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Emblems
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FLORAL EMBLEMS.

BY HENRY PHILLIPS,
F. L. & F. HS.

AUTHOR OF POMARIUM BRITANNICUM,

ETC, ETC.

LONDON:
PRINTED FOR SAUNDERS AND OTLEY,

BRITISH AND FOREIGN PUBLIC LIBRARY,

CONDUIT STREET, HANOVER SQUARE.

1825.

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TO THE POETS AND PAINTERS

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Great Britain,

Whose Works have so eminently contributed to raise the
fame of these kingdoms above the level of that of any
other nation in modern times, the author most respectfully
presumes to dedicate this collection of ‘‘ Floral Emblems,”
as an humble acknowledgment of the great delight their
performances have afforded him from the earliest period of
his memory, to the time he has the honour of subscribing
himself,
Their most devoted admirer,
And humble Servant,

HENRY PHILLIPS.
Brighton, May 28, 1825.

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PREFACE.

In forming this collection of Floral Emblems,
the first care was to avoid perplexity, by
creating new symbols, with such flowers as
have been previously used in the hierogly-
phics of the ancients or described in the

verses of the poets.

Therefore, when the compiler found the
same plant made to represent more than one
design, he selected the emblem of the greatest
antiquity, or the one most established by
custom, and in some instances he has noticed

their various interpretations.

Vi PREFACE.

Amongst the numerous species of plants
which Europe has received from China, Ame-
rica, and New Holland, but few have hitherto
found their way into the language of flowers,
and some of these he has ventured to present,
as emblematical of such characters or passions,

as appeared most appropriate.

The numerical emblems, as well as those
for the days of the week, and the months of
the year, were devised by him in order to
render the work more complete, so as to
enable the emblematists to record dates by

floral symbols.

As the invention of symbolical language
appears to have originated in eastern nations,
the author’s endeavours have been to collect
the emblems of those countries, through the
aid of their poets, and the assistance of various

travellers.

The most ancient works on heraldry have

PREFACE. Vil

been consulted as well as the sculpture of
classical nations and the paintings of modern
ages. The assistance of the poets will be seen
in every page, and it would be unjust not to
mention the author’s obligation to Madame la
Comptesse de Genlis, to Madame de Latour
and also to the author of ‘* Parterre de Flore.”
In this symbolical assemblage the author has
carefully avoided all indelicate allusions or
double-entendre that could be offensive to mo-
desty, his object has been to establish a settled
collection of floral emblems, and to render them
as amusing as the decorative dress of the poet,
and the sparkling garb of the wit would allow.
And although he presents a flower to fit every
cap, none are personally intended, but the
whole are offered for the selection of the
wearer, and should weeds be discovered where
flowers are expected, he flatters himself they
will be few, and that those few will be found
inoffensive, for although the work may be
considered more adapted for amusement than

for utility, he would not willingly offer en-

Vill PREFACE.

tertainment through the assistance of immo-

rality.

The author trusts that his work will not be
condemned because it allows a communication

of sentiment.

‘« By all those token flowers, that tell
What words can never speak so well.”
Byron.

It is observed by Lady Mary Wortley Mon-
tagu, that in Turkey, you may through the
assistance of these emblems, either quarrel,
reproach, or send letters of passion, friend-
ship, or civility, or even news, without ever
inking your fingers, for she says, there is no
colour, no weed, no flower, no fruit, herb, nor

feather, that has not a verse belonging to it.

When a Turkish lady sends a congratula-
tory message, or a ceremonious invitation, it

is generally accompanied with some emble-

PREFACE. 1X

matical flowers carefully wrapt up in an em-
broidered handkerchief. The freshness of
these flowers show the speed of the messen-
ger, whilst the selection speaks in silent lan-
guage the sentiments of the party from whom
they are sent, and whose rank is also distin-
guished by the costliness or beauty of the
embroidered envelop. ‘These are merely the
remains of the ancient customs of the eastern
nations, where all was symbol, emblem, and
allegory, and it must not be supposed that
emblems were invented for the purposes of
intrigue, since we find the scriptures full of
the most beautiful parables, moral symbols,
instructive allegories, and poetical emblems,

that have ever been composed or collected.

It is presumed that the introduction of a
few continental garlands in their native garb,
will be found both agreeable to the taste of
our readers, and in harmony with the subject
of the work. With this expectation we
present the following French wreaths of floral

verse.

PREFACE.

LA BOUQUETIERE.

J’ai des bouquets pour tous les gots ;
Venez choisir dans ma corbeille ;

De plusieurs les parfums sont doux ;
De tous, la vertu sans pareille.

