leaves alone are employed1 as the      
flowers1 from  their intricacy of detail
 and position upon the plant1 would     
require the  aid of colour to bring them
 out with due effect2 hence1 while the  
ground-ivy1 during its period of        
flowering1 is admirably adapted for     
surface decoration1 muslins1            
wall-papers1 and many other such-like   
purposes1 it is but ill suited to       
relief-work in stone or wood4 ,refer to 
,s4 ,b4 #agb2 ,e4 ,b4 #ajee2 ,f4 ,l4    
vol4 ii4 #dd2 ,m4 ,b4 #bh1 for          
illustrations of  the natural growth of 
the ground-ivy4    ,,groundsel1 though a
 plant exceedingly likely to be         
overlooked1 is on  that account the more

 deserving of a place in our list1 as it
 really  possesses qualities which fully
 entitle it to the consideration of the 
student of ornamental art1 the general  
growth of a good specimen being  very   
vigorous and characteristic1 and the    
variety of beautiful forms  seen in the 
leaves a further recommendation4 ,the   
botanical name is  ,senecio vulgaris4   
,senecio is derived from senex1 an old  
man1 in  allusion to the grey heads of  
seed-down which succeed the blossoms4   
,the  groundsel may be met with         
abundantly almost everywhere1 and may at
 all  times of the year be found in     
flower4 ,drawings of the plant may be   
seen  in ,e4 ,b4 #gdi2 ,f4 ,l4 vol4 i4  
#fa2 ,p4 ,f4 #b4    ,the ,,harebell     
7,campanula rotundifolia74 ,this        
graceful little plant may  generally be 
found in profusion on dry and hilly     
pastures and heaths1  though by no means
 in such localities exclusively1 as the 
roadside  hedge-bank is another         
favourite spot4 ,there are ten species  

indigenous  to ,england1 most of them of
 great beauty and adaptability to       
art-requirements3 of these we may in    
particular mention the ,c4  hederacea1  
the ivy-leaved campanula1 a little plant
 by no means  uncommon in moist shady   
pastures and swampy low-lying ground4   
,the  present species is abundant       
everywhere throughout ,europe and       
,northern  ,asia4 ,the ,canterbury bell 
7,c4 medium7 is an allied and familiar  
garden  species4    ,illustration3      
,harebell4    ,the generic name1        
,campanula1 means a little bell1 and    
from the shape  of the corolla is aptly 
applied to these plants4 ,rotundifolia1 
meaning  round-leaved1 seems at first   
sight a misnomer1 as the leaves most    
easily  visible on a cursory glance at  
the plant are thin and strap-shaped4    
,the  lower leaves of the plant1        
however1 are rounded in form2 and1 as we
  study the foliage1 we shall see a     
delicate ascending gradation of form1   
from the rounded leaves at the lower end

 of the stem1 to the thin1  almost      
grass-like leaves of the upper part4    
,drawings of the harebell  will be found
 in ,t4 ,n4 ,o4 #hj2 ,p4 ,f4 #ab4       
,the ,,hazel-,,nut 7,corylus avellana7  
is so familiar a shrub that any         
lengthened description of it must be    
needless1 or1 to quote our old  writer1 
,gerarde3 8,our hedge-nut1 or hazel-nut 
tree1 which is very well  knowne1 and   
therefore needeth not any description1  
whereof there are  also sundry sorts1   
some great1 some little1 as also one    
that is in our  gardens1 which is very  
,illustration3 ,nut4    great1 bigger   
than any filberd1 and yet a kinde of    
hedge-nut2 this then  that hath beene   
said shall suffice for hedge-nuts40 ,the
 smaller twigs of  the hazel afford an  
excellent charcoal for artistic         
purposes1 and the  long straight shoots1
 thrown up with such rapidity and       
vigour1 are  largely employed in the    
manufacture of the crates in which      
earthenware  is packed--a use for which 

their size and flexibility combined with
  great strength admirably fit them1 as 
the rods1 when the wood is still  green1
 may be bent almost double before they  
will give way4 ,there is a  pleasing    
appropriateness in its ,english name1   
hazel-nut1 derived from  the            
,anglo-,saxon haesel1 a hat1 and hnut1 a
 nut or ball1 which we  notice and      
appreciate when we see the fruit in its 
natural state1  surrounded by the       
foliaceous and cap-like partial envelope
 formed by the  scales of the involucre4
 ,the generic name also1 ,corylus1      
refers to  this peculiarity of growth1  
being derived from a ,greek word        
signifying a  covering for the head4    
,the natural order to which the hazel   
belongs  includes several trees of great
 value to man1 either on account of     
their  timber or their fruit--such1 for 
example1 as the beech1 ,spanish         
chestnut1 and the oak2 and in the olden 
time1 when a belief in the use  of the  
divining-rod1 as an indicator of        

subterranean springs1 was  common1 the  
mystic virtue was sought in the forked  
twigs of the hazel4  ,the size of the   
leaves and the striking character of the
 fruit alike  combine to render it a    
plant admirably fitted for the purposes 
of  ornamental art1 though the only     
example of its use1 so far as we are    
aware1 may be seen in a hollow moulding 
in the cathedral at ,winchester1  where1
 upon a continuous scroll running along 
the centre of the  moulding1 both       
foliage and fruit are introduced4 ,the  
leaves are deeply  serrated1 and the    
nuts grow in clusters of two1 three1 or 
four1 the  general treatment being very 
naturalistic4 ,among the many           
extraordinary  remedies in use by our   
ancestors1 hazel-nuts occupied a place1 
being  employed in complaints affecting 
the chest1 though1 even then1 when      
scarcely any reputed remedy seems to    
have been thought too fanciful and      
absurd1 some appear to have ventured to 
doubt the efficacy of the  medicine1    

bringing down upon themselves the       
scathing rebuke of the  faculty1 as we  
find in the following extract from an   
old medical work1  where1 after the     
setting forth of the benefits to be     
derived from the  use of the hazel as a 
remedial agent1 he goes on to           
say3--8,and if this  be true1 as it is1 
then why should the vulgar so familiarly
 affirm that  eating nuts causeth       
shortness of breath8 than which nothing 
is falser4  ,for how can that which     
strengthens the lungs cause shortness of
 breath8  ,i confess the opinion is far 
older than ,i am2 ,i know tradition was 
a  friend to error before1 but never    
that he was the father of slander2 or   
are men's tongues so given to slandering
 one another1 that they must  slander   
nuts too to keep their tongues in use8  
,and so thus have ,i made  an apology   
for nuts1 which cannot speak for        
themselves40 ,for  illustrations of the 
growth of the nut1 see ,w4 ,h4 ,h41     
,plate ,b1 ,fig4 #a2  ,t4 ,n4 ,o4 #abg4 

,our next illustration is derived from  
the ,,hawthorn1 ,,whitethorn1 or ,,may  
7,cratgus oxycantha71 a plant familiar  
to every one1 from its being so         
extensively used for hedgerows2 its     
strength1 closeness of growth1 and      
spiny character1 admirably adapting it  
to the purpose4 ,the wood is very  hard1
 and will take a high polish2 the       
generic name1 ,cratgus1 from a  ,greek  
word signifying strength1 being an      
allusion to this characteristic  of the 
plant4 ,its use as a hedgerow plant in  
,england dates1 according to  ,sowerby1 
from the time of the ,romans1 and of    
this there can be but  little doubt1 as 
its most common name--hawthorn--is1     
literally1  the hedge-thorn1 from the   
,saxon word hage4 ,the second           
name--white-thorn--has been given to it 
in contradistinction to the  black-thorn
 7,prunus spinosa71 a somewhat similar1 
and1 in a wild  state1 almost equally   
common plant2 the    ,illustration3     
,hawthorn4    stems of the latter being 

very dark in colour1 while in the       
hawthorn or  white-thorn they are       
comparatively light4 ,the third name1   
,may1 has  obvious reference to the time
 of flowering4 ,the leaves of the plant 
are  exceedingly varied in form1        
affording a great choice for the        
selection  of the ornamentist2 some     
being very simple in character1 while   
others  are deeply cut1 and very rich   
and beautiful in outline4 ,a permanent  
variety may be occasionally met with1 in
 which the leaves1 instead of  being of 
the ordinary deep and bluish green1 are 
in addition irregularly  blotched with  
varying and intermingling tones of      
yellow4 ,the flowers  also of the       
hawthorn are subject to considerable    
variation in colour3  the typical state 
is a pure milky white2 but owing to the 
nature of the  soil in which the plant  
is found1 the blossoms may occasionally 
be seen  varying from a pale pink to    
almost crimson4 ,the berries1 also1     
though  generally of a deep crimson     

colour1 are sometimes of an intensely   
golden  yellow4 ,an old writer1         
,culpepper1 in his 8,british ,herbal10 a
 treatise  partly astrological and      
partly medicinal1 having first stated   
that the  plant is under the dominion of
 ,mars1 thus defines the medicinal      
properties of the hawthorn3--8,the seeds
 in the berries1 beaten to  powder1     
being drank in wine1 are held singular  
good against the dropsy4  ,the seed1    
cleared from the down1 bruised and      
boiled in wine1 and drank1  is good for 
inward tormenting pains4 ,if cloths and 
sponges be wet in the  distilled water1 
and applied to any place wherein thorns 
and splinters1  or the like1 do abide in
 the flesh1 it will notably draw them   
forth4 ,and  thus you see the thorn     
gives a medicine for its own pricking1  
and so  doth almost everything else40   
,though to a certain extent foreign to  
our subject1 we may perhaps be          
permitted to say that1 to the           
naturalist1 as well as to the botanist  

and  the designer of ornamental art1 the
 tree possesses considerable            
attractions1 the berries being the      
favourite fruit of many of our birds1   
and the foliage being sometimes         
completely stripped by the larv of      
various butterflies and moths1 such as  
the small ,ermine1 the ,brimstone  moth1
 and many others2 while among the poets1
 ,chaucer1 ,milton1  ,shakspeare1       
,wordsworth1 ,goldsmith1 ,bampfylde1 and
 ,tennyson1 have all  found in it a     
source of beauty and inspiration4 ,it   
has also been one of  the favourite     
plants of the ornamentists1 occurring   
very commonly in the  works of the      
,middle ,ages4 ,it would be both tedious
 and unnecessary to  give anything like 
an exhaustive catalogue of its use in   
past art3 as  good examples out of many1
 we would merely cite its occurrence in 
a  finial in the ,lady ,chapel1 ,exeter2
 as a stone-diaper alternating with     
oak1 at ,lincoln2 in two fine spandrels1
 and a beautiful capital1 very  full and

 rich in its wreathing1 in the          
,chapter-house1 ,southwell4 ,other      
examples occur in the cathedrals at     
,ely1 ,wells1 and ,winchester4 ,wherever
  met with in ornamental art1 the leaves
 and berries are the parts  selected3 to
 the best of our knowledge the flowers  
have never1 in any  instance1 been      
introduced1 no doubt from the fact of   
the minuteness and  delicacy of each    
individual blossom1 and its habit of    
growing in  clusters1 which1 though     
extremely beautiful in nature1 are1 from
 their  intricacy of detail1 unsuited to
 the purposes of the ornamentist4       
,similarly1 though the plant in its     
natural growth is often exceedingly     
spiny1 it is1 in ornamental art1        
represented as almost or entirely       
without this characteristic feature1 as 
there would be a great practical        
difficulty1 in any kind of relief-work  
at least1 in the satisfactory           
introduction of forms so minute and     
fragile1 yet requiring so high a        

relief4 ,drawings of hawthorn will be   
found in ,p4 ,f4 #fh2 ,t4 ,n4 ,o4 #eb4  
,the ,,herb-,,robert 7,geranium         
,robertianum7 is one of the numerous    
family  of cranesbills1 so called from a
 supposed resemblance between the form  
of the fruit and the bill of that bird1 
a resemblance also indicated in  the    
generic name1 ,geranium1 derived        
,illustration3 ,herb-,robert4    from   
the ,greek geranos1 a crane4 ,the       
herb-robert is one of the most          
abundantly distributed plants of the    
genus1 being met with throughout  the   
whole of ,britain and in many other     
parts of the world1 growing upon  all   
kinds of soils1 and flourishing equally 
well upon hedge-banks1 waste  ground1   
and old walls4 ,owing to the foliage    
turning a brilliant crimson  in autumn1 
the plant becomes very striking and     
conspicuous as the year  advances1 a    
peculiarity which will greatly aid its  
identification by  those of our readers 
who are not acquainted with it4 ,the    

flowers are of  a delicate pink colour1 
though they may occasionally be met with
 of a  pure white3 this variety grows   
abundantly near ,nutfield1 in ,surrey1  
for  instance4 ,the whole of the        
cranesbill family will well repay the   
attention and study of the ornamentist1 
the dove's-foot cranesbill 7,g4  molle71
 and the blue meadow cranesbill 7,g4    
pratense71 being  especially suited to  
the requirements of the designer4 ,the  
latter is a  very striking plant1 and   
when once seen cannot well be mistaken1 
each  flower being almost two inches in 
diameter1 of a deep purple blue1 and    
veined with lines of reddish purple3 the
 leaves also are very deeply  cut1 and  
of a highly ornamental character4 ,an   
illustration of the  ornamental         
treatment of the herb-robert may be seen
 in an elaborate  specimen of           
embroidery1 last-century work1 in the   
,south ,kensington  ,museum2 while      
drawings of the natural plant can be    
referred to in ,t4 ,n4  ,o4 #ch2 ,v4 ,w4

 #dab2 ,f4 ,l4 vol4 i4 #eb2 ,p4 ,f4 #cd4
    ,,holly 7,ilex aquifolium74 ,this   
plant1 from its association with winter1
  should be one of those familiar to the
 student of ornamental art4  ,drawings  
of it may be found in ,s4 ,b4 #ahd2 ,w4 
,h4 ,h41 ,plate ,a1 ,fig4 #d2 ,p4  ,f4  
#bg2 ,g4 ,o4 #ie4 ,the holly is         
indigenous to most parts of ,europe4    
,its  influence may be traced in the    
names of several places1 as for example 
,holmwood1 near ,dorking2 the holly by  
old writers being also termed ,holm  and
 ,hulver4 ,though ordinarily met with as
 a hedgerow shrub1 it will1 if  allowed 
to grow1 attain to no inconsiderable    
height--often thirty to  forty feet2    
while a particularly fine specimen at   
,claremont1 in ,surrey1  is a little    
over eighty feet high1 and has a trunk  
six feet in  circumference4 ,the growth 
is very slow1 the timber close-grained  
and  hard1 the annual layers of woody   
fibre being exceedingly compact4 ,this  
fineness of grain1 its whiteness and its

 beauty when polished1 render it  of    
great service in carving and inlay work4
 ,it has also been extensively  used in 
the place of box for wood-engraving1 and
 for the blocks used for  engraving the 
patterns of calicoes and wall-papers4   
,it would no doubt be  still more       
extensively used than it is did not its 
rarity render it so  costly1 as1 though 
holly bushes are plentiful enough1 the  
owner of a  fine tree is generally loath
 to have it cut down4 ,the chief use of 
the  holly is in the formation of       
hedges1 as its formidable spines1       
evergreen  foliage1 its slight          
attraction for insects1 and closeness of
 growth1 are  all valuable              
recommendations2 we often thus meet with
 it in  old-fashioned gardens4 8,is     
there under heaven a more glorious and  
refreshing object of the kind than an   
impregnable hedge1 of #afj feet in      
length1 #g feet high1 and #e in         
diameter1 which ,i can show in my poor  
gardens at any time of the year1        

glittering with its armed and varnished 
leaves8 ,it mocks at the rudest assaults
 of the weather1 beasts1 or             
hedge-breakers40 ,this hedge1 the pride 
of ,john ,evelyn's garden1 did not      
prove so impregnable to the             
hedge-breaker as its owner fondly       
thought1  since one of the great        
amusements of the ,czar ,peter1 during  
his stay  with ,evelyn1 was to trundle a
 wheelbarrow through it1 to the ultimate
  ruin of the hedge and the no small    
sorrow of its hospitable owner4    ,a   
variety of holly having yellow berries  
is sometimes met with4 ,some  little    
while ago1 a branch with bright         
orange-coloured berries was  exhibited  
at one of the meetings of the ,linnan   
,society1 a scion of the  yellow-fruited
 variety having been grafted on a       
scarlet-berried stock1  with this       
curious result4 ,the holly may also     
sometimes be met with  having variegated
 leaves1 the normal dark glossy green   
being blotched  with a clear yellow or  

white4 ,the lower leaves of the tree are
 edged  with sharp spines1 while the    
upper branches have the foliage quite   
free  from these3--        8,below1 a   
circling fence1 its leaves are seen     
,wrinkled and keen2       ,no grazing   
cattle1 through their prickly round1    
,can reach to wound2       ,but as they 
grow where nothing is to fear1          
,smooth and unarmed the pointless leaves
 appear40                               
,,southey4    ,ornamentally1 the holly  
may be met with in a glass quarry in    
,brandeston  ,church1 ,suffolk2 also on 
a medival flooring-tile in the ,british 
,museum4  ,we are not aware of any other
 ancient examples of its use1 though    
doubtless those given do not exhaust the
 list4 ,we trust1 should another        
edition be called for1 to be able1 by   
further investigation1 to remedy  this  
shortcoming4 ,the name holly is a       
corruption of holy1 and alludes to  its 
connection with ,christmas4 ,in some of 
the old herbals it is written  8holy    

tree10 while in some countries this     
connection is rendered still  more      
emphatic1 the ,german name being        
,christdorn1 the ,danish and  ,swedish1 
,christorn4    ,the next subject we have
 chosen as an illustration of the       
adaptability  of our native plants to   
the purposes of the ornamentist is the  
,,hop  7,humulus lupulus74 ,though we do
 not recall any example of its use in   
the ornament of the past1 except in one 
of the capitals at ,southwell  ,minster1
 it nevertheless appears to us a plant  
well deserving of a place  in our       
columns4 ,its climbing habit1 the beauty
 of the leaves1 and the  size of the    
cones1 are all features which in an     
especial manner seem to  fit it for the 
service of the designer2 and it appears 
curious that1  while so great a choice  
was at the disposal of the old carvers1 
they  practically left so large a field 
untouched4 ,our architecture1 for       
instance1 abounds with details of oak1  
maple1 and hawthorn2 yet the nut  and   

the wild rose1 plants at least as       
striking and as common1 occur but       
rarely1 while the hop1 bindweed1        
blackberry1 and many others1 seem to    
have been almost entirely neglected4    
,the hop is found in a truly wild  state
 in our hedgerows and copses1 its weak  
stems1    ,illustration3 ,hop4          
powerless to support themselves1        
trailing a long distance1 and running   
up any tree or other support with which 
they may come in contact1 and  wreathing
 it with their beautiful clusters of    
foliage and fruit4 ,it is  also largely 
cultivated in ,england1 ,france1        
,belgium1 and ,germany2 its  tonic      
properties1 and the fragrant bitter     
principle found in it1  chemically      
termed lupuline1 being1 it is almost    
needless to say1  utilised in the making
 of beer4 ,it was thus first used in the
 reign of  ,henry ,,viii41 before that  
time the fresh top shoots of broom being
  employed to give the desired          
bitterness4 ,the young shoots are in    

some  parts of the country cooked and   
eaten like asparagus4 ,gerarde1 writing 
in the reign of ,elizabeth1 says1 8,the 
hop joyeth in a fat and fruitfull       
ground1 also it groweth amongst briers  
and thornes about the borders of        
fields4 ,the flowers are used to season 
beere or ale with1 and too many  do     
cause bitternesse thereof1 and are ill  
for the head4 ,the manifold  vertues of 
hops do manifest argue the wholesomnesse
 of beere1 for the  hops rather make it 
a physicall drinke to keep the body in  
health1 than  an ordinary drinke for the
 quenching of our thirst40 ,the leaves  
of the  hop are sometimes heart-shaped1 
at others divided into three very       
distinctly marked lobes1 in either case 
the margins being deeply  serrate4 ,the 
order to which the hop belongs includes 
many plants useful  to man1 as1 for     
instance1 among several others1 the     
hemp1 mulberry1 fig1  the ,urostigma    
elasticum1 yielding india-rubber1 and   
the bread-fruit  tree4    ,about forty  

million pounds weight of hops are       
annually employed in  brewing in        
,england4 ,kent and ,surrey are the     
chief means of supply1  though those    
grown in the rich soil of the ,vale of  
,severn1 in the  neighbourhood of       
,worcester1 are by no means inferior to 
the best  ,kentish4 ,the crop is a very 
speculative one1 the dangers which      
surround  it being legion2 the profits  
are1 however1 so great that the grower  
is  reimbursed if one crop in three     
should turn out well4 ,the hops grown in
  the neighbourhood of ,farnham command 
the highest prices4 ,the etymology  of  
the word is unknown2 the ,germans term  
it ,hopfen4 ,hops have been  cultivated 
in ,germany from time immemorial1 and it
 is from thence that  we derive both the
 plant and its name4 ,drawings of the   
natural growth  will be found in ,e4 ,b4
 #abhd1 ,s4 ,c4 #da2 ,t4 ,n4 ,o4 #abe2  
and ,p4 ,f4 #d4    ,illustration3       
,yellow-horned ,poppy4    ,the          
,,yellow-,,horned ,,poppy 7,glaucium    

luteum7 will no doubt have attracted    
the attention of many from the          
peculiarity of its habitat1 growing and 
flourishing as it does by the seashore1 
where little else appears to  thrive1   
and by the delicate green of its        
foliage1 the brilliant yellow  of its   
blossom1 and its spreading growth1      
covering large expanses of the  shingly 
beach with a very striking and beautiful
 carpet4 ,the pods1 a  highly ornamental
 feature1 may occasionally be found     
almost a foot in  length1 and1 together 
with the form of leaf and locality of   
growth1  effectually distinguish it from
 the yellow ,welsh poppy 7,meconopsis   
,cambrica74 ,the scarlet-horned and the 
violet-horned poppies1 allied  species1 
are both exceedingly rare in ,england3  
the latter1 from its  finely-cut leaves 
and size of the flowers1 is well adapted
 to  art-purposes4 ,the yellow-horned   
poppy will be found in flower from ,june
  to ,october4 ,drawings of it occur in 
,e4 ,b4 #ff2 ,p4 ,f4 #ia4               

,illustration3 ,ivy4    ,,ivy 7,hedera  
helix74 ,we have already1 in speaking of
 the ground-ivy1  dwelt to a certain    
extent upon the characteristics of the  
present plant1  and1 from its abundance 
and conspicuous appearance1 any         
lengthened  descriptive details must be 
unnecessary1 as there can be but few to 
whom  the ivy is not perfectly familiar4
 ,we meet with it upon old buildings1   
rocks1 and in the woods and hedgerows1  
running over the surface of the  ground1
 or covering the trunks and main        
branches of the trees with its          
interlacing stems and masses of rich    
foliage4 ,opinions have been very       
varied as to whether the luxuriant      
growth of the ivy is detrimental or  not
 to the trees which it embraces2 for    
while some have considered that  its    
presence is a benefit1 and particularly 
in severe winters1 others  have held    
that the compression caused by the long 
and closely adhering  branches impairs  
the vigour and stunts the growth of the 

tree4 ,the  belief that the ivy1 like   
the mistletoe1 draws its nourishment    
from the  tree is now no longer held1 as
 it has been satisfactorily proved that 
the so-called rootlets 7or1 as they are 
perhaps more expressively termed  by ,de
 ,candolle1 crampons7 which we see      
thrown out from the clinging  stems do  
not drain the sap of the supporting     
tree1 but must be regarded  as a        
beautiful mechanical contrivance to aid1
 by their support and  grasp1 the ascent
 of the ivy4 ,we find that these little 
bodies are  equally developed where     
masses of rock    ,illustration3 ,ivy4  
have to be scaled1 and that the plant   
thrives with equal vigour where  support
 is clearly their sole function2 and if1
 on the other hand1 the  ivy runs upon  
the ground1 the crampons are not        
developed1 as no such  supporting       
members are then needed4 ,the ivy is one
 of the plants  indigenous to ,britain1 
and derives its familiar name from the  
,anglo-,saxon ifig4 ,considerable       

differences of opinion have been held   
as to the meaning of the generic name1  
,hedera3 the best derivation  appears to
 us to be that which assigns as its     
origin the old ,celtic word  for rope or
 cord1 hedra1 as it exactly expresses   
the characteristic  appearance of the   
growth4 ,the ivy flowers during ,october
 and ,november1 a  time of the year when
 but few other plants are in blossom2   
hence it  becomes the favourite resort  
of various insects1 while the berries   
are  fully ripe by ,march1 and afford a 
welcome food for the blackbird1         
missal-thrush1 wood-pigeon1 and many    
others1 at a season when1 from the      
scarcity of other food1 they become     
peculiarly acceptable4 ,the ,romans     
dedicated the ivy to ,bacchus1 and in   
their sculpture he is generally         
represented as crowned by an ivy wreath1
 from an old belief1 mentioned  by      
,pliny and others1 that the plant thus  
worn neutralised the  intoxicating      
effects of wine4 ,the leaves of the ivy 

vary very  considerably in form1 a      
feature which the ornamentist will      
appreciate4  ,the leaves upon the       
flowering branches are somewhat egg or  
heart shaped1  with a very acute point1 
the more familiar ornamental form of the
  five-lobed leaf not being found upon  
this portion of the plant2 hence it  is 
perhaps scarcely legitimate to employ   
the berries with the  five-pointed form 
of leaf1 though in the introduction of  
the plant in  the ornament of the       
,middle ,ages this was entirely         
disregarded4 ,the ivy  was one of the   
favourite plants of the medival         
ornamentist4 ,examples of  its use are  
very numerous3 of these we need mention 
but a few4 ,we find  the leaves and     
branches alone introduced1 for instance1
 in wood-carving  in the stalls of the  
choir of ,st4 ,margaret's ,church1      
,lynn2 in stonework1  as a crocket1 in  
the ,chapter-house1 ,wells2 as the      
foliage of one of the  capitals in the  
choir of ,lincoln ,cathedral2 and in a  

beautiful example  at the springing of  
an arch at the ,minster1 ,southwell4 ,we
 find the  berries introduced with the  
leaves 7in every case the leaf having   
five  points7 in a hollow moulding in   
the cloisters at ,burgos in a           
particularly beautiful manner2 and in   
,paris on one of the capitals of  the   
,sainte ,chapelle1 and again in a       
similar position in the chancel of      
,notre ,dame--the first of these being  
twelfth-century work1 and curious  from 
the very acute form of leaf employed2   
the second dating from the  fourteenth  
century4 ,a very good ,english example  
may be seen in a  spandrel in the       
,chapter-house1 ,southwell4 ,in ancient 
art we find the  ,egyptians representing
 ,osiris as bearing an ivy-wreathed     
thyrsus2 and  upon the ,greek and       
,etruscan vases preserved in the        
,british ,museum we  frequently see     
running bands of ornament which we can  
have little doubt  are based upon the   
ivy3 in most of the examples the berries

 are  introduced together with the      
heart-shaped form of leaf1 though in a  
few  cases a three-pointed or a rounded 
form of leaf1 still distinctly  ivy-like
 in character1 is substituted4 ,refer to
 ,t4 ,n4 ,o4 #ga2 ,g4 ,o4 #ic4    ,our  
next illustration is derived from the   
,,ivy-,,leaved ,,speedwell  7,veronica  
hederifolia71 a plant of frequent       
occurrence1 but which1  from its weak   
trailing habit and small size1 may very 
easily be  overlooked4 ,it may generally
 be met with on hedge-banks1 and flowers
  freely from ,march to ,august with a  
delicate pale blue bi-symmetrical       
blossom4 ,drawings of the ivy-leaved    
speedwell will be found in ,e4 ,b4      
#igj2 ,s4 ,b4 #ahd4    ,several of the  
veronicas are well adapted1 from their  
grace and delicacy  of form1 to the     
purposes of ornamental art1 the         
brooklime 7,v4  beccabunga7 and the     
germander speedwell 7,v4 chamdrys7 being
  especially good4 ,the flowers of all  
the species are bisymmetrical in  form4 