J’ai des soucis, pour les jaloux ;

La rose, pour l’amant fidéle ;

De l’ellébore, pour les fous ;

Et pour lamitié, limmortelle.

J’offre la pensée aux auteurs ;

(Les leurs, bien souvent sont si fades.)
Des tournesols, aux vils flatteurs ;

A tous nos braves, des grenades.

Pour les argus, j’ai des pavots,

Et pour les enfans, des clochettes ;
J’oftre des ceillets d’inde aux sots ;

De la fleur d’orange, aux coquettes.

Pour ’homme timide et discret
J’ai la modeste violette ;
J’ai le narcisse et le muguet,

Pour le fat et pour la coquette

PREFACE,

J’offre le myrte aux vrais amans ;
Aux maris jaloux, des jonquilles ;

Des mignardises, aux mamans ;

Et du thym frais, aux vieilles filles.

Je réserve pour la pudeur

La délicate sensitive ;

L’oreille d’ours a la laideur ;
Des simples, 4 ’agnés naive ;
A la veuve dans les regrets
Mes scabieuses doivent plaire ;
J’ai des couronnes de bluets

Pour la jeune et fraiche bergére.

J’offre aux filles A marier
L’iris, embléme d’espérance ;
A tous nos héros, le laurier ;
Les boutons d’or, a l’opulence ;
Les tulipes, a la fierté ;

Aux malheureux, la patience ;
La fleur d’hortense, a la beauté

Et tous nos lis, 4 l’innocence.

Maleuvre.

Ki

PREFACE.

LE LANGAGE DES FLEURS.

Fiore n’est point embarrassée,
Quand la beauté lui fait la cour ;
Adéle choisitla pensée,

Pour exprimer son tendre amour ;
De Malvina, modeste et sage,
L’humble violette est la fleur ;

Et Zulima, triste et sauvage,

Du souci porte la couleur.

L’inconstante et folle Rosine
Prend les nuances de Iris ;
La sensible et douce Delphine
Prefére le bel Adonis ;
Auprés d’une tige de Lierre,
On voit la fidéle Nina ;

Et sur un tapis de Fougere

Repose la tendre Zulima.

Ainsi dans cette galerie,
Chaque belle offrant un bouquet,
Maint savant peut passer sa vie

A méditer chaque sujet.

PREFACE. X11

Heureux l’aimable botaniste
Qui sait jouir de ces douceurs !
Pour un galant naturaliste

Toutes les femmes sont des fleurs.
A. Deville.

XIV PREFACE.

LA CORBEILLE DE FLEURS.

Par un mystérieux langage
Ces fleurs t’apprennent mon amour ;
Eglé, je t’en offre image

Dans ce lis, pur comme un beau jour.

Cette violette naissante
T’exprime ma timide ardeur,
Et la grenade eblouissante,

Les feux qui consument mon cceur.

L’immortelle peint ma coustance ;
La jonquille, tous mes ennuis ;
Le myrte, ma douce espérance ;

Et le souci, tous mes soucis.

Reine des fleurs, suave rose,
Heureux syinbole du plaisir,
Parle pour moi: ma bouche n’ose

Exprimer le moindre désir.

Rose, sur le sein de ma belle
Brille 4 mon regard enchanté,
Et sois le présage fidéle

De ma douce félicité.

Cissey.

PREFACE. XV

LES FLEURS.

Suis-je dans un joli jardin,

J’en parcours toujours le parterre, /
Et dans les fleurs je crois, soudain,

Distinguer chaque caractére ;

Dans la violette, je vois

La séduisante modestie ;

L’immortelle m’offre, a-la-fois,

Et les vertus, et le génie.

Dans le Muguet, je vois un fat,
Dans le Serpolet, la franchise ;
La Tulipe, avec son éclat,
M’oftre l’orgueil et la sottise ;

Le Lis presente la grandeur ;
L’Amaranthe, l’indifférence ;
Rose blanche, dans sa fraicheur,

Est l'image de l’innocence.

Le Pavot nous peint le pouvoir
Que, sur nos sens, a maint ouvrage;
Dans le Narcisse, je crois voir

Un sot €pris de son visage ;

XVl PREFACE.

Dans le Souci, je reconnais
L’époux d’une femme infideéle ;
Dans une Rose, les attraits.

Qu’on admire dans une belle.

Le Myrte, chéri des amours,
Nous représente leur puissance ;
Et le Lierre, amoureux toujours,
Donne des lecons de constance.
Si je m’arréte au fond d’un bois,
Avec Iris sur la fougére,

La Fougére m/oftre a-la-fois

Mon, lit, ma bouteille et mon verre.