,the germander speedwell is by some     
writers supposed to be the true         
forget-me-not4    ,illustration3        
,ivy-leaved ,speedwell4    ,the ,,musk  
,,mallow 7,malva moschata71 and the     
,,common ,,mallow 7,m4  sylvestris71 the
 subjects of our next illustrations1 are
 both common  plants1 the musk mallow   
being frequently met with1 and more     
especially  on gravelly soils1 while the
 common mallow1 though rare in          
,scotland1 is  abundant throughout      
,england on all kinds of ground4 ,the   
flower of the  common mallow is of a    
pale purplish tint1 with the veins of a 
darker  purple3 a very rare variety has 
been met with1 having the flowers of a  
pure blue4 ,the leaves are round in     
general outline1 but deeply lobed  into 
five or seven divisions1 and in olden   
time1 before the introduction  of many  
of our present vegetables into ,england1
 were a common article of  diet4 ,this1 
together with the musk mallow and the   
marsh mallow 7,altha  officinalis71     

possesses considerable medicinal repute1
 the whole plant  being mucilaginous and
 demulcent in character4 ,the roots of  
the ,altha1  boiled in water1 will yield
    ,illustration3 ,common ,mallow4     
,illustration3 ,musk ,mallow4    one    
half their weight of a glutinous matter1
 of great value from its  emollient     
qualities2 the leaves and fruit will    
also yield it1 but in a  lesser degree4 
,the virtues of the family have long    
been recognised4  ,pliny held that      
whosoever should take a little of the   
extract should  throughout that day be  
free from all fear of disease4          
,dioscorides  considered it a sure      
antidote in cases of poisoning2 while   
,hippocrates  taught that its soothing  
action especially fitted it as a        
vulnerary4 ,the  flowers of the musk    
mallow are very large1 and of a pure and
 delicate  pink1 the leaves very deeply 
divided1 a feature distinguishing it    
from  all the other ,british species of 
mallow4 ,its ,english name is suggested 

by the slight musky smell of the foliage
 if pressed in the hand4 ,the  ,malvace 
are chiefly tropical plants2 about six  
hundred species are  known1 almost all  
possessing the mucilaginous character of
 our ,british  species1 many yielding in
 addition a valuable fibre1 and some    
,american  and ,asiatic species         
producing the well-known cotton1 a      
filamentous  substance enveloping the   
seeds4 ,the hollyhock of our gardens    
also  belongs to this family4 ,the      
generic name1 ,malva1 is derived from a 
,greek word signifying to soften1 in    
allusion to the soothing effect of  the 
greater number of the genus1 while the  
,english name has clearly  descended    
from the ,anglo-,saxon malu4 ,drawings  
of the common mallow may  be seen in ,f4
 ,l4 vol4 ii4 #ea2 ,m4 ,b4 #ed2 ,p4 ,f4 
#a2 ,v4 ,w4 #cic4 ,the musk  mallow will
 be found in ,f4 ,l4 vol4 iv4 #ej2 ,t4  
,n4 ,o4 #bc4    ,illustration3 ,maple4  
,the ,,maple 7,acer campestre7 is       
generally met with as a small hedgerow  

tree throughout ,england1 but it is not 
common in either ,scotland or  ,ireland4
 ,the wood1 though small in section1 is 
often very beautifully  veined1 and thus
 becomes of service for furniture1      
inlay1 c4 ,the bark  is exceedingly     
rough1 full of deep furrows1 and very   
much resembling  cork in its appearance4
 ,the fruit is winged4 ,the specific    
name1  campestre1 refers to the         
localities in which the plant may be    
found1  the open fields2 while the      
generic name1 ,acer1 sharp or hard1 in  
,celtic ac1 has been bestowed upon it   
from the toughness of the wood4  ,it was
 extensively used by the ancient        
,britons in the fabrication of  weapons 
of war--spikes1 spears1 and lance       
handles4 ,the ,english name  evidently  
descends from the ,saxon mapul-dre4 ,we 
thus in these few  words1 ,acer         
campestre1 the maple1 learn where the   
plant is to be  found2 one of its       
striking features1 the hardness of the  
wood2 and also1  from its ,saxon name1  

the fact of its being one of our        
indigenous shrubs4  ,this has1 from the 
beautiful forms of the leaves and fruit1
 been largely  introduced in medival    
work4 ,it occurs1 for instance1 very    
beautifully  treated1 as one of a series
 of small spandrels in the stalls of    
,lincoln  ,cathedral1 and again in a    
spandrel in the choir of ,winchester4   
,on the  ,continent two very beautiful  
examples of it are seen in hollow       
mouldings  in the cathedrals of ,evreux1
 and of ,notre ,dame1 ,paris4 ,all these
  specimens are of the fourteenth       
century4 ,drawings of the natural growth
  may be seen in ,t4 ,n4 ,o4 #cj2 ,p4   
,f4 #bf2 ,g4 ,o4 #id4    ,,king-,,cup1  
or ,,marsh ,,marigold 7,caltha          
palustris71 a plant by no means         
uncommonly met with in marshy ground1   
water-courses1 and such-like            
localities4 ,it may frequently be found 
in tidal streams1 growing in such  a    
position that at high tide it is        
completely covered2 we have thus seen   

it by the side of the ,thames1          
flourishing in great vigour and beauty1 
and at full tide swaying with the force 
of the stream at a depth of from  one to
 two feet from the surface4 ,in such    
situations the plant grows  with        
luxuriance1 and from the large size and 
brilliant yellow of its  star-like      
flowers1 the vigorous growth of the rich
 green foliage1 and  the long succulent 
stems1 it becomes a striking feature    
even in the mass  of bold healthy       
vegetation so commonly found by the     
edges of a  water-course3 these1        
therefore1 are the characters which1 in 
embodying  the plant in any design1 we  
must endeavour to enforce4 ,we are      
unacquainted with any early examples of 
the use of the marsh marigold1  except  
in one page of a fifteenth-century      
illustration4 ,this is the more  curious
 since the name marigold has reference  
to its use in the  church-decorations of
 the ,middle ,ages1 upon those days more
 especially  devoted to the festivals   

associated with the ,virgin ,mary2 we   
should  naturally1 therefore1 have      
thought that1 thus brought before the   
attention1 its ornamental features would
 have been perceived and  permanently   
embodied in some capital or spandrel4   
,the generic name1  ,caltha1 is derived 
from a ,greek word signifying cup1 and  
expressively  points out a beautiful    
feature in the form of the flower2 while
 the  specific name1 palustris1 is drawn
 from the ,latin palus1 a marsh1  and   
clearly indicates the localities        
naturally chosen by the plant4 ,the     
plant will be found in flower in the    
spring1 remaining for a  considerable   
time in full bloom1 and from its        
perennial nature will1  when once       
established in any locality1 soon become
 a permanent addition  to the flora of  
the district4 ,representations of the   
natural growth of  the marsh marigold   
will be found in ,e4 ,b4 #dj2 ,p4 ,f4   
#ed4    ,the ,,mistletoe--,anglo-,saxon1
 mistelta 7,viscum album7--is so well   

known that it would appear strange that 
so familiar a plant has been but  little
 employed in medival art1 did we not    
remember that its pagan  associations   
had placed it under a ban4 ,the only    
example of its use that  has come under 
our observation is in one of the        
spandrels of a tomb in  ,bristol        
,cathedral4 ,the natural growth will be 
found portrayed in ,m4 ,b4  #bgj2 ,w4   
,h4 ,h41 ,plate ,a1 ,fig4 #c2 ,p4 ,f4   
#hh4 ,the lightness of the plant1  and  
its association with ,christmas1 seem   
features that render a  knowledge of it 
desirable to the ornamentist4 ,it       
appears to us a plant  capable of very  
extensive use in the various            
developments of decorative  art4 ,we    
need only mention a few--the backs of   
playing-cards1  earthenware1 muslins1   
chintzes1 wall-papers4 ,many other uses 
will1 no  doubt1 readily suggest        
themselves to our readers4              
,illustration3 ,mistletoe4    ,the ,,oak
 7,quercus robur71 while perhaps our    

best-known indigenous tree1  from its   
wealth of legendary1 religious1 and     
historic associations1 has  also been   
one of the favourite subjects of the    
ornamentist1 being  abundantly found in 
carving1 stencilling1 draperies1 glass1 
c41 both in  ,england and on the        
,continent1    ,illustration3 ,oak4     
throughout the whole range of the       
,decorated and ,perpendicular styles of 
,gothic1 and the corresponding periods  
in ,france1 ,spain1 and ,germany1 and   
also afterwards in the various          
modifications of the ,renaissance4 ,to  
refer at any length to the varied       
associations surrounding it would be    
foreign to our present purpose1 though  
its sacred character in the  ,druidical 
rites of the ancient ,britons1 the      
importance of its timber for  the       
purposes of the shipwright and          
architect1 the commercial value of  the 
bark for use in tanning1 leading to the 
felling of thousands of  trees every    
year1 its use in medicine1 the bark     

being a powerful  astringent1 and an    
infusion from the galls so frequently   
found upon the  oak being an excellent  
antidote in cases of poisoning by the   
tartrate of  antimony1 are all points of
 interest or utility in connection with 
it4  ,it has also been one of the       
favourite trees of the poets--,dryden1  
,pope1  ,cowper1 ,wordsworth1 and many  
others1 having referred to it in their  
writings2 while to the artist the rugged
 majesty and vigour of the  branches in 
winter1 the brilliant bronze red of the 
early spring  foliage1 the deep mass of 
dark green leaves in summer-time1 or the
 fiery  glow it bears when touched by   
the frosts of advancing winter1 render  
it  at all times a beautiful and        
striking object in the landscape4 ,the  
galls  so generally met with upon the   
leaves of the oak are caused by a small 
insect1 the ,cynips ,quercus-folii1     
which1 by puncturing the leaf and       
laying an egg in the wound1 causes a    
diseased and abnormal growth of the     

part3 on cutting one of these galls open
 the grub will generally be  found      
within4 ,the galls chiefly used in      
medicine and commerce1 though  similar  
in their origin1 are the work of another
 little insect on a  different and      
foreign species of oak4    ,though the  
oak is so familiar a tree in our woods  
and hedgerows1 it must  at one time1    
when ,england was extensively covered by
 forests1 have been  still more         
abundant4 ,we are led to this conclusion
 from the great number  of places whose 
names1 handed down to us from our early 
history1 derive  their force and meaning
 from this abundance3 thus ,ockham1 in  
,surrey1 is  literally ,ocham1 the place
 of oaks1 a title which it still well   
deserves4 ,ockley1 ,acton1 ,acworth1 and
 many more examples1 might be  cited4   
,superstition1 too1 with its usual      
fertility of invention1 has not  failed 
to detect the strange and marvellous in 
the oak4 ,of this1 did  space permit1   
and were it not somewhat foreign to our 

subject1 we could  quote many curious   
instances4    ,in the works of the      
ornamentist1 to the best of our         
knowledge1 the ,q4  robur form of the   
oak has been exclusively used4 ,to give 
an extended  list of the places where   
illustrations of its use in design occur
 would  be to devote far more space to  
it than is really needful3 as an example
  of its use in stonework1 we would     
instance a small1 but good capital at   
,ely1 where one pleasing1 natural1 and  
ornamental feature1 the empty cup  of   
the acorn contrasting with the other    
forms1 is very well introduced4  ,we see
 this same attention to natural detail  
in some flowing foliage in  a hollow    
moulding at ,henry ,,vii4's ,chapel1    
,westminster3 the leaves are so  deeply 
cut into lobes1 and so modified in form1
 that except for the  presence of the   
acorns1 we should not recognise the     
foliage as being  that of the oak at    
all4 ,a very clear and good piece of oak
 is introduced  in some wood-carvings at

 the ends of the stalls at ,wells       
,cathedral2  again1 in crockets at      
,exeter1 in the ,lady ,chapel2 in a     
stone boss1 ,st4  ,cuthbert's screen1   
,st4 ,alban's ,abbey ,church2 in wooden 
spandrels at  ,winchester1 and          
,northfleet ,church1 ,kent2 as a diaper 
in glass quarries  at ,fulbourne and    
,waterbeach ,churches1 in               
,cambridgeshire2 and as a  carving at   
the arch-springing at ,southwell        
,minster1 ,nottinghamshire4 ,on  the    
,continent1 in ,burgos ,cathedral1 we   
meet with several exceedingly  beautiful
 carvings of the maple1 plane1 vine1 and
 many other  plants--among them a square
 panel filled with oak1 and a very      
graceful  running band of leaves and    
acorns round the tomb of ,don ,juan     
,,ii42 and in  ,paris1 in the ,sainte   
,chapelle1 we also find a hollow        
moulding filled  with running oak       
foliage4 ,in the ,south ,kensington     
,museum many excellent  fragments of    
wood-carving are preserved1 and among   

these the oak is very  often visible2   
while in the ceramic collection we      
frequently see the  borders of the      
,majolica dishes and plates entirely    
composed of  interlaced branches of oak4
 ,the oak is1 in this latter series of  
examples1 of heraldic significance as   
the badge of the ,dukes of ,urbino4     
,representations of the natural growth  
of the oak may be seen in ,e4 ,b4       
#abhh2 ,m4 ,b4 #abf2 ,p4 ,f4 #i2 ,s4 ,c4
 #aea2 ,g4 ,o4 #ie2 ,t4 ,n4 ,o4 #abg4   
,,ox-,,eye ,,daisy 7,chrysanthemum      
leucanthemum74 ,the impressions we at   
once  derive on seeing the natural plant
 are--first1 the size and brilliant     
star-like character of the flowers1 as  
we view it growing amidst the  long     
grass2 secondly1 the beautiful contrast 
of form1 colour1 and light  and shade   
between the deep yellow1 convex central 
portion and the  brilliant white and    
concave rays surrounding it2 and        
thirdly1 the  comparative smallness and 
insignificance of the leaves3 hence it  

appears  to us that in any adaptation of
 the plant to the purposes of the       
designer1 these are salient points to be
 observed4 ,we find it growing  very    
freely in meadows1 on the sunny side of 
railway banks1 c41 and1  where found at 
all1 generally in great profusion4      
,during the past  summer1 by the side of
 the river ,wey1 we came across a plant 
that had  firmly established itself1 and
 was growing and flowering in full      
health  and vigour in the crown of a    
pollard willow tree1 about eight feet   
from  the ground4 ,it is one of the     
plants regarded by the farmer with      
dislike1  as it generally indicates     
great dryness of soil1 and1             
,illustration3 ,ox-eye ,daisy4    from  
its abundance and the perennial nature  
of the root1 can scarcely be  dislodged 
where it has once fairly taken          
possession4 ,the whole plant  varies    
from one to two feet in height1         
blossoming in ,june and ,july4 ,the     
garden chrysanthemum is a ,japanese     

allied species1 considerably modified   
by cultivation4 ,it may be seen painted 
on ,japanese plates1 screens1 c4  ,so   
far as we are aware1 the ox-eye seems to
 have been but little used in           
ornamental art1 the following examples  
being the only cases of its  occurrence 
with which we are acquainted3--,on a    
label termination to one  of the windows
 in the presbytery1 ,winchester1 where  
we find the flower  in the centre of the
 boss very clearly and unmistakably     
rendered1 but  surrounded by the        
ordinary type of leaf of the ,early     
,english ,gothic  period2 in some       
twelfth-century glass at ,rheims1 where 
it is introduced  as the flower         
dedicated to ,st4 ,john1 and where1 by a
 poetical symbolism1  all the flowers   
turn towards our ,saviour on the cross1 
as the ,sun of  ,righteousness1 the true
 ,light of the world2 again met with in 
the  celebrated ,,ms41 8,the ,hours of  
,anne of ,brittany10 now in the         
,bibliothque du ,roi1 ,paris4 ,this     

illumination dates from the close of    
the fifteenth century1 the flowers      
introduced being very naturalistic in   
character1 and with their shadows thrown
 upon a golden ground--a marked         
characteristic of the illumination of   
that time4 ,it also occurs in a  missal 
in the ,library of the ,arsenal1 ,paris1
 where1 on a golden ground  similar to  
that last cited1 detached flowers are   
scattered over the  borders--the pea1   
iris1 heartsease1 and many others being 
represented1  and among them the ox-eye 
daisy4 ,drawings of the natural plant   
will be  found in ,s4 ,b4 #aeh2 ,e4 ,b4 
#gad2 ,p4 ,f4 #db4    ,the ,,campion    
7,lychnis diurna7 is another plant well 
adapted to the need  of the ornamentist1
 the form of the flower and the         
sheathing of the stem  by the pairs of  
leaves being valuable and characteristic
 ornamental  features4 ,the ,lychnis    
diurna is to be met with in moist       
hedge-banks1  and more especially those 
that are shaded by overhanging trees2   

the  flowers are of a delicate pink1    
scentless1 and opening in the early     
morning2 differing in all these respects
 from the ,lychnis vespertina1  a very  
similar plant in general appearance1 but
 having the flowers  white1 with a      
slight odour1 and opening in the        
evening4 ,the white  campion has        
generally a more robust and coarser     
character of growth than  the pink      
campion1 and appears to delight in more 
open situations4 ,by  many botanists1   
however1 these two plants are considered
 as closely  allied1 the pink campion   
being regarded as merely a variety of   
the  white1 and both referred to as the 
,lychnis dioica4 ,the specific names1   
diurna and vespertina1 refer to the     
times of flowering1 the morning  and    
evening respectively2 while the generic 
name1 ,lychnis1 common to  all the      
species1 is derived from the ,greek word
 for lamps1 the thick  downy covering on
 the leaves of the white campion having 
at one time  been employed in the       

manufacture of wicks for use in lamps4  
,refer to ,f4  ,l4 vol4 ii4 #cb2 ,t4 ,n4
 ,o4 #fi2 ,p4 ,f4 #ec4    ,illustration3
 ,campion4    ,,sorrel 7,rumex acetosa74
 ,though from its inconspicuous         
character the  sorrel may very readily  
be passed over1 it will1 we think1 be   
found to  repay the attention of the    
ornamentist1 since the lightness and    
grace of  its growth1 its brilliant     
colour1 and the rich form of the leaf1  
are all  characteristics that should    
render it valuable to those engaged in  
decorative art4 ,the leaves have a      
pleasant acid flavour1 and are          
occasionally employed in salads4 ,the   
,english name is derived from the       
,anglo-,saxon sur1 sour4 ,the present   
plant must not1 from similarity of      
name1 be confused with the wood-sorrel  
7,oxalis acetosella71 as the two  plants
 are very different in appearance1 the  
wood-sorrel having large  white flowers1
 and a beautiful trefoil character of   
leaf4 ,illustrations  of the natural    

growth of ,r4 acetosa may be seen in ,e4
 ,b4 #abbc2 ,f4 ,l4  vol4 v4 #bi2 ,m4   
,b4 #fi4    ,illustration3 ,sorrel4     
,the ,,spear-,,plume ,,thistle 7,carduus
 lanceolatus7 has been selected as the  
subject of our next example4 ,it may    
very commonly be met with in            
hedge-banks and waste ground1 attaining 
to a height of from three to  four feet1
 and forming a very ornamental and      
conspicuous object4 ,its  employment in 
heraldry with the motto ,,nemo ,,me     
,,impune ,,lacessit1 as the  badge of   
,scotland1 is so well known that the    
mere mention of the fact  will suffice  
to recall it to the memory of our       
readers2 but this  application of it1   
and its frequent recurrence in all      
circumstances  where the national       
emblems are introduced1 render it       
necessary that the  designer should be  
familiar with the plant he will thus    
have to treat4  ,there are several      
indigenous species of thistle1 some one 
or two of them  laying claim to their   

right to be considered the true         
,scottish badge1  but the balance of    
evidence will1 we think1 be found to    
point to the  spear-plume thistle as    
that most entitled to the honour4 ,the  
,c4  marianus1 or milk-thistle1 one of  
our rarer native1 or at least           
naturalised species1 has a particularly 
ornamental effect from the veins  upon  
the leaves being of a clear milky white1
 the rest of the leaf being  of the     
normal green colour4 ,a drawing of the  
spear-plume thistle may be  seen in ,e4 
,b4 #fhf4    ,illustration3 ,thistle4   
,the ,,thorn-,,apple1 though not a      
common wild plant1 may occasionally be  
met  with1 growing on waste spots1      
rubbish heaps by the roadside1 and      
similar  places4 ,the large size and    
brilliant whiteness of the flowers1 the 
bulk  and peculiar character of the     
spiny fruit1 make it a very striking    
object1 and admirably fitted for a share
 of the ornamentist's regard4 ,it  is a 
plant of ,eastern origin1 and was       

unknown here until the reign of         
,elizabeth2 we therefore do not find it 
in any of the art-work before  that     
date1 nor1 indeed1 do we remember to    
have ever seen it    ,illustration3     
,thorn-apple4    in any way introduced  
in later designs3 this1 no doubt1 is    
partly owing  to the comparative rarity 
of the plant4 ,its scientific name is   
,datura  stramonium1 the generic name   
being derived from tatorah1 the name of 
the plant in ,arabic4 ,the whole plant  
is powerfully narcotic in its  effects4 
,in the quaint pages of ,gerarde1       
published ,a4,d4 #afcf1 we learn  the   
history of its introduction into        
,england4 ,gerarde was the director  of 
the botanical garden of ,lord ,burleigh2
 hence he received many rare  plants    
from abroad for cultivation4 ,in        
speaking of the ,datura1 he  says1      
8whose seeds ,i have received of the    
,right ,honourable the ,lord  ,edward   
,zouch1 which he brought from           
,constantinople1 and of his  liberalitie

 did bestow them vpon me2 and it is that
 thorn-apple that ,i  have disposed     
through this land40 ,in some botanical  
works we find it  asserted that the     
thorn-apple was introduced into ,europe 
in the ,middle  ,ages by the gypsies1   
who1 in their wanderings1 brought it    
from ,asia2 but  the declaration of     
,gerarde is so positive and explicit1   
that it seems  difficult to admit any   
other belief1 more especially as he     
accompanies  his statement by an        
illustration which1 though very rough   
and quaint1 is  quite sufficiently like 
the natural plant to prove that it was  
not some  other species introduced by   
him and wrongly named4 ,drawings of the 
thorn-apple may be consulted in ,e4 ,b4 
#ice2 ,f4 ,l4 vol4 vi4 #ag2 ,m4 ,b4     
#abd2  ,s4 ,c4 #f2 ,p4 ,f4 #ac4    ,the 
,,tormentil 7,potentilla tormentilla7   
has already1 to some extent1  been      
referred to when speaking of an allied  
species1 the cinquefoil4 ,the  flowers1 
though typically composed of four       

petals1 are frequently to be  found with
 the petals five in number1 the calyx in
 that case being cleft  into ten        
segments instead of the normal          
arrangement4 ,we are not  acquainted    
with any example of the use of the      
tormentil in ornament1 but  the         
wood-strawberry 7,fragaria vesca71 an   
allied genus of the same  natural order1
 has a similar form of calyx1 the       
segments being  alternately large and   
small1 and twice as numerous as the     
petals2 and  this beautiful ornamental  
feature is very carefully shown in a    
sixteenth-century ,,ms4 at the ,british 
,museum1 where the plant is  introduced 
in one of the borders4 ,consult ,e4 ,b4 
#dcj2 ,f4 ,l4 vol4 v4 #ce2  or ,p4 ,f4  
#id1 for illustrations of the natural   
growth of the tormentil4    ,our        
remaining illustration has been         
suggested by the ,,water ,,crowfoot     
7,ranunculus aquatilis71 one of the     
numerous species of buttercups1 but     
distinguished from its allies by the    

petals of the flowers being white1  not 
yellow1 as in the case of the other     
members of the family1 and also  from   
the habitat of the plant1 the blossoms  
being found floating upon  the surface  
of quiet water-courses4 ,the crowfoot   
may be met with in  flower throughout   
the summer1 and1 where seen at all1 is  
ordinarily very  abundant1 so that at a 
little distance the whole surface of a  
large pond  will tell upon the eye as a 
mass of white1 from the innumerable     
blossoms  thickly scattered over the    
water4 ,the ,english name crowfoot has  
arisen1  like many similar names1 from  
the supposed resemblance of the plant1  
or  some portion of it1 to some other   
natural object2 thus we get             
crane's-bill1 cock's-foot grass1        
lark's-spur1 bee-orchis1                
pheasant's-eye1 and many other such     
examples among our common names for     
plants4 ,as a family1 the buttercups    
must be regarded with suspicion on      
account of their strongly developed     

acrid qualities2 thus the leaves of  the
 ,r4 flammula1 if applied to the skin1  
will1 in a very short time1  cause large
 and painful blisters4 ,the ,r4 acris is
 equally poisonous2  and the ,r4        
arvensis1 or corn crowfoot1 is extremely
 injurious to  cattle and sheep4 ,the   
,r4 aquatilis does not possess these    
dangerous  qualities2 on the contrary1  
it may be collected and given as fodder 
in  times of scarcity or drought1 and   
the animals will not only eat it1 but   
thrive upon it4 ,it is a very           
,illustration3 ,water ,crowfoot4        
widely spread species3 the placid waters
 of regions so different from  each     
other in climate as ,lapland and        
,abyssinia are equally favourable to    
its growth1 and the lakes and slowly    
running streams of ,california are      
powdered over with its brilliant        
blossoms1 as we see them in our ,english
  pools4 ,the water crowfoot affords us 
also a beautiful example of that        
adaptability of form to the             

circumstances of the plant's existence  
which  we may so frequently trace in the
 works of nature4 ,it will be noticed in
  the illustration that two very        
distinct forms of leaf are represented2 
and1 on examining the natural plant1 it 
will be found that the simpler  form of 
leaf floats upon the surface of the     
water1 while the lower and  more        
minutely divided leaves are submerged4  
,imagine the respective  positions of   
these leaves reversed1 and it would     
speedily be apparent  that the finely   
cut leaves were unable to support the   
blossoms1 and to  expose them to the    
vivifying rays of the sun1 while the    
simpler form of  leaf would1 by the     
action of the water1 speedily be torn   
into long  shreds1 the principal veins  
alone remaining1 and very much          
resembling  the actual form that we meet
 with in the case of the submerged      
leaves4  ,in employing the water        
crowfoot in ornamental art1 it appears  
to us that  the two great features most 

highly characteristic of it1 and        
therefore  to be embodied in a design1  
are1 first1 the number of its blossoms2 
and1  secondly1 the two distinct kinds  
of leaf2 the simpler form being the     
most prominent1 but the other1 though   
subordinate1 as in the case of the      
natural plant1 to be indicated1 and its 
presence felt4 ,the ,r4 bulbosus  is the
 species so frequently met with in the  
carvings of the ,decorated  period of   
,gothic art1 an especially beautiful    
example of its use being  seen in a     
capital in the doorway in the           
,chapter-house at ,southwell  ,minster1 
,notts4 ,the ,r4 aquatilis1 so far as we
 have had opportunity of  observation1  
appears to have been entirely           
overlooked4 ,illustrations of  the water
 crowfoot will be met with in ,v4 ,w4   
#ie2 ,e4 ,b4 #ah4    ,having thus       
briefly indicated some few points of    
interest in the  foregoing ,british     
plants1 we draw our remarks to a close2 
it must not1  however1 be supposed that 

all the material at our disposal was    
exhausted4 ,we fear rather to weary the 
reader than to exhaust the stores  which
 nature affords2 hence we limit our     
remarks to fifty plants1  leaving many  
equally valuable ones untouched2 such   
plants as the  bird's-foot trefoil1     
chicory1 cowslip1 forget-me-not1 meadow 
vetchling1  silver-weed1 and            
stork's-bill1 being fully as well       
adapted to the  various purposes of     
ornamental art as those we have1 in the 
body of our  text1 referred to2 in fact1
 the whole of those just mentioned were1
  together with many more1 indexed as a 
portion of our plan1 and were only  cut 
out when it was found that a catalogue  
thus amplified would stretch  to an     
inordinate length4 ,though we have1 in  
the course of our remarks on  each      
plant1 been careful to indicate to our  
readers the books he should  consult for
 illustrations of the natural growth of 
the flower in  question1 we cannot      
conclude without again strongly advising

 the  designer1 wherever it is at all   
practicable1 to go direct to nature1 as 
a series of sketches of even the        
roughest character has an ornamental    
value and variety which are not always  
found in book-illustrations1 and1       
moreover1 the knowledge of the plant    
acquired in actually delineating it  is 
worth far more than any study of the    
written descriptions of others4  ,these 
sketches should of course be made when  
the plant is available1 and  not left   
till an emergency arises1 and when1 very
 possibly1 the plant1  if found at all1 
may not be in satisfactory condition for
 ornamental  work4 ,whenever1 therefore1
 a plant possessing valuable properties 
for  decorative work is met with1 a     
drawing of the general growth and       
enlarged details of its more            
artistically valuable parts should be   
made  and stored up for future use4 ,a  
designer cannot have too many such      
reserves of material1 though he may very
 easily have too few4 ,those who  have  

never fairly searched may1 however1 be  
under the impression that  but little   
practical good could come of any such   
seeking1 as1 for want  of experience1   
they unknowingly underrate the wealth   
that1 at the  expense of a short railway
 journey into the country1 is theirs for
 the  gathering4 ,to test this we set   
out one day in ,june1 and the result of 
a  stroll of barely two and a half hours
 was conclusive on this point4 ,in      
addition to many plants in seed1 or     
which1 from their foliage1 were  worthy 
of introduction into art-work1 no less  
than seventy-four were met  with in     
flower2 many of these1 as the dog-rose1 
blackberry1 white  bryony1 comfrey1     
mallow1 hawthorn1 and silver-weed1 being
 excellent for  carving2 while the      
bladder campion1 forget-me-not1 meadow  
cranesbill1  ground-ivy1 meadow         
vetchling1 cinquefoil1 oxalis1 and      
honeysuckle1 would  be valuable for     
lighter work--muslins1 papers1 or lace4 
,we cannot doubt  that the interest thus

 evolved from a direct study of nature  
would be a  growing one2 that not only  
would the actual result in art-work be  
the  better for it1 but also that the   
enjoyment derived from the study would  
be such as to render the pursuit one of 
far more interest than those who  have  
not yet experienced it can realise4     
8,happy is he who lives to understand1  
,not human nature only1 but explores    
,all natures--to the end that he may    
find       ,the law that governs each2  
and where begins       ,the union1 the  
partition where1 that makes       ,kind 
and degree1 among all visible beings2   
,the constitutions1 powers1 and         
faculties1       ,which they            
inherit--cannot step beyond1       ,and 
cannot fall beneath2 that do assign     
,to every class its station and its     
office1       ,through all the mighty   
commonwealth of things2       ,up from  
the creeping plant to sovereign man4    
,such converse1 if directed by a meek1  
,sincere1 and humble spirit1 teaches    

love3       ,for knowledge is delight2  
and such delight       ,breeds love2    
yet1 suited as it rather is       ,for  
thought and to the climbing intellect1  
,it teaches less to love than to adore3 
,if that be not indeed the highest      
love40                                  
,,wordsworth4          ,,ii4            
,,sea-,,weeds ,,as ,,objects ,,of       
,,design4    ,,by ,s4 ,j4 ,,mackie1     
,f4,g4,s41 ,f4,s4,a4      ,i4    ,as in 
the world of human life1 so in the world
 of nature--from the  humblest and      
meekest the greatest lessons may be     
learned2 and there is  often as much    
worthy of admiration and study in the   
neglected as in the  known and          
appreciated4 ,the pure metal lies not on
 the surface1 but the  gold is extracted
 from the solid rock1 or picked up1     
after much labour1  among the common    
sands2 and many things lie out of the   
beaten path from  which the artist and  
the student might gather fresh fancies4 
,twice a day  rises and falls the great 

tide of ocean1 and its heavings were not
 less  constant when the trilobite and  
astrolepis were inhabitants of          
primordial depths2 still twice a day it 
ebbs and flows1 and the stony  mountains
 have treasured the fragments of the    
weeds it plucked from  pre-,adamic      
shores in memory of its ancient toil4   
,bright are the flowers of the earth1   
the first and choicest of  ornaments4   
,pure1 simple1 and holy1 their charms   
can never decay1 though  familiarity and
 inconsistency may vulgarise1 and       
innumerable  misappropriations make us  
sometimes wish for the contrasts that   
other  less showy objects would afford4 
,while the fields are radiant with      
their beauty1 and the gentle zephyrs    
fragrant with their scented odours1  the
 great tide ebbs and flows over the     
flowerless plants of the sea4  ,around  
the huge rocks the perennial fringes of 
olive fuci undulate in  graceful folds  
among the swelling waves1 and the tall  
tangle bows its  pliant stem as         

8,the ocean old1--       ,centuries     
old1--       ,strong as youth1 and as   
uncontrolled1       ,paces restless to  
and fro1       ,up and down the sands of
 gold40    ,for ages have the weeds of  
the sea been heedlessly disregarded or  
despised4 ,the vilest epithet the       
polished ,roman knew was alga projecta  
vilior4 ,horace1 too1 wrote alga        
inutilis2 and there may yet be many  to 
exclaim with the ,scotch professor of   
the last century1 8,pooh1 pooh1  sir6   
only a bundle of sea-weeds60 ,but when  
the apostle ,peter slept at  the house  
of ,simon the tanner he dreamt a great  
dream--a dream memorable  to the end of 
time--a dream that was a waking truth to
 be set in golden  letters1 and engraven
 on the hearts of rich and poor1 wise   
and  unwise--8,there is nothing common  
nor unclean40    ,the ,chinese believe  
there is one word expressive of all     
excellence1 so  exquisite that no one   
can pronounce it1 although it can be    
written and  perceived by the eyes4     

,that word is stamped alike on 8the vile
 sea-weed0  and on the lovely flower4 ,i
 do not claim for both an equal         
rank1--the  cottage may be charming1 and
 not vie with the palace2 and 8the pride
 of  the village0 may want the grace of 
8the ladye of high degree10--but ,i do  
claim for the neglected vegetation of   
the seaside an elegance of form1  and   
structure1 a suggestiveness of          
mathematical designs1 a poetry of       
association and typical expression1 a   
simplicity and modest  gracefulness1    
which will entitle it to the best       
consideration of the  designer4         
,world-wide in distribution1 the        
sea-weeds are accessible to every one2  
and it is not the rarest that are1 for  
ornamental purposes1 the most  valuable4
 ,the beauty of a manuscript tempted    
,england's greatest monarch  to the     
acquirement of letters1 and the         
commonest weed may be the  incentive to 
the perusal of one of ,nature's choicest
 books4 ,wherever the  briny waters wash

 the coasts1 in marshes even where the  
salt sea  penetrates but seldom in the  
year1 on rocks and stones1 and piers and
  piles1 winter or summer1 from the land
 of gold to the ,canaries1 from the     
soil of the ,hottentot and ,caffre to   
the ice-bound country of the ,lapp1     
from the floating meadows of the tropics
 to the snowy regions of the            
poles--there grow the crisp             
sea-weeds--there may be gathered in     
endless  variety the chastest patterns  
of simplicity4 ,all the associations of 
the  sea are grand and glorious1 and the
 goddess of beauty came from the foam   
of its waves4 ,in the sublime language  
of ancient mythology1 the ,ocean  was   
the first-born of ,heaven and ,earth1   
that was wedded to the child of  the    
land and the sky4 ,are there no gems of 
classic imagery in the  bronzed belt    
that girdles its giant form8 ,have the  
thousand daughters of  ,atlas and       
,tethys all taken to groves and cities1 
and have the ,nereides  become the      

attendants of ,flora8 ,are the tears of 
,calypso and the loves  of ,amphitrite  
forgotten8 ,has the memory of ,sappho   
passed for ever away1  and have the     
green and olive nurslings of the surge  
no affinity with the  crystal phnix that
 arose from their ashes in the          
,phnicians'  fire8    ,there is a point 
whence life and vegetation seem to      
diverge--the simple  cell2 where the alg
 meet the monads1 and most mysterious   
processes and  elaborations are carried 
on by means the simplest but most       
astounding4  ,of cell upon cell are the 
sea-weeds built1 and by cells or spores 
cast  loose from their substance are    
their species reproduced1 as certainly  
and as surely as plants by the marriage 
of the flowers4 ,of cellular  tissue    
entirely does the sea-weed consist2 of  
cell upon cell alone is  woven all the  
varied drapery of the deep4 ,a mere sac1
 empty1 or  containing a fluid or       
granular substance1 absorbs the         
surrounding  fluids1 assimilates them in

 its membranous walls1 consolidates     
their  carbon and nutritious substances1
 grows1 divides1 each portion swells    
again to its parent size1 each again    
divides1 and so the splitting cells     
increase and multiply4 ,the rapidity    
with which some of the common  conferv  
of our ponds are thus developed is well 
known2 and it is not  unusual to find   
loathsome pools1 that were black at dawn
 with  decomposing filth1 covered at eve
 with a floating verdure rapidly and    
energetically extracting its nutriment  
out of the pollution1 and  liberating   
the gas of animal life--oxygen--into the
 atmosphere1 in lieu  of pestilential   
effluvia4 ,the snow-plant1 the          
,protococcus nivalis1 is  perhaps the   
best-known instance of the rapid        
development of cell-plants  properly so 
called4 ,in a few hours whole tracts of 
the white snow of  northern lands will  
assume the hue of the battle-field2 and 
from another  species the waters of the 
,arabian ,gulf have acquired their      

memorable  name of ,red ,sea4    ,above 
the limits of the lichen incrusting the 
peaks of mountains1 and in  the         
unplumbed abysses of the deep below the 
region of the nullipore1  there the     
cell-plants swarm by myriads2 and even  
the air powders the  ropes of ships at  
sea with the atomic dust that had       
vegetated among the  clouds4    ,i have 
claimed for the sea-weeds the           
attractions of simplicity1 and ,i  claim
 beauty of outlines and gracefulness of 
forms even for the simplest  of the     
simple--the cell-plants4 ,forms6        
outlines of cell-plants6 ,would  not a  
single species content the naturalist8  
,the ever-varying ,hand that  is traced 
in all around has touched these lowly   
objects with charms and  wonders in the 
most exquisite modifications of form and
 the most  delicate sculpture4 ,the     
invisible is not the less beautiful that
 it is  unseen2 the physician owes much 
to these little things--why not the     
artist8 ,are there no laws of symmetry  

in natural objects1 as there are  of    
mechanics and of force8 no sympathetic  
principles of harmony of  colour with   
form1 as of structure with locomotion or
 fixity8 ,even in  these humble plants  
there are traces of that divine delicacy
 which may  be observed and             
appreciated--an expression of that one  
word which cannot  be spoken4    ,for   
the present attention is confined to    
those forms of alg which  exhibit the   
second stage in the development of      
vegetation--the linking  of these cells1
 or cell-plants1 together1 which is     
naturally effected by  their            
self-division and growth1 without actual
 separation of the parts4  ,and here the
 transitions exhibit those almost       
insensible gradations  which have led   
some powerful minds to view the highest 
structures1 and  even intellectual man1 
as the consummation only of previous    
states and  changes4 ,but whatever ideas
 may be entertained of the manner by    
which  the creative energy has worked1  

the results and the power1 the ends and 
the means1 are alike astounding1 whether
 the monad or the cell were  elaborated 
into the animal or the plant1 or both   
were produced by a  thought to fulfil   
their purposes in the economy of life4  
,the globular  membranous sacs or cells 
divide in a linear direction1 and a     
string of  the tiniest beads results4   
,in the cylindrical cell--for the forms 
of the  cells are in themselves various1
 both naturally as well as by the       
exercise of mutual pressure and other   
influences--a transverse partition  is  
formed2 the two ends are produced2 in   
each of these again the same  process is
 repeated1 and a thread-like species is 
formed4 ,other globules  adhere side by 
side1 developing the membranous         
expansions of cellular  tissue1 in which
 we recognise the first appearance of   
the leaf4 ,in the  clinging together of 
the cylindrical fibres we perceive      
likewise the  first rudiments of the    
branch and stem3 in such cases1 when the

  elongated cells of the fibres are of  
an unequal length1 a continuous  stem or
 cord is produced1 varied only as it is 
enlarged or swollen by  the methodical  
aggregation of greater numbers1 or      
tapering by the  prolongation of the    
central threads beyond the rest1 or by  
the less  robust condition of the young 
cells4    ,if the cell-cylinders are of 
equal length1 nodes and internodes1 like
  the joints of a reed1 are produced2   
and by the bifurcation of the cells  of 
the extremities branching fronds and    
ramuli result4 ,thus by this            
cell-splitting are formed the delicate  
branching forms of the  rhodosperms 7red
 sea-weeds71 the paper-like membranous  
expansions of the  ulvace1 the jagged   
fronds of the fuci1 and the stout trunk 
of the  gigantic lessonia4 ,thus the    
progress of the general plan1 from the  
conception within the ovule1 is traced1 
species by species1 and genus by  genus1
 until we pass ashore with the zostera  
and a few other similar  borderers1 and 

ascend through the mosses1 ferns1 and   
grasses1 to the  flowering plants and   
trees1 and reach the summit of the      
second organic  kingdom1 where mind     
alone seems wanting to complete the     
conditions of  life4 ,indeed1 were it   
not for the perfection of all things    
around us1 we  might regard the         
formation of beautiful flowers and      
massive trees as  arising from an       
imperfection--namely1 the incomplete    
separation of the  primitive cells in   
their self-division--and that ,nature   
had turned the  hint to most admirable  
and wonderful account1 that she had     
improved upon  it1 and not only joined  
firmly together the sides of the        
connected  cells1 but in many of the    
thread-like species had enclosed them1  
for  their better protection from       
disjunction1 in gelatinous or mucous    
cylindrical sheaths1 which may be       
fancifully1 if not really1 regarded as  
the first symptoms of the cuticle or    
bark4 ,most of the filiform algals  are 

fresh water1 but many of them are       
marine2 and among the tufts of  conferv 
in brackish pools1 or the floating scum 
on the surface of  polluted water1 along
 the muddy sides of ditches1 as well as 
coating  damp rocks and spray-splashed  
cliffs1 upon decaying heaps of          
sea-wrack1  on floating planks drifting 
ashore    ,illustration3 ,oscillatoria  
nigro-viridis4    ,illustration3        
,oscillatoria spiralis4                 
,illustration3 ,calothrix semiplena4    
in fleecy masses1 or bearding with silky
 hairs the fronds of the  sea-weeds     
themselves1 we shall find abundant      
illustrations of such  primitive types  
for our present purpose--that of        
slightly tracing some  of the variations
 and adaptations of particular parts and
 organs by  which ,nature effects the   
beautification of the objects           
themselves4 ,nor  as we regard these    
objects under the microscope--for it    
will require the  high powers of that   
instrument to develop their minute      

structure--can we  avoid being struck   
with the elegance of the twistings and  
contortions1  the lacings and           
interlacings1 of even the most simple   
threads1 as they  congregate and combine
 to form those dense masses1 velvety    
tufts1 or  hazy films by which their    
myriads are made evident to the human   
eye4 ,the  development of certain cells 
into spores1 and the wonderful          
generative  processes by which the alg  
are propagated1 belong1 however         
interesting1  more to the domains of    
natural history than to our present     
inquiry4  ,suffice it to say that1 by   
the impregnation of the endochrome of   
one  cell by that of another1 the       
spores--or seeds1 as for expressiveness 
they may here be termed--are produced by
 the granulation of the mixed  matter4  
,now1 in the different aspects and      
conditions of these  spore-cells arises 
that first divergence from the mere     
thread of beads  by which ,nature1 while
 she retains the principle and object of

 the organ  itself in its adaptation to 
special conditions1 seems to vary in    
every  possible manner and way1 not only
 in form and sculpture1 but often in    
colour1 her most primitive              
organizations4 ,even the contraction of 
the  endochrome itself1 in the          
granulating process1 by the production  
of  intermittent vacant spaces1 adds a  
pleasing variation to many of these     
moniliform filaments4    ,illustration3 
,sphrozyga ,berkeleyana4                
,illustration3 ,spermosira ,harveyana4  
,illustration3 ,sphrozyga ,carmichaelii4
    ,illustration3 ,sphrozyga           
,thwaitesii4    ,in some species of this
 class the continuity of the congregated
 cells is  interrupted1 besides by the  
spore cells1 by a connecting cell1 or   
heterocyst1 differing in form from      
either1 and not unusually of an         
entirely opposite and contrasting       
colour4 ,such is the case with the      
,spermosira ,harveyana1 a very minute   
species of nostoc1 found on dead  leaves

 in the summer month of ,june4 ,the     
rudimentary cells of its  exquisite     
curved filaments are small cylinders1   
the spore capsules  completely          
spherical1 and the heterocysts          
subquadrate1 inclining to  oval4 ,the   
colours vary in each1 and are in the    
first of a translucent  bluish          
green1--of course1 therefore1 the       
prevailing hue1--which is  charmingly   
relieved by the deep brown of the second
 and the pale pink of  the last4        
,these constitutional forms1 in their   
varieties and adaptations1 their  manner
 of growth and development1 constitute  
the entire structure of the  whole tribe
 of sea-weeds2 and therefore we ought to
 find the chief  features of any        
elegance these humble forms possess     
continued and  elaborated1 as they      
really are1 in the more complex         
conditions of the  higher fuci4 ,in the 
sections of the sea-weeds1 therefore1   
even as made  for the scientific        
elucidation of their structure1 we may  

expect to  find1 as we undoubtedly shall
 do1 many hints and lessons4    ,the    
true form of the cell is perhaps the    
globe1 but it is more commonly          
presented to us as the cylinder1 the    
conditions and outlines of which  are   
varied almost ad infinitum1 as by the   
various effects of growth  and pressure 
the cells are forced into hexagons1     
pentagons1 and other  mathematical      
shapes1 or their lines of junction are  
disposed in  undulating tracery of the  
most elegant and intricate patterns4    
,illustration3         ,magnified       
,transverse ,section of ,arthrocladia   
villosa4      ,of the few sections we   
have engraved as illustrations1 the     
first is that  of a pretty knotted      
sea-weed1 rather rare1 but still not    
uncommon on the  southern coasts of our 
island in the summer and autumn         
seasons--the  ,arthrocladia villosa4    
,around the tubular axis the larger     
rings are  disposed1--to which circle   
upon circle of the smaller succeed to   

the  verge of the periphery1 yielding to
 the forms of the intermediate  cavities
 in numerous appropriate shapes4 ,in the
 second we have given a  cross section  
of the compressed frond of the          
,desmarestia ligulata1 an  inhabitant of
 the tidal pools at extreme low water on
 most parts of our  coasts4 ,an internal
 jointed tube passes up the centre of   
the frond1 and  gives rise to the       
obscure midrib perceptible on the       
surfaces of the  sides2 on either side  
the larger cells are disposed in two    
opposing flat  arcs1 and compressed into
 shapes more or less hexagonal1 outside 
of  which1 in the second row1 the       
pentagonal form prevails1 and then the  
intermediate exterior and interior      
spaces are filled by smaller cellules   
of more irregular outlines4             
,illustration3 ,magnified ,transverse   
,section of ,frond of ,desmarestia      
ligulata4    ,illustration3 ,magnified  
,transverse ,section of ,spore-bearing  
,receptacle  of ,fucus vesiculosus4     

,the third section is made across one of
 the spore-bearing receptacles  which   
tip--as yellow warty excrescences--the  
flat olive fronds of the  common        
bladder-weed1 ,fucus vesiculosus1 so    
common in dense meadows  everywhere on  
our shores4 ,the interior1 filled with  
mucus1 is traversed  by a network of    
jointed fibres1 which communicate with  
the spherical  conceptacles immersed in 
the outer substance1 and containing the 
spores  and the antheridia4 ,that there 
are other and many sections far more    
intricate and beautiful any one can     
testify who has ever turned over the    
fine plates of ,professor ,harvey's     
8,phycologia ,britannica10 his          
admirable papers in the publications of 
the ,smithsonian ,society1 or the  noble
 folio volume of ,postel and ,ruprecht2 
but in these simple ones here           
given--and selected on that very        
account--we find ,nature contriving     
elegant and pleasing devices by the mere
 repetition and combination of  the     

circle1 the hexagon1 or the pentagon1   
and producing by such means a  pleasing 
unity and richness of effect instead of 
a sameness or a  poverty4 ,at any rate1 
whenever ,nature does produce a         
beautiful object1  we shall never be the
 worse for examining the principles by  
which she  has worked1 and it is in the 
least complicated that we must first    
hope  to find the rudimentary laws of   
her beauty-building4 ,with rule and     
compass we can excel her in             
accuracy--with reason1 experience1 and  
remembrance1 we can improve upon her    
labours in our artificial  productions2 
but1 notwithstanding the many exquisite 
objects of art  produced by our modern  
jewellers1 there is by far too much     
conventionality and routine in the more 
ordinary bijouterie of every-day  wear2 
and we might from such sections alone   
acquire many novelties in  the setting  
of gems1 pearls1 and pebbles1 as well as
 gain many  advantages over the         
arbitrary whims of an unguided1 although

 it may be a  cultivated1 mind4 ,not    
only might the real be thus improved by 
adopting  the mathematical solids or    
traceries thus suggested1 but there are 
numerous articles of mock jewellery in  
which shells1 fictitious agates1  and   
inferior cameos are largely used1 the   
designers for which might be            
advantageously employed for a season by 
the seaside1 where their eyes  would    
become accustomed to the sober olive of 
the weeds2 and it might  then be found  
that a bronze setting would not only be 
more truthful1  but more useful and     
chaste1 than a hypocritical gilt        
surface1 that  reveals at every touch   
the baser metal beneath4 ,and here1 with
 these few  words of explanation and    
suggestion1 for the present let me leave
 this  unworked vein--merely adding that
 the longitudinal sections are as       
fanciful as the transverse1 and in      
viewing the latter we may oftentimes    
imagine we are examining fairy ribands  
and laces of the most delicate  texture4

    ,but however complicated the        
combinations of the cellular and        
vascular  tissues become as we ascend in
 the scale of creation1 the development 
of  forms and tints in every natural    
object is as dependent upon fixed laws  
as the beauty and colouring of a picture
 on the skill and innate genius  of the 
artist4 ,few artists1 however1 if any1  
work by rule2 in their  studies they    
attain instinctively1 as it were1 a     
conceptive knowledge of  the beautiful2 
they find ,nature ever varying1 and they
 find variety the  source of beauty2    
they find that an object composed of    
lines contrasts  pleasantly with        
circles2 that the upraised hands of a   
speaker should be  opposed by the folded
 arms of the listeners--the energetic by
 the  prostrate2 and so they go on1     
acquiring a science by perception1 of   
which the more ethereal portion has     
never yet been reduced to written       
rules1 and is so subtle that perhaps it 
never will be4 ,that designers  work    

more usually by their innate taste and  
their manual skill is  evinced by the   
many elegant absurdities that one       
constantly meets4    ,and now ,i would  
arrest the first objection that could be
 raised against  the sea-weeds as       
objects of design--their inapplicability
 on the ground  of appropriateness4     
,there is an appropriateness1 the world 
will say1  about flowers2 they have a   
language of their own1 in which they    
speak  the rarest poetry2 the saints of 
all the days of the year have their     
dedications of these gems of the fields2
 the nymphs of the forest and  dell1 the
 ,naiades and mythological celestials   
without end have  patronised them2      
besides1 it is so natural to paper our  
walls with  roses1 to have garlands     
woven in our dresses2 and our maidens   
only deck  their hair with the          
artificial because the real will fade4  
,what more  proper than a plate of      
leaves for fruit1 or a decanter         
ornamented with  grapes8 ,true2 but what

 more absurd than a vase of             
cabbage-leaves  supported on the        
flourishing tails of twisted dolphins2  
or a jug  composed of a gigantic head1  
from which we pour the contents through 
the  perforated body of a swan1 with its
 neck immersed in a sturdy flag1 and  of
 such reversed proportions and of such  
diminutive size that a whole  flock     
might roost in the interior of an egg1  
without any of them  experiencing that  
unpleasant inconvenience which nursery  
rhymes  attribute to the old lady who   
lived in the shoe8 ,these are broad     
absurdities1 although the objects       
themselves may be elegant and of  costly
 ware3 thus showing at once that the    
grace of natural objects is  dependent  
upon the laws of mathematical form1 for 
there is nothing in  the subjects we    
have noticed to interest--no hidden     
allusion--and all  that is pleasing     
arises from the lines of contour4 ,but  
there are more  subtle misapplications1 
which ordinarily escape detection4 ,is  

it quite  correct to bind the tendrils  
of the vine round the unpretending jugs 
which are dedicated to the pure fluid of
 the teetotaler1 or those that  are     
charged with foaming ale8 to defend our 
butter with a belt of  hissing snakes1  
or pass jets of sweet water through     
fountains of  gigantic cockle-shells and
 marine monsters8 ,and yet many of these
 things  we constantly forgive2 then    
surely we might extend some of that     
mercy1  if they required it1 to the     
sea-weeds1 which we do not withhold from
  reptiles1 especially if it can be     
shown that they are available for more  
artistic purposes than for pretty       
picture-making in albums and herbaria1  
or for fancy baskets1 with a hackneyed  
apologetic legend1 in bazaars4          
,illustration3 ,ulva linza4    ,it      
cannot be expected that the designer    
should carry on the laborious           
researches of the man of science1 or    
make the delicate sections which  the   
naturalist finds necessary for the      

determination of species and the        
comprehension of the phenomena of       
structure and vitality2 that he  should 
have one eye for the microscope1 and the
 other for his pencil2  nor that the    
philosopher should have all the         
accomplishments of the  artist2 but as  
the boundless universe is dependent upon
 everything that  exists for its unity  
and harmony1 so art cannot neglect even 
natural  sciences with impunity1 for1 at
 least1 every branch is capable of      
adding  an expression or a charm4       
,pardon1 therefore1 the simple belief   
that even  the rudiments of vegetable   
structure and the section of a sea-weed 
or a  plant are not unworthy of         
inspection for artistic purposes1 and   
that  they may suggest1 if not actually 
exhibit1 exquisite combinations of      
mathematical figures which are not      
inappropriate decorative ornaments  for 
most varied purposes4    ,illustration3 
,fucus nodosus4    ,along high-water    
mark1 as high as the spray bedews the   

rugged beds of  stone1 grow the green   
conferv2 within the tidal zone is the   
territory  of the olive fuci2 and the   
deep is the home of the red weeds1      
sometimes  to be found at dead low      
water1 and even higher on the shore1 in 
like  manner as alg of vivid green are  
traced to depths of thirty1 forty1 and  
even fifty fathoms2 for although the    
rules hold generally good1 there  are   
exceptions--as it is said there must be 
to all rules1 to prevent  their becoming
 axioms4 ,such1 too1 of olive1 red1 and 
green1 is the  artificial arrangement by
 which botanists have classified the    
alg1 the  colours and characters being  
sufficiently associated and distinctive 
for  even scientific grouping4          
,having glanced already at the species  
of lowest organization1 let us  take one
 other instance of the applicability of 
sea-weeds as objects of  design4 ,a     
dozen collected at random1 in one's walk
 from the edge of the  beach to the rim 
of the tide1 would more than suffice for

 many different  applications and       
manufactures2 and the very commonest are
 equally  valuable1 and often better    
than the rarest4 ,take1 then1 the first 
handful you can collect4 ,among the     
gatherings of such a parcel are sure  to
 be found some very applicable forms1   
such as the ,ulva linza1  represented at
 page #ajg2 the ,fucus nodosus1 page    
#ajh2 the ,fucus  vesiculosus1 page     
#ajc2 the ,fucus serratus1 here given2  
,halidrys  siliquosa1 page #aaj2        
,dictyota dichotoma2 ,laminaria         
,phyllitis2 ,l4  digitata2 ,l4          
saccharina1 c4    ,illustration3 ,fucus 
serratus4    ,illustration3 ,halidrys   
siliquosa4    ,it is not in the         
herbarium1 not in drawings1 not when    
dried and  shrivelled1 and black and    
contorted1 that we can see the beauty of
  sea-weeds2 such are no more than the  
bleared and withered mummies of         
,egyptian men to the fresh vigour of    
youth3 it is while free and waving  in  
the waters that we must search for the  

best elucidations of their  habits and  
gracefulness4 ,years ago ,ray wrote in  
his earnest and noble  manner3--8,let us
 then consider the works of ,god1 and   
observe the  operations of his hands4   
,let us take notice of1 and admire1 his 
infinite  wisdom and goodness in the    
formation of them3 no creature in this  
sublunary world is capable of so doing  
besides man1 and yet we are  deficient  
herein3 we content ourselves with the   
knowledge of the  tongues1 or a little  
skill in philology1 or history perhaps1 
and  antiquity1 and neglect that which  
to me seems more material--,i mean      
natural history1 and the works of       
creation4 ,i do not discommend or       
derogate from those other studies2 ,i   
should betray mine own ignorance  and   
weakness should ,i do so3 ,i only wish  
that this might be brought  into fashion
 among us4 ,i wish men would be so equal
 and civil as not to  disparage1 deride1
 and villify those studies which        
themselves skill not  of1 or are not    

conversant in2 no knowledge can be more 
pleasant than  this1 none that doth so  
satisfie and feed the soul1 in          
comparison  whereto that of words and   
phrases seem to me insipid and jejune40 
,how he  would have rejoiced at the     
popular movement introduced by ,mr4     
,mitchell  at the ,zoological ,gardens1 
and since so powerfully backed up by    
other  colossal vivaria of the day2 the 
aquaria at the ,crystal ,palace1        
,brighton1 ,ramsgate1 and other places2 
and what results would he not have      
predicted when1 in walking through the  
mammontainted streets of our  great     
metropolis1 he passed dozens of shops   
for the sale of aquaria1  vivaria1 glass
 jars1 siphons1 prawns1 mussels1        
anemones1 efts1 and  sticklebacks6 ,all 
these and many more living things cannot
 be kept and  nourished1 watched and    
fed1 without the spread of that         
knowledge which  is known1 and the      
acquirement of a vast deal that is new4 
,naturalists  will no longer be able to 

write books on things they have never   
seen2  and hasty jumpings to            
conclusions1 and closet speculations1   
will be  rarer as the chance of         
detection becomes the greater1 and the  
spirit in  which all true men of science
 do labour1 and ever have done1 is the  
more  rightly appreciated4 ,the ,merry  
,monarch's little spaniel has its collar
  of red morocco1 with its silver plate1
 and the imprisoned songster of a       
warmer clime is confined in a pretty    
cage4 ,the love of natural history  is  
not the cherished taste of the poor--it 
is not bounded by the  circumscribed    
limits of the middle ranks1 who find in 
a glass jar of  living objects from the 
pond or sea a refreshing pastime from   
the heavy  cares of daily bread1 and a  
cooling relief from toil1 or the        
feverish  anxieties of money-making2 but
 the love of natural history lives no   
less  in high places and delicate minds1
 whose susceptibilities have been       
heightened by every kind of culture1    

gaze with delight on the glittering     
armour of the scaly fish1 and watch with
 interest the actions1 motions1  and    
habits of the thousand instructive      
objects to be collected at any  time in 
a single tide4 ,how charming to give a  
little elegance to the  transparent     
homes to which we consign our new-made  
pets6 ,we no longer  confine ourselves  
to cheap glass and zinc fountains4      
,white marble and  bronze have brought  
our favourites into the boudoir and the 
drawing-room4 ,look at the festoons of  
fuci on the rugged rocks3 have not      
worse things been chiselled and cast8   
and at that tall bundle of crisp        
,laminaria ,phyllitis1 as it stands     
erect in the transparent water4 ,how    
charmingly a crystal vase would rest    
upon its slightly diverging crests1     
like the abacus on the leaves of a      
,corinthian pillar6 how delicate the    
slight frillings of the margins of its  
translucent fronds6    ,various other   
applications are at once suggested by   

the little group we  have figured2 such 
are mouldings1 beadings1 tracery1 and   
cornices1 and  for the sculpture of     
mahogany and other dark woods2 and in   
our progress  through the more elaborate
 forms of sea-weeds we shall find very  
much to  admire as elegant1 and as      
applicable to manufactures and to the   
ornamentation of various objects--often 
of opposite purposes4      ,,ii4    ,as 
one coming in a strange land for the    
first time1 on a junction of  many      
roads1 finds himself bewildered1 and    
hesitating in his choice which  to take1
 being ignorant which leads to the      
fairest places1 and not  knowing what   
beauties he may miss by selecting the   
one or the other1 so  in displaying the 
attractions of sea-weeds for artistic   
purposes--a  field where so little has  
been attempted--it is not easy to       
decide1  where so many courses appear to
 be open4 ,it is not the difficulty of a
  beginning1 for the start has been     
made2 nor of the end1 for a  precipitate

 retreat has happened to more than one  
illustrious character2  and if these    
pages could prove as entertaining as the
 immortal ,sam's  valentine1 even 8a    
sudden pull up0 might only make the     
reader 8wish  there was more40 ,but the 
difficulty is in adopting that order of 
narration which shall be most attractive
 in securing for the neglected          
sea-weeds their due meed of recognition 
and reward4    ,in the former chapter   
are figured some of those prevalent     
species which  no one could fail to find
 in a walk along the shore3 in this1    
which is  devoted to the olive weeds or 
true fuci1 the illustrations are drawn  
chiefly from among others of those      
common forms which are accessible to    
everybody1 about which there are no     
considerations of rarity1 pains1 or     
price1 and which indeed are always to be
 had for the trouble of picking  them   
up4    ,these ,melanosperms are         
characterized by naturalists as plants  
of an  olive green or brown colour1 and 

as being in their fructification either 
moncious or dicious1 that is1 having the
 distinctive organs on  the same or on  
different plants4 ,they are propagated  
by spores1 either  developed externally1
 or singly1 or in groups in proper      
conceptacles1  each spore being         
enveloped in a pellucid skin called a   
perispore1 and  being in some cases     
simple1 and in others ultimately        
dividing into two1  four1 or eight      
sporules4 ,antheridia--a term admitted  
as indicative only1  and by courtesy in 
the case of alg1 the actual propriety of
 the term  being still contested--appear
 in some2 in others are transparent     
cells  filled with orange-coloured      
vivacious corpuscles1 possessed of free 
motion by means of vibratile cilia4 ,the
 whole group is marine4 ,if any  take   
objection to the word 8plants10 the     
botanist will tell them that  alg have a
 double respiration1 like their higher  
sisters of the  land1--that by day they 
absorb carbonic-acid gas1 and give out  

the  life-supporting oxygen1 and that in
 the silent hours of the night they     
reverse the process1 and emit           
carbonic-acid gas4    ,to point out     
their relations and concordances with   
terrestrial  vegetation is1 however1 a  
very easy task2 but not so is it to draw
 the  line between animality and        
vegetation4 ,some authors1 indeed1 and  
those  not despicable ones1 have gone so
 far as to assert that the germs of     
some sea-weeds1 in their first          
condition1 are actually endowed with    
life4 ,be this as it may1 no line has   
yet been drawn which separates  either  
distinctly or decisively the animal from
 the plant2 and1 as ,dr4  ,lindley truly
 observes1 8whatever errors of          
observation may have  occurred1 those   
very errors1 to say nothing of the true 
ones1 show the  extreme difficulty1 not 
to say impossibility1 of pointing out   
the exact  frontier of either kingdom40 
,we commence our present division--and  
shall  follow the like course with the  

others--with its higher forms1 and1     
proceeding in descending order1 shall in
 each conclude with those humble        
rudimentary forms in which the rigid    
divisions of classification are         
obliterated1 and the only differences   
which can be assigned are1 at  best1 but
 little more than arbitrary4    ,to me  
how welcome and how dear are the olive  
algals of the rocky shores6  ,born      
within sound of the surging waves1 for  
ever singing 8their unrhymed  lyric     
lays0--from infancy to manhood living on
 the margin of the briny  deep--how     
fresh and dear to me these              
much-neglected things6 8,what  pleasant 
visions haunt me0 of childish hopes and 
fears2 and as again ,i  seem to         
8,gaze upon the sea1      ,all the old  
romantic legends1      ,all my dreams   
come back to me40    ,and in ,fancy's   
realms my drooping thoughts pass on to  
those homeless  wanderers over the face 
of the earth1 for whom never more the   
scenes of  their first homes will wear a

 charm--who1 torn from all familiar     
ties1  and tossed and buffeted on the   
sea of life1 may perish unregarded in   
some far-distant land4 ,the surging     
crests of the great ocean's waves oft   
cast1 to moulder on our shores1 the     
weeds and plants of other climes4 ,we   
have figured one of these fragments1    
which1 after its long and  boisterous   
wanderings from the ,azores to the      
eastern shores of the new  world1 across
 the wide ,atlantic to our own boreal   
coasts of the old1 has  lost but little 
of its beauty4 ,in the days of old      
adventure the matted  cords of this     
charming species stopped the famous     
,spaniard's ships2 and  still the long  
and narrow floating isles of            
,gulf-weeds--shunned by the  sailor--are
 the resting-places of myriads of crabs1
 and other hosts of  ocean's progenies  
hide and nestle in its watery bowers4   
,but charming as the ,sargassum         
bacciferum is in its gracefulness1 and  
attractive as it may be in its historic 

associations1 naturalists would  not1 of
 course1 admit either itself or its     
congener1 the ,sargassum  vulgare1 as a 
truly ,british kind1 but would properly 
regard them as  stray waifs from        
tropical climes4 ,the generic name is a 
,latinisation of  the term sargazo1     
given to the ,gulf-weeds by the         
companions of ,columbus1  and will for  
ever preserve the memory of its first   
discoverer2 while the  ancient specific 
additamentum of natans1 or swimming1 was
 highly  characteristic of the habits of
 the species4    ,next in the ranks1 and
 foremost of the really ,british weeds1 
stands the  common1 but elegant1        
,halidrys siliquosa1 already figured at 
page #aaj1  distinguished from all other
 fuci by the compound structure of its  
air-vessels--a character peculiar to it1
 and to the beautiful ,fucus            
osmundaceus1 of the western shores of   
,north ,america4 ,in the last the       
structure is slightly different1 the    
vesicles being constricted at the       

joints like strings of beads4 ,the      
air-vessels of the ,halidrys  siliquosa 
are those pea-pod-like expansions of the
 frond1 divided into  chambers1 which   
seem almost to take the place of leaves 
in the engraving  7p4 #aaj74            
,illustration3 ,sargassum bacciferum1 or
 ,gulf-weed4    ,intermediate between   
,halidrys and the true fuci is placed   
the genus  ,cystoceira4 ,one of the most
 elegant of this charming genus is the  
heath-like species1 ,cystoceira         
ericoides4 ,on the shores of the south  
of ,england especially1 and over a very 
considerable geographical range1        
extending even to the north of ,africa1 
it may be gathered at almost any  period
 of the summer or autumn4 ,under the    
water it glows with prismatic  colours1 
and as each twig waves to and fro1 the  
hues vary as the light  glances on its  
fronds2 and while some 8seem covered    
with sky-blue  flowers1 others remain   
dark40 ,in the air it presents only a   
glossy  yellow1 and in the herbarium all

 its enchanting beauties of colour are  
gone1 and unless very great pains and   
skill have been exercised in the        
manipulation1 it will have shrunk in    
drying1 and turned black4               
,illustration3 ,magnified ,view of      
,receptacle and ,vesicle at ,apex of    
,branch of ,cystoceira ericoides4    ,in
 passing1 it will be as well to gather  
specimens of the rather stiff  and      
cylindrical ,pycnophycus tuberculatus1  
standing alone as it does  sui generis4 
,of the true fuci1 at page #ajh is      
already figured the knotted one1 of     
which ,scotch boys make whistles 7,fucus
 nodosus71 and that with the  saw-like  
edges 7,fucus serratus71 p4 #aji2 but   
the ordinary  bladder-bearing sort1 the 
,fucus vesiculosus1 and the more        
translucent  and bladderless or smooth  
kind1 the ,fucus ceranoides1 and indeed 
the  whole genus1 though common in the  
extreme1 have high claims to the        
attention of designers1 not alone in the
 elegance of their outlines and  the    

disposition of their fronds1 but as     
being the very types and models  of     
sea-weeds4    ,the ,fucus vesiculosus   
was at one time1 particularly in the    
,orkney  ,isles1 regularly cropped for  
the manufacture of kelp1 and it is also 
known to contain a valuable portion of  
the sweet principle called  mannite4 ,in
 the cold and inhospitable regions of   
the polar lands1 where  the thick snow  
has buried the scanty herbage of the    
fields1 the rocks  furnish in their     
meadows of fuci abundant fodder for the 
hungry kine1  which regularly1 at the   
retreat of the tide1 come down to graze2
 and if  these pages were not devoted to
 other arts than the culinary1 one might
  not unentertainingly give a           
disquisition on edible sea-weeds1 and on
 the  various means by which they are   
made subservient to the luxuries or     
necessities of man4    ,the ,icelanders1
 ,greenlanders1 the ,chinese1 and the   
,east ,indians have  already made some  
progress in this department2 and nearer 

home1 the  ,chondrus crispus1           
8carrageen10 or ,irish moss1 figured at 
page #abj1 has  long ago been placed on 
the table1 in soup1 jellies1 and        
blanc-manges4    ,or1 if the natural    
history of the class were the object1   
one might with  equal pleasure dwell on 
the marvellous exhibition of the strange
  animal-like motions of the troops of  
zoospores which issue from the  thick   
yellow slime exuded from the ripe       
receptacles of the ,fucus               
serratus--motions apparently so         
voluntary that it is difficult to       
consider them as concordant with mere   
vegetation4    ,illustration3 ,chondrus 
crispus4    ,i have already hinted at   
the capabilities of these weeds as      
suggestive  models for the carver in    
wood4 ,now few modern structures are    
fitted up  with more elegance than our  
first-class ships1 and in them no one   
will  contend there is not a great and  
appropriate field for the display of    
the ornamental or decorative            

capabilities of sea-weeds4 ,here they   
are at  once appropriate and reminiscent
 of those shores the voyagers have left 
behind--speaking to them1 whilst gliding
 over the sea1 of those lands  whence   
they had departed1 and of those other   
lands which they are  seeking4 ,around  
and beneath figure-heads1 as scrolls    
upon the bows or  stern1 bordering the  
panels of the cabin1 and modelled to    
suit the  various machinery on deck1 the
 designer might create a marine         
ornamentation as characteristic and as  
pleasing1 and as elaborate1 if he       
chose1 as ,corinthian skill developed   
from the tile-covered plant for the     
architecture of the land4    ,in bronze 
or in iron1 indeed in all dark          
metal-work1 the fuci could not  fail to 
be elegant objects1 and rich in their   
grouping and in the  effects produced4  
,in many of those objects1 too1 which   
the gilder  prepares1 the cockle-shells1
 or cockle-like scrolls and cups so     
prominently displayed might be as       

elegantly and more appropriately        
supported by well-devised groups of alg 
than by lilies1 fleurs-de-lys1  or      
traceries of meaningless design4    ,one
 very pretty diminutive species of      
,fucus 7,f4 canaliculatus7 grows  on the
 very edge of the tide1 and often where 
the waves wet the rocks  only with their
 spray4 ,the chief crop grows certainly 
above the level of  half-tide1 and these
 plants show a preference for droughty  
situations2  not unfrequently in the hot
 days of the summer we find them quite  
crisp  and dry1 but on the return of the
 tide they again absorb the aqueous     
fluid1 and recover life and flexibility4
 ,so sea-weeds which have long  been    
shrivelled up in the house will recover 
in appearance all their  freshness and  
verdancy on being merely immersed in a  
glass of salt or  spring water2 and the 
virtues of the former are now brought   
from the  sea into our homes in the form
 of ,tidman's ,crystals4 ,i make this   
allusion because it is important that   

the artist1 living perhaps in some      
inland town or city1 should know that   
the natural models he may bring  from   
the seaside on his holiday trip may be  
in reality1 though not  apparently1     
usefully retained for future studies4   
,many of the more  leathery kinds will  
submit to several resuscitations of this
 nature1  although1 as might be         
expected1 a deterioration and loss of   
colour1 more  or less1 take place in    
each successive instance4 ,the ordinary 
method of  preserving sea-weeds for     
natural-history purposes is1 as is      
familiarly  known1 to press them between
 folds of linen and blotting-paper on to
  stout drawing-paper1 to which by their
 glutinous substance they firmly        
adhere1 forming1 under the skilfulness  
of the manipulator1 the most  exquisite 
natural pictures4 ,in all these1        
however1 the very act of  compression1  
and the spreading out of the object on a
 flat surface1  gives an unnatural      
aspect1 very different from their free  

condition4 ,it  may be well1 therefore1 
to state that in some few experiments ,i
 have  made ,i have found that pure     
glycerine will preserve even the more   
pulpy  and plump sorts--if ,i may use   
that expressive adjective--without even 
the slightest change for at least       
considerable periods4 ,some of my       
specimens have been kept in glycerine   
for more than eight months1 and  are as 
fresh in substance and in colour as when
 they were first  collected4 ,choice    
samples seem thus capable of being      
indefinitely  preserved in proper glass 
or earthen vessels for use at any time  
by the  designer4    ,in a visit to the 
art-museums at ,south ,kensington ,i    
observed two  instances of the          
introduction of sea-weed3 one in ,mr4   
,h4 ,weekes's noble  statue of a 8,young
 ,naturalist10 where1 though sparingly  
made use of1  they can but be regarded  
as successful innovations2 the other in 
the  collection of imitation ,majolica  
ware1 where a large vase has in relief  

some fronds of the ,fucus serratus1     
which1 from their unnaturally  bright   
green and the want of strict attention  
to the natural model1 are  not so       
attractive as could have been desired4  
,that sea-weeds1 both  painted or       
impressed upon china and earthenware1   
are capable of  producing fine results1 
can scarcely be doubted2 and although it
 cannot  be written of me1 as it was of 
an eminent statesman1--        8,china's
 the passion of his soul--       ,a cup1
 a plate1 a dish1 a bowl1       ,can    
kindle wishes in his breast1            
,inflame with joy1 or break his rest10--
    ,i shall not willingly give up the  
potter's art as intractable to my       
purpose4    ,the genus ,desmarestia1    
which follows the fuci in natural order1
 offers  some neat patterns for the     
painting of pottery and china ware1     
especially in the long oval fronds of   
the ,desmarestia ligulata1 a            
microscopic section of which is given at
 page #ajc4 ,its branching fronds1  so  

leaf-like in their development1 and yet 
so unleaf-like in reality1  tempted me  
to figure a single branch of one of     
these plants1 as an  example of its     
peculiar characters1 which1 in their    
pale olive-green and  purple hues1 could
 scarcely fail of showing to advantage  
on the white  translucent ground of     
aluminous materials4 ,we have plates of 
a  particularly small size dedicated to 
the curdled produce of the  dairy--in   
plain ,english1 we have                 
,illustration3 ,portion of ,desmarestia 
ligulata4    cheese-plates1 we have     
soup-tureens and vegetable-dishes1      
meat-plates  and dessert-plates2 and why
 might we not have articles appropriated
 to  the service of fish1 and decorated 
with sea-weeds8 ,i have frequently      
seen1 in drying these objects1 their    
forms impressed through the thick       
blotting-paper1 and forming very        
beautiful tracery in low relief on the  
opposite side4 ,such impressions have   
always suggested the idea of a          

similarly simple1 chaste1 and elegant   
ornamentation of the plainer and        
commoner wares4 ,the impressions left by
 the ,chondrus crispus1  ,dictyota      
dichotoma1 and other flat and           
interlacing forms1 are most  admirable  
for such a process4 ,simple accidents   
may often lead to  unexpected results2  
and ,grecian legends even attribute the 
discovery of  modelling in relief to the
 tracing upon the wall1 by a potter's   
daughter1 of the shadow of her departing
 lover's face1 which her father         
modelled afterwards in clay4            
,illustration3 ,root of ,laminaria4     
,passing by the genera ,arthrocladia1   
,sporochnus1 and ,carpomitra1  which    
all1 in a greater or lesser degree1     
offer pleasing running  patterns for the
 painting of porcelain or earthenware1  
and of flat  surfaces in general1 we    
come to the noble family of the         
,laminari1 so  well and ordinarily known
 under the names of sea-girdles and     
tangle4 ,the  size and expanse of the   

fronds of the various species of        
,laminari  exposed1 in the bleak and    
unprotected situations in which they    
grow1 to  the full fury of the waves1   
are provided for in their leathery      
toughness1 the rope-like stem1 and the  
numerous attaching discs of their       
branching roots4 ,the root of the       
sea-weed differs very materially from   
the root of a plant3 through it no      
nutritious sustenance is conveyed to    
the algal2 it draws nothing from the    
soil2 it is furnished with no  organs2  
it is merely an adhesive holdfast1      
similar in principle to the  sucker by  
which street-boys lift bricks and       
stones2 it sends down no  ramifying     
fibres into crevices of the rocks1 but  
merely adheres to the  surface4 ,how far
 their peculiar characters could be     
elegantly made use  of for the handles  
of vases1 covers1 lids1 and other       
objects and parts  of articles which    
require to be lifted or raised1 must    
remain to be  developed by the practical

 designer and manufacturer4    ,the     
mussels and shell-fish which attach     
themselves to the firm rootlets  of the 
tangle1 or which spin together or nestle
 in the meandering fronds  of the       
smaller kinds1 often produce groupings  
worthy of much admiration1  and which   
would form material aids in the         
elaboration of practical  patterns4     
,as there is much difficulty in         
expressing in a greatly reduced drawing 
a  long and narrow form like that of the
 common tangle1 ,i have contented       
myself with giving a figure of one of   
the roots1 to show how applicable  they 
are for art-purposes4    ,the ,north    
,american and ,kamtschatkan species--the
 ,laminaria  longicrucis--has a frond as
 large as a table-cloth1 and a stem of  
proportionate length4 ,the ,english     
species attain very frequently to six   
or eight feet1 although in their native 
habitats they may be gathered of  every 
size1 and in every stage of growth2 and 
to reduce such giants to  the scale of a

 few inches would give no idea of their 
grandeur or  beauty4    ,of those       
immensely long and slender sea-weeds1   
placed by algologists in  a distinct    
genus1 with the expressive name of      
,chorda1 little use1 ,i  think1 can be  
made in the way of design4 ,the mere    
collector has to wind  them assiduously 
into a coil in his herbarium2 and in    
their native  element the only purpose  
they seem to serve is to stop the       
passage of  boats1 or to drown          
unfortunate swimmers by entanglement    
about their  legs2 for1 although often  
thirty or forty feet in length even on  
,british  shores1 and not thicker at    
their base than a whipcord1 they are    
extremely tough and tenacious4          
,illustration3 ,dictyota atomaria4      
,the case is very different with the    
beautiful ,dictyotacc1 in which  family 
is included the splendid ,padina        
pavonia1 with hues nearly as  bright and
 as rich as the 8eye-spots0 on the tail 
of the glorious bird  from which its    

specific name is taken4 ,such a marine  
beauty was not  likely to escape the    
attention of even early naturalists1 and
 we  accordingly find it mentioned in   
the writings of ,bauchin and others4    
,ellis1 although he has no business with
 it1 cannot resist the temptation  to   
figure it in his famous book on         
,corallines4    ,in the genus ,cutleria 
we are presented with some attractive   
novelties1  but the typical genus       
,dictyota merits special attention4     
,if the number and variety of names by  
which an algal was known had any        
connection with its charms or its       
rarity1 one    ,illustration3           
,stilophora rhizodes4    ,illustration3 
,section of a ,sorus of ,stilophora     
rhizodes4    member at least of the     
characteristic group1 the ,dictyota     
atomaria  ought to be--as it really     
is--both rare and beautiful4 ,the       
ancient  nomen triviale of ,phasiana    
expresses well1 in its allusion to the  
plumage of that handsome bird1 the      

barred and zigzag markings caused by    
the scattering in the substance of the  
frond--almost as one would cast  grains 
of sand or seeds by the hand--of the    
dark-coloured spores or  germs4 ,the    
whole plant1 too1 exhibits those most   
delicate gradations of  the primitive   
hue which are not the least remarkable  
characteristic of  all sea-weeds4 ,and  
in what are our designers more          
deficient--especially  those employed in
 the decoration of our houses--than in  
simple and  delicate contrasts1 or more 
especially in those almost insensible   
gradations of colours which are so      
admirable in their effect1 and which    
are so invariably presented to us alike 
in the sombre olive and in the  bright  
greens and reds of the sea-weeds8 ,we   
have no power to express  these natural 
gradations in our woodcuts1 but there is
 certainly much in  this way worthy of  
patient study4 ,in this large and       
extensive family  there are yet more    
instances of how various sections and   

magnificent  portions may possess       
artistic value4 ,the section of a sorus 
of  ,stilophora rhizodes seems1 for     
example1 so like the representation of  
a fragment of jewellery1 that it cannot 
fail to excite wonder that a  source so 
prolific should have been neglected by  
our workers in gold and  silver1 and our
 setters of pearls and precious stones4 
,the ,mesogloia vermicularis1 one of the
 gelatinous ,chordariace1 is  an ugly   
weed1 but the filaments of the fronds   
are worthy1  notwithstanding1 of being  
placed under the power of the microscope
 and  viewed by an artist4              
,illustration3 ,portion of ,filaments1  
,axial and ,peripherical1 of  ,mesogloia
 vermicularis4    ,so1 too1 with the    
hollow cottony ,leathesia1 looking like 
a macerated  walnut tufting the surface 
of the rock3 only peer into it with     
microscopic vision1 and a forest of     
crystal fibres1 composed of divided     
cells1 the lower ones long and slender1 
the upper shorter1 and  supporting      

little hyaline half-moons on their      
cusps1 springs into  existence4 ,the    
tiny tufts of the ,elachista and        
,myrionema abound in  bead-chain fibres1
 while the genera ,cladostephus and     
,sphacelaria  offer more visible        
patterns of a kind at once unleaf-like  
and novel4 ,the  ,sphacelaria plumosa1  
so wiry and feathery1 resembles those   
curious  members of the animal kingdom1 
the ,sertulari1 as which it is almost   
as rigid and as elegant2 while the small
 tufts of the rare ,sphacelaria  ramosa 
are again charming microscopic objects4 
,the family ,ectocarpace contains a fund
 of marvellous ideas4 ,one more  genus  
of ,british olive weeds alone remains to
 be mentioned1 consisting  of two little
 parasitic species not uncommon on the  
fronds of ,chorda  lomentaria2 but      
though curious and singular in          
construction1 they offer  nothing so    
tempting as many of those we have been  
compelled to pass over  in silence4     
,illustration3 ,cladostephus            

verticillatus4    ,portion of a branch4 
,one of the ramuli4    ,for the purpose 
of study1 the ,melanosperms offer a     
never-failing  supply1 always accessible
 at low water2 but should opportunity   
arise of  acquiring a knowledge of the  
,rhodosperms1 with their fairy forms and
  brilliant hues1 it should not be      
neglected1 for these deep-water algals  
seldom reach us but in broken plants    
washed ashore2 and dried specimens1     
flattened and faded1 cease to be models 
for study4 ,as to the  ,chlorosperms1   
the ,ulv are full of grace and beauty1  
and in the  south of ,england they are  
served at table as a relish to roast    
meat1  under the title of laver1 and    
which is now sold in many ,london shops4
  ,the ,ulva linza1 figured at p4 #ajg1 
is a good type of the graceful  outline 
of this elegant family of sea-weeds4    
,illustration3 ,portion of ,sphacelaria 
plumosa4    ,oft beneath the warm and   
brilliant rays of summer's sun1 in      
shallow  skiff1 ,i have glided on the   

calm and polished surface of the        
sea--the  mirror of the glowing sky and 
heavens beyond--over the dark forests of
  tangle waving in the tide1 and plucked
 the pellucid limpets browsing on  their
 stems2 and1 peering down into the      
rugged dells below1 have seen  the      
star-fish crawl with sucker-arms along  
the rocks1 where whelks drill  holes in 
shells of stone-clad molluscs1 to feed  
upon their soft and  luscious flesh2    
where sea-anemones1 with outspread      
tentacles1 make  gardens of living      
flowers2 and awkward crabs peep out from
 darksome  nooks at glittering fish1    
then scramble sidelong back again into  
their  holes4    ,in winter1 by the     
raging waves--when skaters swift o'er   
slippery ice  with rapid pace were      
gliding2 when ears were tingling with   
the biting  cold1 and tender people     
roasting over blazing fires--,i have    
paced along  the congealed sands to see 
the shell-fish frozen hard and fast1    
glued to  the rocks2 and sea-weeds1     

crisp and rigid1 recover life and       
elasticity  in the flowing tide4    ,in 
time of spring ,i have hunted over the  
slippery meadows of our shores  for the 
instinct-led travellers from the deep1  
coming to the shallow  tidal zone to    
propagate their tribes4 ,and in the     
golden season ,i have  watched the      
sportive play1 in rocky pools           
o'ershadowed by these graceful  weeds1  
of iridescent annelide and cilia-paddled
 beroe--have tracked the  skipping      
shrimps along the silvery sands1 or have
 patiently followed the  ,patella       
vulgaris in its solemn march to graze   
upon the verdant ulv1  and again        
returning at the change of tide to      
adjust its conical house  with stately  
nicety on its proper site4              
,,iii4    ,,on ,,the ,,crystals ,,of    
,,snow ,,as ,,applied ,,to ,,the        
,,purposes ,,of ,,design4    ,,by       
,,james ,,glaisher1 ,f4,r4,s4      ,i4  
,snow1 in the ordinary acceptation of   
the word1 is suggestive of a soft       

flocculent matter of considerable       
opacity1 falling in flakes1 and1 as     
compared with water1 of little          
density--a foot of fresh-fallen snow    
producing but from a tenth to a twelfth 
part of water4 ,snow1 however1  does not
 always fall in flakes2 under certain   
conditions of atmosphere  and           
temperature it occasionally falls in    
groups of slender needle-like  particles
 or spicul1 which under the microscope  
exhibit no structural  detail worthy of 
remark1 but are irregular and jagged in 
outline4 ,this  is one of the most      
imperfect forms of snow crystallization1
 and occurs  generally at a temperature 
but little above freezing1 and at the   
commencement of a severe and continued  
frost1 or immediately preceding a       
general thaw4    ,at other times a light
 feathery snow may be seen to fall1     
composed  almost entirely of stars of   
six spicul or radii1 united in the      
centre  by a white molecule4 ,these are 
seldom less than from four to five      

tenths  of an inch in diameter1 and are 
generally collected in tufts of         
half-a-dozen or more together1 which in 
calm weather waft uninjured to  the     
ground4 ,sometimes these are mixed with 
other stars of more intricate  figure1  
to be spoken of presently4 ,fig4 #a     
illustrates this variety1 and  is       
enlarged to double the proportions of   
the original4    ,illustration3 ,fig4   
#a4    ,illustration3 ,fig4 #b4         
,illustration3 ,fig4 #c4                
,illustration3 ,fig4 #d4                
,illustration3 ,fig4 #e4                
,illustration3 ,fig4 #f4    ,sometimes a
 heavy fall of ordinary snow may be     
accompanied by a number  of minute      
specks1 glistening among the flakes like
 fragments of talc or  mica1 as seen    
sparkling in a mass of granite4 ,on     
careful investigation  these prove to be
 thin laminated hexagons of the most    
perfect delicacy  and symmetry of form1 
as shown in ,fig4 #b4    ,the hexagon   
and star being the base of all the      

crystals of snow yet  observed1 we will 
proceed to show how the more elaborate  
figures are  compounded of these two    
primary elements4    ,to explain various
 peculiarities of structure which occur 
in several of  the larger drawings1 we  
will refer to the process of            
crystallization as  carried on at low   
temperatures on the surface of still or 
gently-moving  water4    ,illustration3 
,fig4 #g4    ,illustration3 ,fig4 #h4   
,illustration3 ,fig4 #i4                
,illustration3 ,fig4 #aj4               
,illustration3 ,fig4 #aa4               
,illustration3 ,fig4 #ab4    ,water     
freezes at an angle of #fj4 ,on its     
first congelation1 under  favourable    
circumstances for observation1 we       
perceive in parts1  generally about the 
centre and around the margin1 a         
corrugation of its  surface4 ,this      
corrugation presently discovers a series
 of distinct  figures1 needle-like in   
form1 and analogous to the spicul of    
snow4 ,as  the process continues1 to    

each of these needles1 while yet        
forming1 a  serrated incrustation of    
leafy or arborescent character is       
attaching  itself1 so that in time the  
greater number of them become each the  
centre of a crystalline pinna1 not      
unlike a frond of the lady fern4  ,fig4 
#be 7page #adj7 is a sketch of one1 the 
size of the original1 as  observed by   
,t4 ,g4 ,rylands1 ,esq41 of ,warrington1
 and sent to us during  the severe      
winter of #ahee4 ,the overlapping       
observable on one side of the  pinna is 
a peculiarity generally to be found in  
three out of the six  leaves forming the
 entire crystal4    ,illustration3 ,fig4
 #ac4    ,illustration3 ,fig4 #ad4      
,illustration3 ,fig4 #ae4               
,illustration3 ,fig4 #af4               
,illustration3 ,fig4 #ag4               
,illustration3 ,fig4 #ah4    ,fig4 #bf  
7page #ada7 represents the crystal when 
complete2 the drawing was  made by      
ourselves1 and gives with great         
exactitude the figure of the  needles1  

which1 it will be observed1 diverge from
 the main stem  uniformly at an angle of
 #fj4 ,the position maintained by them  
around the  centre of the crystal is    
beautifully adaptive1 and well worth    
examination4    ,it is not always that  
the primitive spicul are divergent in   
groups of  six4 ,at times they arrange  
themselves irregularly in clusters1 and 
crystallization proceeds with results of
 a character    ,illustration3 ,fig4    
#ai4    ,illustration3 ,fig4 #bj4       
,illustration3 ,fig4 #ba4               
,illustration3 ,fig4 #bb4               
,illustration3 ,fig4 #bc4               
,illustration3 ,fig4 #bd4    somewhat   
different1 but scarcely less beautiful1 
of which ,fig4 #bg 7page  #adb7 may be  
considered a type4 ,this is analogous to
 the fanciful forms  of frost seen on   
the interior of a pane of glass1 and is 
frequently to  be found where the water 
is very shallow1 and where its mixture  
with  some gritty substance1 or blade of
 grass1 or other obstruction1 has in    

all probability interfered with a more  
geometric arrangement4 ,by degrees  the 
whole surface of the water becomes      
interlaced with needles and  pinn1      
whether singly or in groups1 and thin   
laminated surfaces of ice  which cover  
all interstices4 ,then1 according to    
external influences1 the  ice either    
thickens1 obliterating all this         
beautiful tracery1 or it  melts away    
before the rising temperature of the    
day4 ,it often happens1  however1 that  
these processes occur after dark1 or    
that the water  freezes so rapidly as to
 disappoint the wishes of the observer4 
,at  moderate temperatures these changes
 are best observed2 but1 in our         
opinion1 they are somewhat dependent on 
other atmospheric conditions4  ,the     
formation of the needles is common to   
the freezing of water under  all        
circumstances1 and they vary from a few 
inches to a few feet in  length4        
,illustration3 ,fig4 #be4    ,to return 
to the crystals of snow4 ,fig4 #c 7page 

#acf7 is another  elementary figure1    
common to temperatures about the        
freezing-point2 it  is not often less   
than half an inch in diameter1 and is a 
miniature copy  of the water crystal4   
,illustration3 ,fig4 #bf4    ,another   
simple order of figures1 and containing 
within themselves the  germ of the most 
symmetrical combinations1 is that of    
which ,figs4 #d and  #e 7page #acf7 are 
types2 they exhibit secondary spicul    
diverging from  the principal radii at  
an angle of #fj4    ,around the simple  
it frequently happens that a secondary  
and smaller  star is arranged1 as in    
,fig4 #f 7page #acf71 the radii of which
 are  intermediate between those of the 
former4 ,an angle of #cj is1 however1   
of unfrequent occurrence1 and it seems  
probable that in this and similar  cases
 it is the union of two crystals of     
distinct hexagonal formation4           
,illustration3 ,fig4 #bg4    ,sometimes 
it happens that the secondary spicul1   
which we see in ,figs4 #d  and #e1 are  

continued down the main radii until they
 form a contact with  each other1 as in 
,fig4 #g 7page #acg74 ,the star thus    
enclosed about the  centre generally    
becomes laminated and of great          
transparency4 ,in other  varieties1 as  
in ,fig4 #h 7page #acg71 it is          
intersected by the rays of the          
secondary or intermediate crystal4      
,having traced the elementary principles
 of these figures to the first          
formation of a simple nucleus1 we will  
proceed to the consideration of  the    
more compound varieties1 in which the   
nucleus is a conspicuous  element of    
construction4    ,illustration3 ,fig4   
#bh4    ,the figures we have been       
considering1 although possessed of unity
 of  design in a high degree1 are found 
to exhibit no great perfection of       
structural detail when examined beneath 
a lens2 those that we are about  to     
inquire into belong to a more perfect   
order1 much more minute and  very       
compound4    ,illustration3 ,fig4 #bi4  

,fig4 #bh is a figure of this class1    
much enlarged and drawn as seen  beneath
 a microscope4 ,it was highly           
crystallized1 and the angles and  planes
 of which it is composed were sharply   
and well defined4 ,the prisms  at the   
end of the radii were cut into facets1  
and glistened with  brilliancy1 as did  
the six prisms around the centre4 ,the  
radial arms  were sharply cut1 six-sided
 shafts1 very different from the snowy  
rounded spicul of the elementary        
figures4 ,it was easily discernible to  
the naked eye1 and principally those    
parts which are white in the  engraving1
 and which communicate to the copy very 
much the effect of the  original when   
under the full influence of direct      
light4 ,the centre is  laminated1       
hexagonal in form1 and within it we     
perceive the secondary  star of prisms2 
also that each addition to the radii    
diverges at an  angle of #fj4    ,fig4  
#bi is another1 highly crystallized1 and
 composed of parallel  prisms1 divergent

 from the radial arms at an angle of    
#fj1 and without  nucleus4 ,the         
irregular blade-like terminations arise 
from an ill-advised  eagerness in the   
observation of their originally very    
complicated  structure1 by which they   
were in a moment dissolved1 without     
injury1  however1 to the symmetry of the
 figure4    ,illustration3 ,fig4 #cj4   
,fig4 #cj is a beautiful compound of the
 higher order of crystallized  bodies   
with the more elementary1 the nucleus   
belonging to the former1  and the radii 
at their extremities to the             
,illustration3 ,fig4 #ca4    latter4    
,this at first sight appears an anomaly2
 but we explain it on the  supposition  
that the entire structure of the        
original crystal has been  of a high    
order1 the shafts six-sided1 as they    
remain still at their  base1 and the    
leafy incrustrations to have been       
regularly distributed  prisms1 as in the
 preceding figure2 that the crystal1 in 
its descent1  has passed through various

 temperatures of intense cold1 probably 
exchanged for a warmer at one instant of
 time1 in which it has partially        
thawed1 and again passing into a cold   
stratum in approaching the ground1  has 
been once more congealed1 giving rise to
 the white opacity and  irregular form  
of its terminations4 ,and this          
explanation is the more  reasonable1 as 
will be gathered from a description of  
the dissolving or  thawing of these     
bodies4    ,fig4 #ca is a crystal seen  
just previous to its returning to the   
primitive drop of water4 ,originally    
composed of the ordinary radial  arms1  
each supporting prisms of the form seen 
in ,fig4 #bi1 and with a  simple        
hexagonal nucleus1 under the influence  
of a very slightly  increased           
temperature the rigidity of each line   
has become relaxed1  whilst the         
crystalline matter1 all but fluid and no
 longer heaped up  into prisms1 is      
distributed over a wider area1 according
 to the laws of  attraction and         

corresponding area of surface4          
,illustration3 ,fig4 #cb4               
,illustration3 ,fig4 #cc4    ,a very    
different order of figures are those of 
which ,figs4 #cb1 #cc1 #cd1  and #ce are
 types4 ,the originals were exceedingly 
small--so minute1  indeed1 that the     
specks containing all these beauties of 
detail were  almost inappreciable to the
 naked eye4 ,it will readily be         
perceived that  they differ greatly from
 the order arising out of the primitive 
star or  its secondary radii4 ,the base 
of these must be referred to the        
hexagon1  as shown at ,fig4 #b4 ,the    
most highly elaborate of our            
illustrations1  shown at ,fig4 #cc1     
exhibited a succession of planes raised 
one above  another1 the centre of each  
radial arm intersected by a slender     
crystalline shaft laden with delicate   
prisms4 ,fig4 #ce preserves more the    
form of the ordinary hexagon1 and was   
cut very regularly into facets4  ,of    
,figs4 #cd and #ce we were unable to    

observe the exact disposition of  the   
raised surfaces1 and have delineated the
 outline only3 these figures  fell1 with
 several others far more complicated1   
during the continuance  of a very       
unusual degree of cold for these        
latitudes4    ,illustration3 ,fig4 #cd4 
,,ii4    ,we have thus far endeavoured  
to show the true bases of construction1 
and  how that crystallization proceeds  
onwards from the simple forms to the    
more complex1 and have selected from    
numerous varieties a few of the  best   
types illustrative of this progress4    
,our limits will scarcely  permit us    
further to individualise these beautiful
 creations2 yet1 not  to mislead1 it is 
necessary to refer to an intermediate   
order1 in which  the hexagon star is    
laden with divergent spicul between     
groups of  prisms4 ,fig4 #cf1 selected  
from this very numerous class of        
figures1 was  one of several observed   
during the cold weather1 following upon 
the  general thaw1 which terminated the 

long-continued and severe frost of      
#ahee4 ,the spicul were icicle-like1 of 
the utmost delicacy1 opaque1 and  well  
defined2 the prisms1 on the contrary1   
were watery1 almost rounded1  and1 as it
 seemed1 on the verge of dissolution4   
,the entire figure had  the appearance  
of two distinct orders of formation--the
 prisms which  belong to a very low     
temperature1 and the spicul which are   
commonly  formed at and about the       
freezing-point4 ,fig4 #cg is another of 
the same  class1 and in a very          
intermediate state2 the additions to the
 main radii  are neither prisms nor     
spicul1 yet partaking of the character  
of both3  its peculiarity consists in   
the tertiary incrustations being placed 
downwards towards the centre4 ,this form
 has been observed only during  very    
severe cold4    ,fig4 #ch is somewhat   
analogous to the crystals of water2 its 
centre is  hexagonal1 but the prisms are
 irregular crystalline incrustations of 
the  utmost delicacy and transparency2  

it was of large size1 fully half an     
inch in diameter1 and glistening like a 
fragment of talc among the  snow-flakes1
 was discernible at a considerable      
distance4    ,illustration3 ,fig4 #ce4  
,fig4 #ci 7page #aef7 is a specimen of a
 double crystal2 that is1 two  similar  
crystals united by an axis at right     
angles to the plane of each4  ,it is    
highly complex1 and the effect of each  
is more than doubled by the             
arrangement4 ,crystals so united are not
 unfrequent in severe weather4          
,during one winter our observations     
numbered nearly two hundred  varieties4 
,illustration3 ,fig4 #cf4    ,the series
 of small drawings given on pages #acg1 
#ach1 and #aci1 were made  with a lens  
of moderate power1 but they are not     
equal in value or  structural detail to 
those drawn beneath the microscope4     
,they are among  the most elementary    
figures observed2 and1 as illustrative  
of the first  principles of formation1  
are chiefly worthy of consideration4 ,of

 more  elaborate figures drawn beneath  
the microscope1 besides those more      
immediately referred to in the text1    
examples are given in ,figs4 #dj1 #da1  
and #db4    ,the idea of observing snow 
crystals is by no means original4 ,we   
know for  certain that ,aristotle       
observed them2 also ,descartes1 ,greu1  
,kepler1 and  ,drs4 ,nettes and         
,scoresby of modern times4 ,sir ,edward 
,belcher also  devoted a considerable   
degree of attention to the study of the 
crystals  of snow in the ,arctic        
regions4 ,there the radial arms were    
seldom less  than an inch in length1 and
 might be seen1 according to ,sir       
,edward  ,belcher1 drifted in heaps into
 the crannies and recesses of the ice4  
,they were seldom to be obtained in a   
perfect condition1 generally            
separating1 by reason of their weight   
and size1 on descending to the  ground4 
,illustration3 ,fig4 #cg4      ,,iii4   
,having brought to a close all that is  
here necessary to say respecting  the   

formation of these bodies1 and the      
position they occupy in regard to       
scientific inquiry1 we may now turn to a
 consideration of their  capabilities to
 suggest new forms in decorative design1
 as applied to  the industrial arts4    
,being ourselves desirous to promote the
 adoption of  the appropriate as well as
 the simple beauty of truth in ornament1
 we  will first inquire how far these   
figures are in accordance with those    
general principles of arrangement of    
form which in all ages and  countries   
have constituted the truly beautiful in 
art4    ,these are summed up briefly in 
the propositions contained in the       
opening  chapter of ,mr4 ,owen ,jones's 
8,grammar of ,ornament40 ,we extract the
  following3--    8,proposition         
#c4--;,as ,architecture1 so all works of
 the ,decorative ,arts  should possess  
fitness1 proportion1 harmony1 the result
 of all which is  repose4               
8,proposition #e4--;,decoration should  
never be purposely constructed3 that    

which is beautiful is true1 that which  
is true is beautiful4    8,proposition  
#h4--;,all ornament should be based upon
 a geometrical  construction4           
8,proposition #i4--;,as in              
,architecture1 so in the ,decorative    
,arts1 every  assemblage of forms should
 be arranged on certain definite        
proportions2  the whole and each        
particular member should be a multiple  
of some  particular unit4               
8,proposition #aj4--;,harmony of form   
consists in the proper balancing and    
contrast of the straight1 the inclined1 
and the curved40    ,illustration3 ,fig4
 #ch4    ,further on1 from the same high
 authority1 we receive as an            
axiom--8,that  there can be no perfect  
composition where either of the three   
primary  elements is wanting--the       
straight1 the inclined1 and the curved1 
or  where they are not so harmonized    
that the one preponderates over the     
other two40 ,in the crystals of snow we 
perceive these last conditions  are     

implicitly fulfilled1 inasmuch as they  
include the varieties1  straight1       
angular1 and curved1 of which the       
angular has a decided  preponderance4   
,illustration3 ,fig4 #ci4    ,with      
regard to the proportions of number on  
which these figures are  based1 we shall
 find them almost all deficient in the  
maintenance of a  ratio1 water          
crystallizing at an angle of #fj1 a fact
 exemplified in the  radial arms and the
 secondary and tertiary additions1      
which1 always  produced at the same     
angle1 are characteristic of the greater
 number of  these crystals4 ,thus they  
can be considered suggestive only of    
more  complete designs--the centre1 in  
fact1 of a bordering or pattern-work1   
to be completed round them according to 
the intended application1 and  with due 
reference to those ratios of number     
which are found most  acceptable in     
composition4    ,illustration3 ,fig4    
#dj4    ,founded upon a strictly        
geometric base1 and a uniform repetition

 of a  certain concordant irregularity  
of parts1 bound together in one         
harmonious unity by the laws of circular
 composition1 which serve to  lend      
beauty to their constructive details1   
and constitute the archeus of  the      
figure1 we are impressed with a         
conviction of their truth and           
conformity to the natural principles of 
beauty4    ,the impulse created in their
 favour is thus subsequently confirmed  
on  rational and acknowledged grounds of
 admiration4 ,this is the more          
satisfactory that1 belonging to no      
school of architecture or design1  they 
may be considered as originating a new  
order of forms for the  further supply  
or extension of those so long           
acknowledged and admired4  ,we do not1  
however1 consider that they will equally
 well assimilate with  all or any of the
 orders of decorative art4 ,it appears  
to us1 according  to the means placed at
 our disposal for arriving at a         
conclusion1 that  they are analogous in 

many respects to the numerous specimens 
of angular  composition which belong to 
the medival period of ,byzantine art4   
,illustration3 ,fig4 #da4    ,it may not
 be altogether foreign to the subject   
briefly to consider the  united power of
 geometric figures1 in conjunction with 
colour1 to  produce the striking and    
beautiful effects which form so         
important a  feature in ,byzantine and  
,moresque mosaic 7but particularly the  
former7  specimens of art4              
,illustration3 ,fig4 #db4    ,the base  
of ,byzantine mosaic is principally the 
relation of the hexagon  to the         
triangle1 upon which base almost        
innumerable combinations have  been     
constructed4 ,these ,byzantine mosaics  
are always extremely simple in          
structure1 some being made up entirely  
of the triangle1 others of stars  either
 six or eight rayed1 singly or enclosed 
in a hexagon or octagon  placed at      
intervals1 and united by the more simple
 figure of the  triangle1 which1        

arranged in groups1 serve as connecting 
links from one  to the other4 ,the whole
 composition is rendered either         
sparkling or  monotonous according to   
the employment of contrasted effects or 
a  limited and uniform range of colour1 
and is admirably illustrative of  how   
the uniformity of the geometric figure  
may be broken up and  destroyed1 its    
very character changed1 indeed1         
according to the system  of colouring   
adopted--an illustration still further  
confirmed by a study  of the varied and 
evolved designs on a part of the        
encaustic pavement of  the ,byzantine   
,court at the ,crystal ,palace1 which1  
described in shades of  neutral tint    
throughout1 upon a ground of the same   
colour1 renders it  difficult for the   
eye to detect any variation of pattern4 
,illustration3 ,fig4 #dc4    ,the       
specimens of ,moresque mosaic with which
 we are acquainted differ  somewhat in  
character from that which we have been  
considering4 ,based  upon the square and

 its affinities1 it is constructed      
mainly with  reference to the ratios of 
eight1 four1 and twelve4 ,it is less    
glittering in colour than the           
,byzantine1 and attracts the eye more to
  masses than to fragments4    ,the     
figures of snow are nearly allied to the
 principles of these  decorative styles 
of art1 based as they are upon a system 
of angular  geometry4 ,we perceive1     
also1 that the primitive base of the    
crystals is  the leading figure of      
mosaic1 founded1 as most of it is1 upon 
the  hexagon and its combinations1      
though occasionally admitting1 with     
great  effect1 the employment of the    
octagon4 ,thus they seem naturally      
suggestive of an extension of the forms 
common to mosaic1 and may be the  means 
of eliciting fresh combinations scarcely
 less beautiful than those  transmitted 
to us from the past4    ,the fitness of 
mosaic for the purposes of decoration is
 evident1 on the  ground of its         
conformity to certain fixed principles  

of truth which  scarcely permit of      
deviation4 ,one of the oldest of the    
mechanical arts1  originating in        
experimental combinations with cubes    
solid and  transparent1 subsequently    
improving as the science of geometry    
became  more generally understood1 it is
 now1 in the hands of some of our most  
eminent manufacturers1 not the least    
important among the industrial  agents  
of the present day1 as may be seen in   
the beautiful encaustic and  painted    
tiles for pavements and decorative      
purposes generally1 executed  by        
,messrs4 ,minton  ,co41 of              
,stoke-upon-,trent4    ,one great fault 
of the decorative designs of the present
 day is the  want of 8appropriate0      
ornament to the purposes in view1 and   
the mixture  of schools or styles of    
art1 which characterize so many of the  
patterns  commonly produced for domestic
 and even higher applications--a mixture
  too often involving the entire        
destruction of truth1 fitness1 and      

proportion1 the three essential elements
 of beauty4 ,in the magnificent  work on
 the 8,principles of ,ornament10 by ,mr4
 ,jones1 we have an entire  history of  
the past in architectural design1       
classified into schools1  the origin and
 progress of each1 either traced or     
traceable in  connection with the period
 at which it flourished1 and the people 
who  gave it birth4 ,we may therefore   
anticipate that the pure and beautiful  
so made known amongst us may exercise an
 important and beneficial  influence on 
design1 from its highest to its lowest  
applications4    ,we do not forget1     
however1 that the art of mosaic1 taking 
its rise  beneath the sunny skies of    
,italy and ,greece1 and glittering even 
now on  the walls and beneath the       
cloisters of the ,byzantine churches of 
,italy  and ,sicily1 and within the     
mosques and palaces of the ,east1       
accords  rather with the genius of the  
,south and the gorgeous taste of the    
,east  than with the less florid tone of

 more northern lands2 and a thorough    
understanding of the conditions under   
which it so long assimilated with1  and 
continued to constitute a dazzling      
feature in1 the decoration of  two1 if  
not three1 of the highest styles of     
architecture--the ,moresque1            
,byzantine1 and ,arabian--is necessary  
to enable us to profit to the full  by  
its capabilities as an industrial agent4
 ,nor do we forget that the  rise of    
mosaic 7we are speaking of its          
conventional varieties7 was  accompanied
 by1 or was rather the result of1 the   
decline of art1 when  for a period a    
mechanical process usurped the place of 
higher efforts of  design and fancy4    
,for the very reason1 however1 that the 
art and its imitations must be to  a    
great extent mechanical1 we could wish  
to see its range of utility  still      
further extended4 ,not admitting of wide
 deviations from fixed  principles1 we  
would prefer to see it substituted for  
the large mass of  nondescript patterns 

to which we have already made allusion4 
,and our  facilities are great for      
introducing it into more general use2   
for in  the same way that the painter's 
art has1 with the utmost truthfulness of
  effect1 reproduced for our study and  
admiration representations of the       
elaborate inlayings of marble and glass1
 with which the originals1  centuries   
ago1 were constructed1 we may carry its 
imitation successfully  into almost     
every branch of manufacture or          
decoration2 and1 whilst  preserving the 
spirit of the combinations1 unfettered  
by the  constructive difficulties of the
 original work1 we may engraft new      
figures1 and originate new styles of    
pattern1 perhaps available for a        
variety of applications4      ,,iv4     
,an attempt to adapt a revival of       
,byzantine glass mosaic to various      
household elegancies has within the last
 few years been made by ,mr4  ,george   
,stephens1 of ,pimlico1 who1 after      
considerable study of the  mosaics of   

antiquity1 has designed a large variety 
of elaborate and  beautifully executed  
patterns for tables1 stands1 panellings1
  candelabra1 c4 ,in the specimens that 
we have seen his combinations have  been
 based1 many of them upon the hexagon   
and its varieties1 and several  upon the
 octagon1 which is necessarily more     
removed from the simplicity  of the     
,byzantine school4 ,in the opinion of   
,mr4 ,stephens the figures of  snow are 
highly suggestive of a still further    
extension of the forms  known in mosaic1
 and he considers that they will        
materially aid in the  construction of  
new figures4 ,we believe that it is his 
intention shortly  to attempt an        
adaptation of some of them to the       
purposes of his art4    ,we feel that we
 cannot sufficiently admire the         
structural detail of the  greater number
 of these productions1 and the rich     
effects of colour  united in their      
composition4 ,but here we may remark1   
that to render the  ancient ,byzantine  

mosaic an appropriate decorative agent1 
it is  necessary that the artist should 
not copy implicitly from the works of   
the past1 but seek most to maintain     
between it and surrounding  influences  
the same relation that formerly existed 
between it and the  people under whose  
hands it attained such distinguished    
pre-eminence4 ,as  we have already said1
 the art originated beneath the skies of
 ,italy and  ,greece1 and with it the   
system of bright and glittering colours 
which  rendered it so perfect in itself1
 and in its relation to all surrounding 
things4 ,deprived of these bright       
influences of climate1 we find it in    
our own country no less beautiful in    
itself1 but wanting in a due  harmonious
 relation to the tone of colour it is   
brought in contact with4  ,to remedy    
this--to naturalise the art1 in         
fact--the artist should be  content to  
trust rather to harmony of design than  
to chromatic effects2  so that the eye1 
uncaught by a general sensation of      

brilliancy and  glitter1 may repose upon
 the quiet harmony of the design2 and   
this  remark we make as applying more or
 less to all mosaic1 and entering as a  
matter of consideration into every      
application of which it is capable in   
this country1 though more particularly  
in reference to the especial            
description executed by ,mr4 ,stephens4 
,in rejecting strong chromatic effects1 
however1 we would not be  understood to 
sanction neglect of the very material   
aid afforded by  colour in giving life  
and purpose to mosaic2 but we would have
 it  studied with a view to its creating
 as many varieties of pattern as can    
possibly result from the introduction of
 a limited range of colour upon  a      
uniform series of designs4 ,for         
instance1 how many varieties of pattern 
the eye is able to trace from the simple
 repetition of a six-rayed star  of     
uniform colour upon a ground broken into
 triangles by the  introduction of two  
other colours to complete the triple    

harmony6 ,this  is an unfailing charm in
 mosaic3 however simple or however      
complex the  construction of the design1
 viewed from a distance1 the eye is     
constantly discovering1 without mental  
effort1 fresh combinations  which1      
arising out of natural and fixed laws1  
communicate pleasure to  the beholder4  
,to encaustic tile-work and its         
imitations the figures of snow appear   
peculiarly suggestive2 and it is        
remarkable that a few of the patterns   
preserved to us from antiquity are      
exactly similar to the nuclei of some   
of the snow crystals4 ,in this          
application1 far more than in the       
conventional glass mosaic and its       
imitations of which we have been        
speaking1 we are compelled to seek      
effect in symmetry of design4           
,necessarily excluded from imparting the
 idea of raised surfaces1 such  being   
inconsistent with the intention of      
flooring1 which is to present a  level  
surface to the eye and feet1 we are also

 confined to a very  limited range of   
colour1 in order not to interfere with  
the decorations  of the walls and       
ceilings1 and the manufacture of        
encaustic tiles being  in itself limited
 to the employment of but few colours4  
,thus excluded  from the rich and subtle
 harmonies of colour1 and the relievo of
 light  and shade1 our attention is     
principally directed to the design      
which1 in  regard to this application1  
should combine simplicity with          
uniformity of  outline1 and be easily   
referable to a purely geometric base4   
,and here we  may add1 in regard to the 
figures of snow1 that1 whether in       
outline or  in relievo1 they are equally
 symmetrical4 ,in the one case they are 
simply enlarged copies of the general   
effect to the naked eye2 in the  other  
they present to us structural details   
only visible by the  employment of a    
high-power lens1 or as seen by the aid  
of a microscope4    ,an equal range of  
adaptation is likewise open to them in  

regard to  floor-cloth1 which involves  
attention to the conditions above       
mentioned  as referring to tile-work1   
but in a less degree1 inasmuch as its   
more  household and domestic            
applications allow a somewhat greater   
latitude in  fancy and colour4 ,as      
suitable for canvas1 they will admit of 
various  supplementary borderings and   
intricacies of pattern1 conceived around
  them in the spirit of the original    
design1 and serving as a means for  the 
introduction of the colours most        
commonly employed in this branch of     
manufacture4    ,in regard to the       
figures of snow we have two distinct    
suggestive ideas  in reference to their 
application1--the one1 that of          
ingrafting them  into different styles  
of ornament for their further extension 
into new  forms2 the other1 that of     
their adoption to various decorative    
purposes  now usurped by designs or     
patterns which1 in part sanctioned by   
use1 are  greatly censurable on the     

grounds of fitness and taste4 ,in the   
latter  spirit we consider that they may
 be most usefully applied to            
paper-hangings1 although of late in this
 branch of design there has been  a     
manifest improvement4 ,not long ago the 
8artist0 who presided over this         
department1 and whose influence was felt
 more or less in every home of  the     
kingdom1 had no guide but his own       
ill-educated and distorted will2  he    
threw things together without the least 
regard to harmony of colour1  fitness of
 proportion1 or form of any kind1 and   
called the heterogeneous  mass 8a       
design40 ,latterly he has had better    
opportunities for the  acquisition of   
knowledge2 but what is of far more      
importance1 he has had  better-informed 
critics4 ,in some instances his task has
 preceded1 in  others it has followed1  
that of his customers2 but assuredly we 
do not  now often see upon our walls the
 monstrous perpetrations which disgraced
  those of our childhood4 ,if the       

paper-hanger will examine this          
collection  of suggestions from         
,nature--from ,nature as she exhibits   
only one phase  of grace and beauty--we 
feel sure that he will be at once       
convinced that  their adoption will be  
of immense value to him4    ,there is   
one application yet to mention1 which we
 have reserved to this  place as        
involving somewhat lengthy              
consideration--that of their  adaptation
 to the manufacture of earthenware and  
porcelain4 ,the ungainly  and unmeaning 
spots that are so often put upon plates1
 and the distorted  ornament which so   
frequently degrades cups and saucers and
 jugs for  ordinary domestic use1 we    
hope may1 to a great extent1 be         
displaced by  these snow crystals1      
which1 varied to infinity1 would cause  
the eye and  mind to receive that       
refreshment which arises from the true  
and  beautiful2 nor are we without hope 
that they may ultimately be received    
into the higher application to          

porcelain4 ,we all know that porcelain  
has  long enjoyed a monopoly of the most
 tasteful designs that art could        
suggest1 whether of birds1 flowers1     
medallions of figures1 or  arabesques2  
but we are in hopes that they may       
suggest a few novelties of  designs to  
this the most favoured medium for the   
display of the natural  and beautiful in
 art4 ,this hope of itself suggests the 
question1 ,how far  have the beauty and 
symmetry of the geometric figure been   
acknowledged  and employed hitherto in  
their designs8 ,the answer to this      
question  involves an inquiry into the  
history of designs as applied to        
pottery1  from its first crude attempts 
at the delineation of natural objects to
  the present time1 when1 both in       
,england and abroad1 it has attained to 
such great perfection4 ,as a distinct   
inquiry this is scarcely less           
interesting than instructive1 leading1  
as it does1 the student in design  to a 
correct knowledge of that which is      

beautiful and appropriate rather  than  
conventional4 ,as an important aid to   
such knowledge1 the ,ceramic  collection
 at the ,south ,kensington ,museum      
offers a means of study to the  student 
in ceramic design4 ,the most crude      
attempts1 dating from the  conclusion of
 the fifteenth and the beginning of the 
sixteenth  centuries1 are easily        
distinguishable by the rude outlines    
they exhibit  of men and animals and    
flowers3 in some cases strictly         
imitative1 so far  as the skill of the  
workman has permitted2 in others1       
fanciful and  grotesque4 ,in some       
specimens belonging to this period of   
art are  attempts at creative design in 
the geometric precision with which      
similar forms of leaves and interlaced  
patterns are represented1 chiefly       
described in shades of the same colour  
upon a uniform ground1 and  differing   
much in regard to the accuracy with     
which they are executed4  ,some of the  
subjects chosen are religious1 including

 representations of  our ,saviour2 some 
allegorical2 and others1 again1 heraldic
 devices4 ,the  rude1 but flowing1 and  
sometimes evolved1 designs of the       
interlaced and  outline patterns are    
chiefly borrowed from leaves and        
flowers1 rather  than based on          
principles of geometry2 the colouring   
also is bold and  prominent1 in         
conformity with the spirit of the       
design1 and exhibits the  primaries     
blue1 red1 and yellow1 but slightly     
tempered by the milder  and subsidiary  
tints1 upon which1 at a later time1 the 
painters of  ,majolica knew so well how 
to rest their most soft and agreeable   
effects4    ,of the ,raphael ware1 so   
well known and so highly prized by      
connoisseurs1  little here need be said4
 ,raphael1 in his early youth1 is       
supposed to  have devoted some time to  
the painting of ,majolica1 and hence its
 name  at this period and for some time 
beyond4 ,whether or not the easy grace  
and spirited style of these paintings1  

chiefly allegorical1 though             
representing sometimes passages from    
history1 and the harmonious  softness of
 the colouring1 give intrinsic value to 
the most trifling  specimens of the art1
 whether for ornament or domestic use   
7and many  rich specimens still remain  
to attest their value1 and the exuberant
  taste and imagination of those        
painters who were content to trust their
  creations of fancy to so brittle a    
medium71 to them the designers of the   
present day remain indebted for a       
certain freedom and unconventional      
display of art1 which1 restrained and   
modified1 long exercised an  influence  
on design1 and is traceable even now4   
,a few years later an entirely new class
 of designs was originated by  ,palissy1
 master potter to ,francis ,i4 ,this    
eminent ceramic artist1 born  in        
,france1 was the originator of the      
,palissy ware1 scarcely less known  than
 that of ,raphael4 ,his works are       
executed in relievo1 and are            

distinguished from others of the period 
in the choice of subjects1 which  are   
chiefly drawn from natural objects1 such
 as plants1 reptiles1  fishes1 c4 ,among
 the specimens known by the name of     
,palissy ware are  rustic baskets       
designed on a strictly geometric base of
 divergent lines  from the centre to the
 circumference1 partly in relievo1 and  
very  effective in style and            
composition4 ,the chief merit of this   
artist  consists in his fidelity to     
,nature1 and an original whimsicality of
  conception4 ,passing on from ,palissy1
 we come1 many years later1 to          
specimens of china of a tasteful degree 
of ornament1 that would do no  discredit
 to the porcelain works of the present  
day4 ,here1 in the  central medallion1  
is a group of figures1 ,raphaelesque in 
their easy  grace of outline1 yet highly
 studied1 and claiming the rank of a    
finished picture4    ,the ,berlin       
porcelain illustrates the perfection of 
that union which  combines the imitation

 of the beautiful in ,nature with the   
less sensuous  beauty of the geometric  
figure4 ,in the ,svres porcelain1 in the
 same  collection1 the geometric figure 
rises to higher importance1 forming in  
the beautiful 8,versailles ,service0 a  
framework for the jewels which  enrich  
the exquisite centre medallions4    ,the
 impression we derive from retracing the
 history of the past is1 that  the      
geometric figure has rarely been        
employed as a principal agent in        
decoration4 ,we are speaking still in   
reference to the period we have  been   
considering1 and which is one calculated
 to trace with effect the  progress we  
have in view4 ,prominent among the      
earlier specimens is the  delineation of
 simple forms borrowed from ,nature1    
repeated with  indifferent fidelity of  
execution1 and spread over the entire   
surface of  the piece2 whilst in later  
times1 when the mechanical processes    
improved  and admitted of greater       
accuracy1 we find it restricted to light

 and  artificially constructed          
borderings1 so arranged as to lend      
additional  beauty to the freedom of    
colour and design elsewhere displayed2  
and we  gather1 also1 that if in the    
works of high art we find it nowhere    
unmixed with designs of a less formal   
character1 there is scarcely a  work    
that is not indebted to the grave and   
conventional arrangement of  pattern    
founded upon a genuine knowledge and    
elucidation of its  principles4    ,it  
has ever been greatly against the very  
general adoption of  geometrically      
constructed figures to the purposes of  
porcelain1 that the  unaided hand of the
 draftsman is insufficient to insure the
 requisite  accuracy of outline--a      
difficulty which even at the present day
 limits  to a very great extent their   
employment in this department of art4   
,still1 we are led to hope that the     
figures of snow may prove suggestive  of
 a new basis on which to construct      
designs no less symmetrical than  those 

which we have seen to proceed from other
 and better-known sources2  whilst the  
rate of modern improvement in most      
branches of industry leads  us to hope  
that this difficulty before long may    
become less formidable1  and that       
improvements in printing will enable    
manufacturers to repeat  with tolerable 
cheapness patterns which have been      
confined to the more  costly articles of
 luxury4 ,of modern applications one in 
particular  occurs to us--it is that    
they may aid in the formation of a set  
of  ice-plates for the dessert or supper
 table4 ,we can imagine the ground of   
the plates a clear light blue2 in the   
centre may be the crystal1  selecting in
 preference from those forms which are  
most crystalline and  arborescent2 among
 them1 that most graceful of all1 the   
water crystal1  distinguishing it from  
the ground by shades of grey1 which     
should be so  distributed as to impart  
to the copy the frosted effect of the   
original4  ,around the centre1 and      

immediately beneath or upon the raised  
margin of  the plate1 might be arranged 
a circular bordering1 similar to that we
  have described as surrounding the     
margin of a pond on its first           
congelation1 when the needles1 becoming 
incrusted with crystalline  deposit1    
assume the appearance of frosted ferns4 
,there is yet another application that  
suggests itself to us1 although  the    
beautiful designs on porcelain executed 
by ,messrs4 ,copeland  ,co4  scarcely   
leave anything to be desired by the most
 fastidious2 we refer  to the painting  
of tiles or slabs of porcelain1 to be   
mounted in frames  of silver1 or wood1  
for ornamental or domestic purposes1 and
 for which1  of late1 there has been a  
large and increasing demand4 ,fig4 #dd  
7page  #agd7 is designed for this       
application from one of the snow        
crystals4    ,to turn to yet another and
 far wider scope which may hence be     
given to  the cotton-printer1 millions  
of 8dresses0 issue every year from      

,manchester4 ,for those which are       
intended to clothe 8the masses0 there is
  usually little attempt at design4 ,a  
simple form of a single colour is  all  
that is sought for1 and the puzzle is1  
how to obtain variety4 ,here  is a book 
of patterns1 no one of which has ever   
been used2 leaf after  leaf may be      
turned over1 8and still find something  
new0--something that  may be copied as  
it presents itself1 something that will 
be suggestive4    ,our references have  
been made to but a few of the arts which
 may  be--which must be--largely        
influenced by this power to             
,illustration3 ,fig4 #dd4    resort to  
another means of teaching2 but it is    
obvious that there is no  branch of     
manufacture which may not1 to some      
extent1 be benefited by it4  ,let the   
student give the subject a moment's     
thought1 and he will be  convinced of   
this2 let him look down to his carpet1  
or up at his  ceiling2 let him turn to  
the cover of the book he is perusing1   

notice  any part of a lady's dress1 or  
of his own1 where ornamentation is      
admissible2 let him1 in short1 consider 
any object1 anywhere1 under any         
circumstances1 and then examine the few 
examples we set before him in  these    
pages1 and he will at once perceive how 
much of harmony1 of truth1  of beauty1  
may be obtained by an intellectual study
 of these forms1  which are neither more
 nor less than ,nature's teachings from 
a book  hitherto unopened4              
,,iv4    ,,the ,,symmetrical ,,and      
,,ornamental ,,forms ,,of ,,organic     
,,remains4    ,,by ,,robert ,,hunt1     
,f4,r4,s4      ,i4    ,the most useful  
as well as the most ornamental devices  
which have sprung  from the exercise of 
human ingenuity have all been founded   
upon the  varied and beautiful creations
 which ,nature has presented to us4 ,it 
is  not within the limits of human power
 to create1 but from the impressions    
made upon the mind an unlimited variety 
of combinations may be formed4  ,by the 

mental kaleidoscope an infinite change  
of form is produced by the              
re-arrangement of a few simple elements 
of beauty4 ,the ideal head of the       
,grecian sculptures is but a refined    
reproduction of the lines of grace  and 
beauty which the observant artists had  
seen in1 and selected from1  the        
intellectual features of the educated   
,athenians4 ,architecture1 too1  has    
liberally borrowed from the perfections 
of the human form4 ,in the  symmetry of 
the ,ionic columns1 and in the graceful 
strength and grouped  elegance of the   
,caryatides1 we trace the best          
proportions of the perfect  woman2 and  
in the flowing beauty of their          
ornamentations we may discover  a       
reproduction of some of those caprices  
which are the spontaneous  growth of the
 female mind4 ,architecture has no less 
liberally borrowed  its styles and      
ornaments from other natural sources3   
from the arched  cavern and the bowery  
forest tradition draws the form of the  

,egyptian  temple and the ,gothic fane4 
,the chalice-like flower of the lotus of
 the  ,nile ornaments the columns of    
,luxor2 the acanthus foliage decorates  
those of ,corinth2 and in numerous other
 instances the artist has sought  to    
weave the simplicity of vegetable forms 
into the texture of his work1  for the  
purpose of insuring a general character 
of lightness and  elegance4    ,whether 
the ancient potter selected the shapes  
of his fictile  manufactures from the   
foliage of the forests of his land has  
been  frequently discussed4 ,it is      
sufficient1 at present1 to know that the
  elegant curves of the ,athenian and   
,etrurian vases1 which have through  all
 periods been regarded as beautiful1 owe
 this high appreciation to  the simple  
fact that they are true to the lines    
which ,nature has herself  adopted4 ,the
 true is always beautiful1 and in       
whatever form it may  address itself to 
the mind1 it exerts over it an          
uncontrollable power  for good4 ,the    

impulses of ,nature are ever in the     
direction of  perfection1 and we find1  
even in the exercise of the mysterious  
physical  forces which bind the atoms of
 matter into a mass1 that a constant    
tendency is exhibited towards an        
arrangement which shall observe the     
utmost symmetry4 ,in the inorganic world
 we have crystalline forms  exhibiting  
an obedience to the most perfect        
geometrical laws2 and in  organic       
creation--from the lowly lichen to the  
stateliest tree1 from the  infusorial   
inhabitants of a drop of water up to    
man--we have molecule  combining with   
molecule in a myriad ways1 but in all of
 them producing  results which charm by 
their adaptation to circumstances1 and  
in the  perfection of every organ4      
,the efforts of man to convey to the    
canvas the resemblance of  humanity--to 
impress1 by the agency of a few colours 
upon his tablet1 a  reflection of the   
mental operation as it is seen          
8breathing through the  face0 in love   

and sympathy1 or disturbing the features
 with agony or  sorrow--is but an       
exalted effort of that desire which     
moves the entire  race to copy the      
phenomena of ,nature as they present    
themselves to our  senses4 ,it is the   
prevailing character1 and1 indeed1 the  
distinguishing  feature1 of the human   
race1 that it delights in imitation3 the
 child in  its play1 and the man of     
talent in his studio1 are equally       
exemplifications of this fact4 ,man has 
ever gone to ,nature for his            
inspirations4 ,if we examine the rude   
productions of the savage who is        
awaking from his merely animal          
existence1 and over whom mind is        
beginning to assert its power1 we       
discover that his first impulses are  to
 gleam from the organized forms around  
him such objects as he  conceives will  
add something to the adornment of his   
body4 ,when he  commences to produce any
 of those aids to existence which are   
the  earliest efforts of technical art1 

we still see he rudely attempts to  copy
 some familiar natural form4 ,whether we
 select from ,greece 8those  faultless  
productions whose very fragments are the
 despair of modern  art10 the almost    
breathing marbles of ,phydias--whether  
we take the  sun-baked pottery of       
ancient ,egypt or of ,central ,america1 
the  8art-manufactures0 of a primitive  
people1 or those manifestations of an   
educated taste which ,greece1 ,rome1 and
 modern ,europe afford1 we shall  find  
that in all alike the effort to imitate 
the works of ,nature is the  prevailing 
tendency4 ,and1 beyond this1 we shall   
learn1 too1 that where  the simple      
beauties of ,nature have been           
approached--seldom have they  been      
realised--the art-production has become 
the glory of the age and  the boast of  
the country to which it belongs4 ,we    
sometimes find that  human intellect1   
proud of its comparatively high         
achievements1 quits  that almost stern  
simplicity which distinguishes ,nature1 

and aspires to  produce effects by      
violent contrasts and glaring           
characteristics2 but  the result is     
invariably the fate of ,ddalus1 whose   
flight on waxen  wings was punished by a
 fearful fall4 ,the departure from      
,nature in the  works of art marks1 like
 a widespreading mildew1 the decay of   
nations2  and this is readily accounted 
for4 ,as good taste invariably indicates
 a  feeling of the presence of that     
intellectual beauty1        8,the awful 
shadow of some unseen power10    which  
consecrates all that it shines upon1 and
 gains an ascendancy over  the gross    
sensualities of life1 so a departure    
from it exhibits the  operations of     
those feelings which have their origin  
in the depravity of  the race4    ,our  
artists and our artisans have sought    
busily over the surface of the  earth   
for subjects on which to labour4 ,herb1 
shrub1 and tree1 leaf and  flower1 have 
been copied to ornament the works of    
their hands4 ,the sea  has yielded its  

organic forms1 and the workman has      
sought1 amidst the  finny tribes and the
 shelly wonders of the great deep1 for  
subjects to  aid his decorative designs4
 ,the insect1 the bird1 and the beast   
have  equally ministered to the exercise
 of fancy2 and the inventive powers  of 
the imaginative have not unfrequently   
attempted to blend the three  kingdoms  
of ,nature in one device1 in the eager  
search for that novelty  which generally
 gains a host of admirers4 ,leigh ,hunt 
with truth  exclaims1 8,we know not a   
millionth part of the wonders of this   
beautiful  world20 and it is but slowly 
that science is discovering to us new   
subjects of admiration2 but though      
slowly1 science is steadily doing so4   
,the truths of science are constantly   
serving the progress of art1 and  the   
more we free the labours of the         
philosopher and the experimentalist     
from the technicalities which are too   
frequently only retained to give a      
false appearance of learning1 the more  

certain will be the advantages to  be   
derived by the student of beauty from   
the labours of stern induction4  ,the   
union of ,vulcan and ,venus tends to the
 diffusion of peace and  happiness4     
,although ,natural ,history is found    
giving its aid to almost every  division
 of ornamental art1 there is one branch 
of it1 ,geology1 which  has rendered but
 little service to the artist4 ,yet here
 is a vast field1  spread over an       
earth-wide space and comprehending      
almost infinite time1  teeming with     
forms the result of the most varied     
organizations1 which  has scarcely yet  
been touched4 ,this arises from the     
circumstance that  the study of organic 
remains is itself a science of very     
recent date4  ,palontology is but of    
yesterday2 yet it has achieved important
 results4  ,the study of the forms of   
animal life which existed in the earth  
previous to the creation of the present 
races which inhabit it is  replete with 
the highest interest4 ,as ,astronomy    

penetrates the  mysteries of space1 so  
,geology pierces the arcana of time4    
,the rock  formations tell of the       
earth's mutations1 and the remains which
 they  hold1 as histories of former     
ages1 show that the beings which        
possessed  the earth as a dwelling were 
as perfectly adapted to their conditions
 of  existence as any living examples of
 creative intelligence can be4 ,nor     
were they wanting in beauty4 ,a study of
 the cabinets of the curious--or  of the
 metropolitan and many local            
museums--would at once carry  conviction
 to the mind1 that amidst the host of   
fossil remains with  which we are now   
acquainted is to be found a new variety 
of forms  admirably adapted1 by their   
symmetry and general character1 for the 
purposes of ornament4    ,it will be    
found that stored in the rocks are      
creations which lived and  breathed ere 
yet the great mutations had occurred    
which give to the  earth its present    
physical features4 ,from the coral-like 

structures of  the ,laurentian          
rocks--probably the earliest evidences  
existing of any  organized structure--we
 may pursue our studies over the        
infinite variety  of form which the     
,cambrian and the ,silurian rocks       
preserve1 until we  arrive at that      
period when the ,old ,red ,sandstone    
sea1 teeming with life1  washed the rock
 of that archipelago which has grown    
into the ,british  ,isles4 ,advancing to
 the study of yet more recent rocks1 we 
may select  the inhabitants of inland   
seas and the immense savannahs of an    
early  world1 which for delicacy of     
structure and elegance of design are not
 to  be surpassed by any of the         
productions of organic life now         
existing4  ,here1 then1 is a yet        
unploughed field from which the         
art-manufacturer  may cull fresh forms4 
,we can only direct attention to the    
source1 and  give a few illustrations in
 proof of our assertions3 having done   
this1  we must leave the industrious    

artist to search for himself in         
geological  cabinets and palontological 
plates for those forms which may suit   
his  purposes and please his taste4     
,with the exception of two highly       
imaginative pictures by ,john ,martin1  
of 8,the ,country of the ,iguanodon10   
illustrating ,dr4 ,mantell's 8,wonders  
of ,geology10 and 8,the ,book of the    
,great ,sea-,dragons10 by ,mr4 ,thomas  
,hawkins1 in which a realisation of the 
condition of the earth during the period
 when it was the abode of those         
monstrous reptiles whose fossilised     
bones tell the tale of their  ferocity  
and power1 is attempted and ably        
conceived1 art has not  ventured into   
this abyss of time4    ,whether the     
hydras of superstition or the griffins  
and dragons which are  preserved in     
heraldic bearings are dim outshadowings 
of those ancient  days1 preserved like a
 myth amongst men1 it were vain to      
speculate1  although the speculation is 
fraught with interest4 ,it is1 however1 

curious that we find those strange      
remains of the old world linked to      
superstitions which have their origin   
since the introduction of               
,christianity4    ,it is therefore      
evident that those remarkable fossil    
forms must have  excited the wonder of  
man ere yet science bent to the task of 
studying  them4 ,the graceful form of   
the ,nautilus1 which now enjoys         
existence in  our tropical seas1 is     
familiar to all4 ,a large variety of    
molluscous  animals of the same genera  
have existed through all time2 and their
  remains found in the fossil state     
prove them to have been among the       
earliest inhabitants of the ancient     
ocean4 ,in nearly all the rocks of a    
limestone character the remains of      
,ammonites--the ancient  ,nautilus--have
 been found4 ,in the ,oolite1 the ,lias1
 and the ,chalk1  varieties of these    
elegant shells are constantly           
discovered1 and nearly  three hundred   
species have been named4 ,from these we 

select a few1 which  will1 we think1    
show that they are well adapted for     
ornamental purposes4    ,illustration3  
,fig4 #a4    ,the first we give is the  
,ammonites ,eudesianus 7,fig4 #a71 which
 is found  in the inferior ,oolite1 a   
variety of the sandstone rocks2 the     
specimen  from which our illustration is
 taken being from the sandstone rocks of
  ,caen1 so well known in this country  
from the great quantity employed in  our
 architectural ornaments4 ,this example 
is remarkable for the  perfection of the
 spiral lines and the beautiful         
disposition of the ribs  or elevated    
portions1 which serve to strengthen the 
delicate chambered  shell4    ,the      
,ammonites cordatus of ,sowerby 7,fig4  
#b7 is distinguished by a  spiral of a  
different order from that of            
,eudesianus4 ,its ribs forming  graceful
 waving lines1 and terminating in a     
denticulated edge1 give a  very         
symmetrical character to the            
architecture of this variety4           

,illustration3 ,fig4 #b4                
,illustration3 ,fig4 #c4    ,the        
,ammonites cristagalli 7,fig4 #c71 in   
which we have an arrangement of  the    
convolutions not very unlike the        
last-named species1 differs from it  in 
the disposition of those folds which    
form the supports of the arch of  the   
shell1 by which a very charming though  
simple character is  obtained4    ,the  
,ammonites muticus 7,fig4 #d71 found in 
great abundance in the marls  of the    
,lias1 is remarkable for the very       
curious arrangement of tubercles  or    
spines1 which are formed by the         
elongation of the folds of the shell4   
,notwithstanding the general defect     
which arises from the repetition of     
angular lines1 we have in this shell an 
example of the harmony which may  be    
produced by them when arranged upon a   
uniform system4 ,the radiating  effect  
of these tubercles ranged around the    
involutions of the shell is  very       
pleasing4    ,illustration3 ,fig4 #d4   

,the ,ammonites ,grenouilloxi 7,fig4 #e7
 offers another variety1 which  shows   
the folds gradually being elevated1 as  
these approach the mouth of  the shell1 
into bosses1 by which1 of course1       
increased strength is  secured where the
 shell becomes more open1 and           
consequently weaker2 at  the same time  
they give a pleasing variety to the form
 of the shell  itself4    ,the          
,ammonites contrarius 7,fig4 #f7        
presents many distinguishing            
characteristics1 which are important to 
the naturalist as distinctive  markings1
 and furnish the artist with a variety  
of simple elegance which  deserves his  
study4 ,the peculiar arrangement of the 
ribs1 curving off  right and left from a
 line running along the centre of the   
shell1 gives  rise to the formation of a
 series of festoon-like ribs1 which add 
much  to the general beauty of this     
species4    ,illustration3 ,fig4 #e4    
8,the general principle10 remarks ,dr4  
,buckland1 8of dividing and  subdividing

 the ribs1 in order to multiply supports
 as the vault  enlarges1 is conducted   
nearly on the same plan1 and for the    
same  purpose1 as the divisions and     
subdivisions of the ribs beneath the    
groin work in the flat vaulted roofs of 
the florid ,gothic  architecture40 ,in  
all these arrangements1 and also in the 
bosses or  tubercles1 we have varieties 
giving both additional strength and     
beauty4  ,a striking uniformity is found
 to prevail in even those shells of the 
,ammonites which seem the most          
complicated2 and the elegance of their  
general appearance will be found to be  
due to the repetition1 at regular       
intervals1 of one symmetrical system of 
forms4 ,in many of these fossil  shells 
the pearly plates are dovetailed        
together in a curious and  beautiful    
manner1 the regular disposition of the  
sutures producing a  very elegant       
foliated appearance4 ,the charm of all  
these forms1 and also  of those fossil  
shells which are allied to the          

,ammonites1 consists in  the pleasing   
impression which is given by the        
gracefully curved outline1  and the     
waving lines by which the shells are    
banded4    ,illustration3 ,fig4 #f4     
,among the ,pectens--a class of shells  
common to the ,sussex chalk--will  also 
be found a great number of forms which1 
although not unlike many  modern        
species1 differ from them in some       
striking features1 and which1           
independently of their novelty1 are so  
very elegant that they seem  peculiarly 
fitted for ornamental purposes4 ,it has 
been with much  difficulty that we have 
chosen two or three illustrations from  
this  class1 and we still feel doubtful 
if our selections exhibit the most      
favourable samples of their symmetry4   
,illustration3 ,fig4 #g4                
,illustration3 ,fig4 #h4    ,the ,pecten
 quinquccostatus of ,forbes1 the ,janira
 ,atava of ,d',orbigny  7,fig4 #g71 is a
 beautiful semicircular shell1 with a   
regularly  denticulated edge1 its       

surface being covered with fine         
transverse stri4  ,the woodcuts of the  
,pecten or ,janira striatacostata and   
the ,pecten  ,dujardinii 7,figs4 #h and 
#i71 serve to exhibit other varieties of
 these  fossils1 and at the same time to
 show the elegant curvatures of these   
shells1 when viewed in different        
positions4    ,illustration3 ,fig4 #i4  
,illustration3 ,fig4 #aj4               
,illustration3 ,fig4 #aa4    ,the       
,trigonia carinata 7,figs4 #aj and #aa71
 one of a class of fossils  which has   
particularly engaged the attention of   
,agassiz1 is also found  in the         
,cretacean series4 ,it is figured in two
 different positions1 that  the elegant 
outline and the ornamental radiating    
stri1 regular  tubercles1 and           
denticulated margin may be fully seen4  
,in the ,cardita we have the same       
heart-shaped form1 but the ornamental   
surface is in many respects different4  
,the regular curved lines  proceeding   
from the hinge of the shell1 which is   

itself most delicately  formed1 present 
in the ,cardium mutonianum 7,fig4 #ab71 
the tuberculata  of ,sowerby1 a most    
pleasing arrangement of striations4 ,the
 regularity of  these1 as shown in the  
woodcut1 particularly recommends this   
specimen  and others of its class as    
admirably adapted for ornamental        
purposes1  where very delicate and      
elaborate workmanship can be admitted4  
,illustration3 ,fig4 #ab4    ,the ,opis 
,sabandiana 7,fig4 #ac7 is another of   
these elegant shells more  remarkable   
for the regular form of its outline than
 for any elaboration  of the stri which 
traverse it1 in this respect standing in
 pleasing  contrast with the preceding  
figure4    ,illustration3 ,fig4 #ac4    
,among the ,trigonia will be found a    
vast variety of the most  symmetrical   
forms1 most of which are elegantly      
ornamented4    ,illustration3 ,fig4 #ad4
    ,the two representations which we   
have given of the ,trigonia scabra      
7,figs4 #ad and #ae7 will convey a      

general idea of the more striking       
characteristics of this class of        
fossils1 which are found distributed    
abundantly over the ,portland rocks4    
,the manner in which the folds of the   
shells overlap each other is singular1  
and gives to them often a very  striking
 resemblance to the foldings of leaves  
in the leaf-bud of  plants4 ,the curved 
lines1 formed by the small bosses       
regularly elevated  from the stri1      
running transversely to these lines in  
many species1  give an exceedingly      
pleasing outline1 which certainly adapts
 these  ,trigonia1 from the variety of  
forms thus produced1 to the purposes of 
the art-manufacturer in a peculiar      
manner4    ,illustration3 ,fig4 #ae4    
,by the wonderful transmutation of      
organic structures1 by those natural    
processes        8,which turned the     
ocean-bed to rock1       ,and changed   
its myriad living swarms       ,to the  
marble's veined forms10    we have      
preserved specimens of the early        

creations1 rivalling in beauty  any of  
those which now exist4    ,if we can but
 show that a series of novelties for art
 may be found by  searching over the    
charnel-houses of the ancient world1    
possessing the  charm of symmetry and   
that beauty of arrangement and          
decoration which  adapts them1 as we    
believe1 to numerous ornamental         
purposes1 we shall be  satisfied4 ,we do
 but suggest an examination4 ,we have   
confined ourselves  to a few of the     
numerous remains of animal life4 8,the  
sermons in stones0  are varied beyond   
the conception of those who have not    
attempted to read  them4 ,between the   
earliest attempts of ,nature to form a  
cell in which  life should exert its    
mysteries1 up to the most elaborated and
 gigantic  form which ever swam in the  
ancient waters or roamed in the wide    
savannahs1 there is one unceasing1      
never-failing effort to multiply the    
beautiful1 and to make it conformable to
 the useful4 ,in conclusion1 we  may    

again remark that whether we seek to    
copy from ,nature her older or  her more
 recent works1 we shall find in them all
 that peculiar charm  which             
8,can so inform      ,the mind that is  
within us--so impress      ,with        
quietness and beauty--and so feed       
,with lofty thoughts10    that the      
results of that study will be the       
production of beautiful  works1 all     
tending1 by their spells1 to elevate    
humanity4      ,,ii4      ,in the       
previous chapter we confined ourselves  
to a selection of a few  fossil shells1 
with the hope of drawing the attention  
of the  art-manufacturer to a source    
whence he may gather1 from thousands of 
examples1 forms of the utmost symmetry1 
which appear to fit themselves  in a    
peculiar manner for his especial        
purposes4 ,the beauty of vegetable      
forms has1 through all time1 won the    
attention of the artist4 ,the lotus  and
 the acanthus are rendered classical by 
their numerous adaptations to           

ornamental uses4 ,the ivy and the       
laurel1 the nepenthe and the            
convolvulus1 with numerous other plants 
and flowers1 are to be found  moulded   
and painted on works of ornament and    
utensils for domestic use  through all  
ages4    ,numerous and ever graceful as 
are the forms of the living vegetable   
world--and these have been extensively  
copied--there is a vast field  within   
which diligent search will discover a   
great variety of plants1  which are no  
less beautiful and far less common than 
their living  analogues1 in the bygone  
flora preserved so strangely in those   
strata  which mark the mutations of our 
mysterious world4    ,the flora of the  
,carboniferous period was of a most     
extraordinary  character1 and luxuriant 
to an extent far exceeding even that    
which is  now exhibited in the forests  
of equatorial climes4 ,growing most     
rapidly  and of a lax tissue1 these     
plants were of short duration1 and were 
after  death rapidly converted into a   

mass of uniform structure1 such as we   
have now exhibited in every bed of      
fossil fuel4 ,three hundred species  of 
plants belong to the ,coal formations of
 ,great ,britain alone2 and it  is found
 that local causes1 with which we are   
not acquainted1 have  modified in a     
strange manner the plastic vegetation of
 this period2 and  in what appear to be 
analogous positions we find whole genera
 and even  orders of plants of very     
opposite botanical character1 presenting
 a  greater disparity of vegetation than
 countries the most remote in           
geographical position4,b ,thus within a 
small area we have a variety of  strange
 forms1 few of which do not adapt       
themselves for ornamental  purposes4    
,illustration3 ,fig4 #af4    ,fig4 #af  
is the ,pecopteris lonchitica or        
,mantelli1 a fern abundantly  found in  
the coal-beds of ,newcastle-on-,tyne1   
which is indeed allied to  some of the  
existing ferns of ,new ,zealand1 but    
differing from them in  many of its     

markings4 ,the graceful arrangement of  
the frond particularly  distinguishes   
this species4    ,our next figure1 the  
,pecopteris orcopteridius 7,fig4 #ag71  
is copied  from a specimen found in the 
coal shale of ,france1 as is also ,fig4 
#ah1  the ,asplenites nodosus1 although 
this singularly and prettily marked     
plant is frequently found in other coal 
districts4 ,in the ferns of the  present
 period we have none which exactly      
resemble these varieties1 and  they     
appear capable of being arranged by the 
artist into ornaments of an  exquisitely
 graceful character4    ,illustration3  
,fig4 #ag4    ,illustration3 ,fig4 #ah4 
,of these kinds numerous varieties exist
 in the fossil state1 in which  the     
alternating arrangements of the fronds1 
and the systems of  venation1 present   
many pleasing differences4 ,these       
petrified plants1  which grew in the    
enormous deltas of our island and the   
,continent which  now form the known    
coal-fields1 are often preserved with a 

delicacy  which we could scarcely have  
expected from the conditions of         
putrefaction and rapid disintegration   
which must have gone on around  them4   
,and not unfrequently we have singularly
 beautiful remains of the  dissected    
leaves of these plants 7,fig4 #ai71 this
 being effected  doubtless by the action
 of water on the softer portions of the 
leaf4    ,illustration3 ,fig4 #ai4      
,the ,sphenopteris tridactylites1 which 
exhibits in the arrangement of  its     
fronds one of the most symmetrical forms
 to be found among this  elegant class  
of plants1 can scarcely be sufficiently 
exhibited in the  space we are enabled  
to afford4 ,it is abundant in the shales
 of the  mines of ,montrelais4 ,in the  
same district is also found the         
,neuropteris  ,heterophylla 7,fig4 #bj71
 which is remarkable for the arrangement
 of its  fleshy leaves and the          
regularity of its venations4 ,it must be
 remembered  that our drawing only      
represents one of the fronds4 ,the      

grouping of the  whole on the straight  
and slender stem is very beautiful4     
,illustration3 ,fig4 #bj4    ,the       
,pecopteris ,whitbiensis 7,fig4 #ba71   
which presents many differences  from   
the other forms1 is copied from a       
specimen found in a nodule of           
argillaceous ironstone from the lower   
shale at ,cloughton1 and certainly  it  
presents many points of interest4       
,among the most remarkable and          
characteristic plants of the coal       
formation is the ,sigillaria1 of which  
extraordinary trailing plant  upwards of
 sixty species have been described4     
,illustration3 ,fig4 #ba4    ,these     
plants are generally but a few feet in  
height1 though sometimes  two yards     
broad4    ,although of universal        
occurrence1 it is singular that it is   
unaccompanied by any evidence of        
branches1 leaves1 flowers1 or fruit4    
,the peculiarly lax condition of this   
enormous tree fern has prevented  the   
preservation of many of the beautiful   

markings by which the trunk  must have  
been distinguished4    ,in our selection
 from such as have been discovered we   
have given two  striking varieties1 the 
first the ,sigillaria elegans 7,fig4    
#bb71 as it  is figured by ,brongniart1 
and the ,sigillaria ,defrancii 7,fig4   
#bc7 from  ,st4 ,ambroise1 both of them 
distinguished by the beauty of their    
markings4 ,it will be evident upon      
examination that these strange          
vegetable wonders of an early world bear
 a relation to the recent  ,conifer2 but
 this subject1 which is one of anxious  
dispute among fossil  botanists1 need   
not detain us4 ,amid the many varieties 
of ,sigillari and  ,lepidodendrons which
 are associated with them numerous      
exquisitely  delicate markings occur4   
,the sections of these plants too       
present1 in  their medullary rays and   
slender vascular tissue1 systems of     
arrangement  which are curious and      
ornamental4    ,illustration3 ,fig4 #bb4
    ,having suggested--and we aim at    

nothing more--that the fossil flora     
might furnish many tasteful ornaments to
 the art-manufacturer1 we pass  hastily 
to an equally brief and merely          
,illustration3 ,fig4 #bc4    suggestive 
notice if the immense variety of fossil 
forms allied to those  of the coral     
formations now progressing in the       
,pacific4 ,the modern  corals present to
 us a great diversity of structure1 but 
they are  excelled in all respects by   
those of the old world4 ,the remains of 
these  labours of insect life are       
exceedingly numerous2 entire mountains  
are  built1 for the most part1 with     
them2 and the coral animals appear to   
have been as busy in the ocean which    
washed the cliffs of the ,silurian      
boundary as it is at the present time on
 the reefs of ,torres ,straits and  over
 the ,indian ,seas4 ,figs4 #bd and #be  
represent the external appearance  and  
the interior arrangement of the         
,calamopora polymorphus or  ,favosites1 
which is found at ,combe ,martin1       

,ilfracombe1 and ,plymouth4  ,the       
arrangement of the tubes or cells1      
giving to the whole the  character of   
some of the vegetable productions of the
 tropics1 is very  graceful4            
,illustration3 ,fig4 #bd4               
,illustration3 ,fig4 #be4               
,illustration3 ,fig4 #bf4    ,the       
,pleurodictyum problematicum 7,fig4     
#bf71 from the ironstone bands on  the  
banks of the ,rhine1 is singularly      
elegant4 ,the disposition of the        
denticulated channels presenting the    
appearance of a delicate bead-like      
tracery1 marking out a series of        
leaf-shaped divisions1 gives great      
beauty to this variety4 ,in the figure  
copied the ,serpyllum curved in  the    
centre adds too1 rather than detracts   
from1 the beauty of the  fossil4        
,indeed1 the manner in which ,serpylla  
dispose themselves over  many of the    
corals is singularly graceful and       
capable of many  applications4    ,the  
following figures of the ,astra geminata

 7,fig4 #bg7 and the ,astra  rotula     
7,fig4 #bh71 showing their external     
character and the radiations  as        
exhibited in section1 are only intended 
to display the novel and  elegant       
character which prevails through an     
almost infinite variety of  these       
coralline forms4    ,these beautiful    
creations are produced by animals of the
 polyp kind1  which1 possessed of a     
power of separating the carbonate of    
lime from  sea-water1 are constantly    
engaged in building up around themselves
 those  stone structures which1 if not  
geometrical in all their arrangements1  
are strikingly varied and beautiful4    
,the coral animal has left traces of    
its work on the earliest fossil rocks1  
but in the more recent or ,oolitic      
series the corals are most abundant4    
,illustration3 ,fig4 #bg4               
,illustration3 ,fig4 #bh4    ,it is     
almost impossible to select a specimen  
from any cabinet of the  corals of the  
,oolitic period without being struck    

with the regularity of  arrangement and 
the variety of beautiful forms produced4
 ,it is true that  our existing corals  
bear a strong resemblance to those of   
the seas of  the ancient world1 but they
 differ in specific1 and often in       
generic  character1 and the fossil      
remains present forms and dispositions  
of  parts widely varied from those of   
the recent coral4 ,it is curious and    
interesting to observe1 however1 in both
 species1 the same contrivances  adapted
 to provide that resistance to the waves
 so necessary for the  protection of the
 coral animal1 and which especially     
marks its work4    ,the extent to which 
these coralline formations have gone on 
will be  indicated by the fact that the 
coralline crag at ,oxford is exposed at 
the surface1 and the bottom of it has   
not been reached at the depth of  fifty 
feet4 ,one of the limestone beds of the 
middle ,oolite series of  ,england is a 
continuous bed of petrified corals1     
retaining the position  in which they   

grew at the bottom of the sea2 and      
beside these we find  scattered through 
our ,oolitic formations an immense      
quantity of coral  remains4 ,indeed1 if 
we examine the stones of which some of  
our most  admired churches are built1 as
 at ,oxford and ,cambridge1 we shall    
find  that the firmly integrated mass is
 little else than shells and corals4    
,thus the labours of hosts of insect    
architects1 working in the ocean  which 
overflowed this island myriads of ages  
since1 are now employed to  form those  
temples which religion consecrates to   
the ,creator of all  things4    ,the    
elegance of these fossil remains is     
still further illustrated by  the three 
cuts of the ,pentacrinites subangularis1
 the sections of the  ,pentacrinites    
dubius1 and of the ,encrinites          
moniliformis 7,fig4 #bi74               
,illustration3 ,fig4 #bi4    ,an        
examination of the numerous             
,cystide--the class of fossils which    
are allied to the sea-urchins of our own

 seas--will convince any one of  the    
constant tendency towards the beautiful 
in all natural objects4 ,the            
arrangements of the plates of the       
,cystideans1 ornamented as they are     
with grooves1 stri1 and pores1          
presenting a very highly ornamented     
system of sculpture1 cannot be excelled 
by any imaginary design4 ,the           
,echino-encrinites1 with their curious  
plate ornaments and radiating  bands1   
are all in the highest degree           
symmetrical1 as are also the            
star-fishes found in a fossil state1 and
 the numerous animal and  vegetable     
remains of a former world1 to which we  
cannot do more than  thus cursorily     
allude4 ,many hundreds of similar       
creations possessing the  utmost variety
 in their arrangements1 and rivalling in
 geometric  regularity and beauty the   
images of the kaleidoscope1 are to be   
found  locked within the stony structure
 of our fossiliferous rocks4    ,the    
,cidaris ,blumenbachii 7,fig4 #cj71     

found in the ,jura1 is the only         
specimen of either of those classes of  
fossil forms which our space will  allow
 of our giving4    ,illustration3 ,fig4 
#cj4    ,the elegant form of the ,lily  
,encrinites1 as they have been called1  
is  well illustrated by the drawing of  
the ,encrinites moniliformis 7,fig4     
#ca71 the sections of the stems of which
 have been already shown 7,fig4  #bi71  
and the ,bourgueticrionis crinoidalis   
7,fig4 #cb71 which at once  unites the  
perfection of lightness and elegance in 
the disposition of  its jointed stem and
 its crowning inflorescence4 ,these     
curious links  between the animal and   
the vegetable kingdoms1 presenting in   
their  singularly delicate structures   
the most desirable forms for ornamental 
disposition1 are to be found in great   
abundance and diversity4    ,distributed
 through every phase of being1 the      
creations of ,nature  present a chain1  
each link of which is symmetrical in    
form and  beautiful in its arrangement4 

,if we commence our examination with    
these  forms of the lowest organization1
 which appear to mark the dawn of       
vitality on this planet1 and trace      
series after series through the         
distinguishing strata--each one marking 
a new epoch in the order of  animal     
existence1 and exhibiting new and       
constantly varied forms--we  shall find 
that order and elegance mark the whole4 
,many of those strange  creations1 the  
,trilobites--and indeed those monsters  
of that ocean which  appears to have    
prevailed over the dry land1 the        
,saurians--do not  appear1 upon the     
first inspection1 to bear out this      
assertion2 but an  examination of their 
wonderful armour will at once show that 
,nature1 in  her works1 never neglects  
to add to their adornment after she has 
provided for the necessities of each    
condition4    ,illustration3 ,fig4 #ca4 
,illustration3 ,fig4 #cb4    ,the       
influence of the study of ,nature in    
refining and purifying the human  mind  

has been often insisted on1 and its     
truth is evident4 ,no effort of  human  
thought1 which is of a merely           
terrestrial character1 can ever rise  to
 the truly beautiful4 ,whether the      
artist desires to paint upon his        
canvas1 to chisel out of marble1 to     
mould in clay1 or to cast in metal1     
forms which shall possess the charm1 the
 secret of inspiring a feeling  of the  
beautiful1 he must go to ,nature for his
 inspiration4 ,looking into  the mirror 
of her works1 like the influence of     
gazing into loving eyes1  he draws from 
it a pure1 a holy inspiration1 which he 
may1 if his  practised hand be obedient 
to his creative mind1 transfer to the   
gross  element which is to express to   
mankind the power of the true4          
,persuaded that but few of those who are
 engaged on works of art or of          
art-manufacture have had their attention
 directed to any of the results  of     
palontological studies1 and feeling     
confident that an immense store  of     

novelties was to be found amongst the   
fossil remnants of those days  when man 
was not1 the remarks now submitted for  
their consideration1  with every feeling
 of their imperfections and necessarily 
sketchy  character1 will not1 it is     
thought1 be without interest4    ,while 
dealing with the applications of science
 to the economic purposes  of life1 it  
was thought that a step beyond this mere
 utilitarian purpose  might be allowed1 
and that the studies of the natural     
philosopher might  be made to minister  
to the        8,spirit of ,beauty1 that 
does consecrate       ,with its own hues
 all that it shines upon       ,of human
 thought or form40           99       99
       99       99       99    ,these   
essays were produced twenty-four years  
since4 ,they were written to  serve a   
special purpose--the subject of art     
manufacture2 being1 in #ahdh1  one which
 was engaging general attention4 ,with a
 few verbal corrections  the essays     
remain in the condition in which they   

were first published4  ,they indicate1  
however--and they aim at nothing        
more--with sufficient  clearness1 a     
source from which the ingenious artist  
might multiply his  forms for           
ornamentation4 ,it must not be forgotten
 that during the past  twenty-four years
 the science of geology has achieved    
wonders1 and the  cabinets of the       
palontologist have been crowded with the
 most beautiful  forms of organic       
creation4 ,if then there existed a store
 of choice and  rare forms1 these are   
multiplied by thousands now4      ,,the 
,,end4      ,,printed ,,by ,,virtue     
,,and ,,co41 ,,city ,,road1 ,,london4   
99       99       99       99       99  
,,virtue ,,and ,,co4',s ,,new ,,books4  
,,season #ahgb-c4      ,,our ,,british  
,,landscape ,,painters1         ,,from  
,,samuel ,,scott ,,to ,,david ,,cox4    
,with a ,preliminary ,essay and         
,biographical ,notices by ,,william ,b4 
,,scott1 author of 8,half-hour          
,lectures on ,art10 8,the ,british      

,school of ,sculpture10 c41 c4          
,illustrated by ,sixteen ,steel         
,engravings4 ,large royal #dto1         
elegantly       bound1 #bas4            
,,pictures ,,by ,,william ,,mulready1   
,r4,a4         ,with ,descriptive       
,letterpress and a ,biographical ,sketch
 of the       ,painter by ,,james       
,,dafforne4 ,illustrated by ,nine ,steel
 ,engravings4       ,large royal #dto1  
elegantly bound1 #aes4                  
,,art-,,studies ,,from ,,nature1        
,,as ,,applied ,,to ,,design4 ,for the  
,use of ,architects1 ,designers1 and    
,manufacturers4 ,in one volume1 small   
#dto1 extensively illustrated       with
 ,woodcuts1 #abs4         ,i4--,,the    
,,adaptability ,,of ,,our ,,native      
,,plants ,,to ,,the ,,purposes ,,of     
,,ornamental ,,art4 ,by ,,edward        
,,hulme1 ,f4,l4,s41 ,f4,s4,a4           
,,ii4--,,seaweeds ,,as ,,objects ,,of   
,,design4 ,by ,s4 ,j4 ,,mackie1 ,esq41  
,f4,g4,s41       ,f4,s4,a4              
,,iii4--,,the ,,crystals ,,of ,,snow    

,,as ,,applied ,,to ,,the ,,purposes    
,,of ,,design4 ,by       ,,james        
,,glaisher1 ,esq41 ,f4,r4,s4            
,,iv4--,,symmetrical ,,and ,,ornamental 
,,forms ,,of ,,organic ,,remains4 ,by   
,,robert       ,,hunt1 ,f4,r4,s4        
,,homes1 ,,works1 ,,and ,,shrines ,,of  
,,english ,,artists1 ,,with ,,specimens 
,,of       ,,their ,,styles4 ,by ,f4 ,w4
 ,,fairholt1 ,f4,s4,a4 ,small #dto1 with
 numerous       ,engravings on ,wood1   
#abs4           ,,scenes ,,and          
,,characters ,,of ,,the ,,middle ,,ages4
 ,by the ,rev4 ,,edward ,l4             
,,cutts1 ,b4,a41 late ,hon4 ,sec4 of the
 ,essex ,archological ,society4         
,small #dto1 with #ahe ,engravings on   
,wood1 #abs4      ,,kings ,,beeches3    
,,stories ,,of ,,old ,,chums4 ,a ,book  
for ,boys4 ,by ,,stephen ,j4 ,,mckenna1 
,author of 8,off ,parade10 c41 c4 ,crown
 #hvo1 with eight ,plates1       cloth  
extra1 gilt1 #es4           ,,stories   
,,from ,,english ,,history ,,during     
,,the ,,middle ,,ages4         ,by      

,,maria ,,hack1 ,author of 8,winter     
,evenings10 c41 c4 ,revised by          
,,david ,,murray ,,smith1 ,author of    
8,karl of the ,locket10 c4 ,crown #hvo1 
with ,eight ,illustrations1 cloth1 full 
gilt1 #cs4 #f;d4      ,,burnet',s       
,,history ,,of ,,his ,,own ,,time4      
,student's ,edition4 ,crown #hvo1 with  
,eight ,illustrations1 #cs4 #f;d4       
,,leslie ,,and ,,maclise4         ,,the 
,,british ,,school ,,of ,,painting2     
,specimens of the ,works of our most    
,famous ,artists4 ,with ,descriptive and
 ,biographical ,notices by ,,james      
,,dafforne4 ,large royal #dto4          
,illustrated with ,twenty ,engravings on
       ,steel4 ,elegantly bound1 #cas4  
#f;d4      ,,the ,,british ,,school ,,of
 ,,sculpture1         ,illustrated by   
,twenty ,engravings on ,steel and ,fifty
 ,woodcuts4 ,with       a ,preliminary  
,essay and ,notices of the ,artists4 ,by
 ,,william ,b4       ,,scott1 ,author of
 8,our ,british ,landscape ,painters10  
8,life of ,albert       ,drer10 c4      

,large royal #dto4 ,a ,,new ,,edition4  
,handsomely bound1 #bas4           ,a   
,,manual ,,of ,,recent ,,and ,,existing 
,,commerce1         ,from the year      
#aghi-ahgb1 showing the ,development of 
,industry at       ,home and ,abroad    
during the ,continental ,system1 the    
,protectionist       ,policy1 and the   
,era of ,free ,trade4 ,by ,,john        
,,yeats1 ,,ll4,d41 c4 ,crown       #hvo1
 #es4         ,this forms ,volume ,,iv4 
of 8,the ,history of ,commerce10 and    
completes       the work4 ,the other    
volumes are3--         ,i4--,,the       
,,natural ,,history ,,of ,,the ,,raw    
,,materials ,,of ,,commerce4            
,comprising ,the ,commercial ,products  
of the ,vegetable ,kingdom2 ,ditto      
of ,the ,animal ,kingdom2 ,raw and      
,mineral ,produce2 and an ,appendix1    
containing a ,copious ,list of          
,commercial ,terms1 and their ,synonyms 
in several ,languages4 ,crown #hvo1     
,second ,edition1 with ,chart1 #es4     
,,ii4--,,the ,,technical ,,history ,,of 

,,commerce2 or1 ,skilled ,labour        
,applied       to ,production4 ,crown   
#hvo1 with ,chart1 #es4                 
,,iii4--,,the ,,growth ,,and            
,,vicissitudes ,,of ,,commerce1 from    
,b4,c4 #aejj to       ,a4,d4 #aghi4     
,crown #hvo1 with ,chart1 #es4          
99       99       99       99       99  
,,works ,,recently ,,published1         
,,homes1 ,,haunts1 ,,and ,,works ,,of   
,,rubens1 ,,vandyck1 ,,rembrandt1 and   
,,cuyp2       of the ,,dutch ,,genre    
,,painters2 and of ,,michael ,,angelo   
and ,,raffaelle4       ,by ,f4 ,w4      
,,fairholt1 ,f4,s4,a4 ,small #dto1 with 
#acc ,woodcut       ,illustrations1     
elegantly bound1 #abs4      ,,rambles   
,,of ,,an ,,arch,,ologist               
,,among ,,old ,,books ,,and ,,in ,,old  
,,places2 being ,papers on ,art1 in     
relation       to ,archology1 ,painting1
 ,art-,decoration1 and                  
,art-,manufacture4 ,by ,f4       ,w4    
,,fairholt1 ,f4,s4,a41 small #dto1 with 
#bei ,wood ,engravings1 elegantly       

bound1 #abs4           ,,life ,,of ,,our
 ,,blessed ,,lord ,,and ,,saviour       
,,jesus ,,christ4    ,by the ,rev4      
,,john ,,fleetwood1 ,d4,d4 ,new         
,edition1 complete in one vol41 post    
#hvo1 with ,eight full-page             
,illustrations1 #cs4 #f;d4              
,,foxe',s ,,book ,,of ,,martyrs4        
,being a ,history of ,christian         
,martyrdom from the ,earliest ,times4   
,carefully revised by the ,rev4 ,j4 ,m4 
,,crombie1 ,m4,a4 ,post #hvo1 price     
#cs4 #f;d4      ,,burnet',s ,,history   
,,of ,,the ,,reformation4               
,,abridged ,,by ,,the ,,author for the  
,use of ,students4 ,crown #hvo1 #cs4    
#f;d4      ,,byron',s ,,songs1          
,,now ,,first ,,collected ,,in ,a       
,,separate ,,volume4 ,illustrated with a
 ,steel       ,engraving of ,,chalon',s 
8,,maid ,,of ,,athens40 ,elegantly      
printed1 with       ,woodcut            
,head-pieces and ,vignettes by ,kenny   
,meadows and others4 ,in       square   
super-royal #afmo1 elegantly bound1 #cs4

 #f;d4      ,,shakspere',s ,,songs1     
,selected from his ,poems and ,plays4   
,,the ,,first ,,complete ,,collection in
       a ,single ,volume4 ,illustrated  
with a ,steel ,engraving of the         
,,chandos       ,,portrait4 ,elegantly  
printed1 with ,woodcut ,headpieces and  
,vignettes       by ,kenny ,meadows and 
others4 ,in square super-royal #afmo1   
elegantly       bound1 #cs4 #f;d4       
,,curiosities ,,of ,,the ,,pulpit ,,and 
,,pulpit ,,literature4                  
,memorabilia1 ,anecdotes1 c41 of        
,celebrated ,preachers1 from the        
,fourth ,century of the ,christian ,era 
to the ,present ,time4 ,by ,,thomas     
,,jackson1 ,m4,a41 ,prebendary of ,st4  
,paul's ,cathedral1 and ,rector of      
,stoke ,newington1 ,london4 #cs4 #f;d4  
,a ,,life',s ,,motto4         ,by the   
,rev4 ,t4 ,,pelham ,,dale1 ,m4,a4       
,illustrated by ,biographical           
,examples4 ,with a ,frontispiece by ,j4 
,d4 ,watson4 #cs4 #f;d4         ,st4    
,augustine--,st4 ,bernard--,john        

,wesley--,john ,newton--,charles        
,simeon--,henry ,kirke ,white--,henry   
,martyn1 and ,frederick ,mackenzie4     
,,watchers ,,for ,,the ,,dawn1          
,,and ,,other ,,studies ,,of ,,christian
 ,,character4 ,by ,mrs4 ,w4 ,r4 ,,lloyd4
 ,with       ,eight ,illustrations by   
,james ,godwin1 printed on ,toned       
,paper1 #cs4       #f;d4           ,,the
 ,,path ,,on ,,earth ,,to ,,the ,,gate  
,,of ,,heaven4         ,essays of       
,counsel and ,encouragement for the     
,christian ,life of the       ,present  
,day4 ,by the ,rev4 ,,frederick         
,,arnold1 of ,christ ,church1           
,oxford4 ,with a ,frontispiece4 ,small  
crown #hvo1 #cs4 #f;d4      ,,the       
,,pilgrim',s ,,progress4         ,by    
,,john ,,bunyan4 ,with ,twelve          
,illustrations by ,c4 ,a4 ,doyle1       
printed       on ,toned ,paper4 ,small  
crown #hvo1 #cs4 #f;d4      ,,the       
,,vicar ,,of ,,wakefield4         ,by   
,,oliver ,,goldsmith4 ,with ,twelve     
,full-page ,illustrations1 printed      

on ,toned ,paper4 ,small crown #hvo1    
#cs4 #f;d4      ,,sandford ,,and        
,,merton4         ,by ,,thomas ,,day4   
,small crown #hvo1 with ,illustrations1 
#cs4 #f;d4      ,,holiday ,,adventures2 
,,or1 ,,the ,,strettons' ,,summer ,,in  
,,normandy4 ,by ,mrs4 ,,james ,,gambier4
 ,with       ,eight ,illustrations by   
,charles ,altamont ,doyle1 printed on   
,toned       ,paper4 ,small crown #hvo1 
#cs4 #f;d4         ,these ,adventures   
are founded upon ,fact4      ,,the      
,,star ,,of ,,hope ,,and ,,the ,,staff  
,,of ,,duty4         ,,tales ,,of       
,,womanly ,,trials ,,and ,,victories4   
,with ,eight ,illustrations by          
,julian ,portch1 printed on ,toned      
,paper4 ,small crown #hvo1 #cs4 #f;d4   
,,aunt ,,agnes2         ,,or1 ,,the     
,,why ,,and ,,the ,,wherefore ,,of      
,,life4 ,an ,autobiography4 ,by a       
,,clergyman',s ,,daughter4 ,with ,eight 
,illustrations by ,keeley ,halswelle4   
,printed on ,toned ,paper4 ,small crown 
#hvo1 #cs4 #f;d4         ,a story       

replete with incident and character4    
,,pictures ,,of ,,heroes1 ,,and         
,,lessons ,,from ,,their ,,lives4       
,by ,mrs4 ,w4 ,r4 ,,lloyd1 ,author of   
8,watchers for the ,dawn10 c4 ,with     
,eight ,illustrations by ,c4 ,a4 ,doyle1
 printed on ,toned ,paper4 ,small       
crown #hvo1 #cs4 #f;d4      ,,the ,,sea 
,,and ,,her ,,famous ,,sailors4         
,by ,,frank ,b4 ,,goodrich4 ,with ,eight
 ,illustrations1 printed on ,toned      
,paper4 ,small crown #hvo1 #cs4 #f;d4   
,,the ,,busy ,,hives ,,around ,,us4     
,a ,variety of ,trips and ,visits to the
 ,mine1 the ,workshop1 and the          
,factory4 ,with ,popular ,notes on      
,materials1 ,processes1 and ,machines4  
,with ,seven ,illustrations1 by ,william
 ,harvey and others1 printed on         
,toned ,paper4 ,small crown #hvo1 #cs4  
#f;d4      ,,adventures ,,in ,,the      
,,ice4         ,a ,comprehensive        
,summary of ,arctic ,exploration1       
,discovery1 and       ,adventure1       
including ,experiences of ,,captain     

,,penny1 the ,veteran       ,whaler1 now
 first published4 ,by ,,john            
,,tillotson4 ,crown #hvo1 with          
,portraits of ,sir ,john                
,franklin--,captain ,penny--,dr4 ,elisha
 ,kent       ,kane--,dr4 ,isaac ,i4     
,hayes--and ,fourteen other             
,illustrations1 #cs4 #f;d4              
,,pioneers ,,of ,,civilisation4         
,by the ,author of 8,lives of ,eminent  
,men10 c4 ,with ,portraits of ,dr4      
,livingstone--,captain                  
,clapperton--,william ,penn--,captain   
,cook--,lord       ,robert              
,clive--,captain ,flinders--,rev4 ,henry
 ,martyn--and ,ten other       ,page    
,illustrations4 ,small crown #hvo1 #cs4 
#f;d4      ,,men ,,who ,,have ,,risen4  
,a ,,book ,,for ,,boys4 ,with ,eight    
,illustrations by ,charles ,a4 ,doyle4  
,printed on ,toned ,paper4 ,small crown 
#hvo1 #cs4 #f;d4         ,a boy can     
hardly fail to be the better for        
perusing the graphic       stones of the
 rise of the ,peel family1 and the      

struggles of such       men as ,hugh    
,miller1 ,wilson the ornithologist1     
,smeaton the engineer1       and        
,stephenson the railway pioneer4        
,,small ,,beginnings2         ,,or1     
,,the ,,way ,,to ,,get ,,on4 ,with      
,eight ,illustrations1 printed on ,toned
       ,paper4 ,small crown #hvo1 #cs4  
#f;d4      ,,the ,,steady ,,aim4        
,a ,,book ,,of ,,examples ,,and         
,,encouragements4 ,from ,modern         
,biography4 ,by ,w4       ,h4           
,,davenport ,,adams1 ,author of 8,famous
 ,regiments of the ,british             
,army10 c4 ,with ,eight ,illustrations  
by ,c4 ,a4 ,doyle1 printed on           
,toned ,paper1 #cs4 #f;d4      ,,famous 
,,london ,,merchants4         ,with     
,life-,portraits of ,george             
,peabody--,sir ,richard                 
,whittington--,sir       ,thomas        
,gresham--,sir ,hugh ,myddelton--,sir   
,josiah ,child--,paterson1              
,founder of the ,bank of                
,england--,coutts1 the ,banker--and     

,seventeen       other ,illustrations4  
,by ,h4 ,r4 ,,fox ,,bourne1 ,author of  
8,merchant       ,princes of ,england10 
c4 ,small crown #hvo1 #cs4 #f;d4        
,,women ,,of ,,worth4         ,a ,,book 
,,for ,,girls4 ,with ,eight             
,illustrations by ,william ,dickes4     
,printed on ,toned ,paper4 ,small crown 
#hvo1 elegantly bound1 #cs4 #f;d4       
,the 8,women of ,worth0 selected include
 ,charlotte ,bront1 ,elizabeth          
,fry1 ,lady ,russell1 ,lady ,hutchinson1
 the ,lady ,jane ,grey1 the ,empress    
,maria ,theresa1 and ,caroline          
,herschel4      ,,the ,,habits ,,of     
,,good ,,society4         ,a ,,handbook 
,,of ,,etiquette for ,ladies and        
,gentlemen4 ,with ,thoughts1            
,hints1 and ,anecdotes concerning       
,social ,observances1 ,nice ,points of  
,taste and ,good ,manners1 and the ,art 
of making ,one's self agreeable4        
,the whole interspersed with humorous   
,illustrations of ,social               
,predicaments1 ,remarks on the ,history 

and ,changes of ,fashion1 and       the 
,differences of ,english and            
,continental ,etiquette4                
7,frontispiece47 ,small crown #hvo1 in  
elegant binding1 #cs4 #f;d4         ,the
 unanimous opinion of the press has     
pronounced this accurate1       racy1   
and elegant volume the most complete and
 trustworthy of all       books upon    
,social ,etiquette4           99        
99       99       99       99           
,,just ,,published4                     
,,the ,,fine ,,art ,,annual1            
,,in ,,medium #dto1 ,,price #bs4        
,,containing           ,three ,steel    
,plates and more than ,thirty ,wood     
,engravings4      ,,messrs4 ,,virtue    
,,co4 have the pleasure to announce that
 they have  determined1 in compliance   
with the suggestions and wishes of many 
friends1 to undertake the publication of
 a ,,fine ,,art ,,annual4    ,the object
 that the publishers have in view is to 
bring before the  public a ,,christmas  
,,annual worthy in every way of a place 

upon the  ,drawing-room ,table1 and also
 of a place in the hands of those who   
frequent the ,drawing-room4    ,the     
,,fine ,,art ,,annual will contain      
,three ,steel ,plates and more than     
,thirty  ,wood ,engravings1 in          
illustration of a careful selection of  
,stories1  ,sketches1 ,poems1 and       
,essays1 made with a view to            
contributing1 in more  ways than one1 to
 the pleasure of the ,christmas ,season4
    ,a handsome ,,calendar1 forming a   
record of facts relating to ,literature 
and ,art1 will accompany the ,annual4   
,,contents4         ,,preamble4 ,by the 
,,editor4 ,with ,two ,illustrations4    
,story4--,,cissie',s ,,coming ,,home4   
,by the ,author of 8,the ,blacksmith of 
,holsby10 8,spenser's ,wife10 c41 c4    
,with ,four ,illustrations4             
,poem4--,,mammy',s ,,ain ,,bairn4 ,by   
,,matthias ,,barr4 ,with an             
,illustration4                          
,sketch4--,,picked ,,up ,,on ,,the      
,,coast3 ,a ,,little ,,picture ,,in     

,,words4 ,by an       ,obscure ,artist4 
,with ,two ,illustrations4              
,story4--,,uncle ,,archie',s            
,,bankruptcy3 ,,the ,,story ,,of ,a     
,,year',s       ,,probation4 ,by the    
,author of 8,his by ,right10 8,john     
,hesketh's       ,charge10 c41 c4 ,with 
,two ,illustrations4         ,humorous  
,poem4--,,my ,,schoolfellows4 ,by ,j4   
,d4 ,p4         ,essay4--,,some         
,,moonlight ,,reflections--,,of ,,trees1
 ,,steeples1 ,,and ,,men4       ,a      
,,rigmarole4 ,by ,,sawer ,,krawt1       
,author of a ,considerable ,quantity of 
,unpublished ,,mss4 ,with ,three        
,illustrations4         ,poem4--,,night 
,,adventure4 ,by ,j4 ,d4 ,p4            
,story4--,,true ,,story ,,of            
,,cinderella--,,without ,,the ,,glass   
,,slipper4 ,by       ,g4 ,j4 ,,proctor4 
,with ,two ,illustrations4              
,poem4--,a ,,vision ,,of ,,toys4 ,by    
,,astley ,h4 ,,baldwin4 ,with an        
,illustration4         ,sketch4--,a     
,,merrie ,,christmas3 ,a ,,very         

,,small-,,beer ,,chronicle ,,for ,,the  
,,youngsters4 ,by an ,,elder ,,brother4 
,with ,two ,illustrations4         ,,the
 ,,calendar1 comprised within ,,twelve  
pages1 with beautifully       designed  
and engraved ,borders1 illustrating the 
,months4                 ,,virtue       
,,co41 #bf1 ,,ivy ,,lane1 ,,paternoster 
,,row1 ,e4,c4      ,,footnotes3     ,a  
,for drawings of the anemone see ,s4 ,b4
 #hg1 ,e4 ,b4 #aa1 and ,p4 ,f4 #ff4     
,b ,see ,dr4 ,hooker 8,on the           
,vegetation of the ,carboniferous       
,period10   ,memoirs of the ,geological 
,survey of ,great ,britain1 c41 vol4 ii4