Puis-je rencontrer des Lauriers,
Sans m/arréter et reconnaitre

Ces jeunes et vaillans guerriers
Que l’heureuse France a vu naitre !
Si je vois l’Olivier fleurir,

Sur-tout apres un long orage,

Je dis: la paix va reyenir,

La paix est le prix du courage.

P. Ledouv.

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INTRODUCTION.

** With emblematick skill and mystick order,
Thou shew’dst where tow’rs on battlements should rise,
Where gates should open, or where walls should compass.”’

Prior.

THAT hieroglyphics formed the earliest kind
of written language cannot be disputed, since
reason pronounces pictorial emblems the most
natural mode by which a communication of
ideas could be effected previous to the inven-

tion of a more regular system.

The monuments of the greatest antiquity
confirm this opinion, and the most ancient
rocks of Egypt make known the early con-
quests of these people which are expressed

B

2 INTRODUCTION.

by the representation of vegetables that are

foreign to their climate.

Brown says in his Pseudodoaia Epidemica,
“that of all men that suffered from the confu-
sion of Babel, the Egyptians found the best
evasion; for, though words were confounded,
they invented a language of things, and spake
unto each other by common notions in nature,
whereby they discoursed in silence, and were
intuitively understood from the theory of
their expressions : for they assumed the shapes
of animals common unto all eyes, and by
their conjunctions and compositions were able
to communicate their conceptions unto any
that comprehended the syntaxis of their

natures.”

The labours of M. Champollion in deci-
phering the ancient Egyptian Papyri at the
Royal Museum at Turin, have proved this
emblematical writing to have existed prior to

the days of the Pharaohs.

INTRODUCTION. 3

These records are all written in hierogly-
phics, and ornamented with paintings, and are
in the most beautiful style ofcaligraphy. Se-

veral of these papyri are more than three thou-
sand years old.

The hieratic writings of the Egyptians re-
lated to sacred or ecclesiastical affairs, and are

principally found in the funeral rituals of the
Mummeys. |

The invention of emblematical writing evi-
dently took its rise from nature and necessity,
more than from choice or artifice, as is
proved by its being practised not only by the
Egyptians of the south, the Scythians of the
north, the Chinese of the east, the Indians,
Pheenicians and Ethiopians, of the mterme-
diate countries, but also by the Mexicans of
the west. For when Mexico was discovered,
the inhabitants were found to have made no
farther progress in the art of writing their
laws and history, than what could be de-

B 2

4 INTRODUCTION.

scribed by pictures. Robertson relates that
in an interview which Cortes had with the
Mexican chiefs, the latter were attended by
painters, who employed themselves diligently
in delineating upon white cotton cloths,
figures of the ships, the horses, the artillery,
the soldiers, and whatever else attracted their
eyes, as singular, in order to convey to the
mind of Montezuma, their sovereign, a more
lively idea of the strange and wonderful ob-
jects now presented to their view, than any

words could communicate.

Even at the present day, when written lan-
guage 1s so copious, we should be unable to
describe a rose to those who had never seen
such a flower, without the assistance of draw-
ing something similar. When the camellia
japonica was first brought to flower in this
country, we felt it impossible to give a just
idea of the flower without drawing a picture
in language, by representing it like a rose

formed by wax and placed on a branch of the

INTRODUCTION. 5

Portugal laurel; had the rose and the laurel
been unknown, nothing short of a drawing
could have described this beautiful plant.
In all works of natural history drawings are
essential to convey an adequate opinion of
the thing wished to be described, And vo-
lumes cannot convey to our mind so just an
idea of a country, a city, or a single building,
as is learnt by one glance of a pictorial re-
presentation. To impress a just conception
of the persons, habits, and manners, of a
strange country without the aid of picture,
we might as well try to give the true relish
and taste of the pine-apple by words.

To shew how appropriately the ancients
chose their emblems, we have only to men-
tion that rotundity was the figure by which
they expressed eternity, because it has nei-
ther beginning norend. And this symbol was
frequently represented by a serpent bent into
the form of a circle, with its tail placed in its
mouth. The cock was the emblem of vigi-
lance, the lion of strength, the horse of liberty,

6 INTRODUCTION.

the bullock of agriculture, the bee of indus-
try. The spider was symbolical of the art of
weaving, the sphinx became the emblem of
subtility, a crocodile represented the land of
Egypt, and a merchant was described by a

man holding a purse.

The hierogrammatists, or holy registers
who had the care of the sacred hieroglyphics
in Egypt, made use of symbols only known
to themselves. They were always near the
person of the king, and they bore a kind of
sceptre in the form of a ploughshare. But
after Egypt became a Roman province, these
offices sunk into neglect, and the pheenix, their
hieroglyphic of the sun, set to rise no more
in their symbolical writings. In the height of
Egyptian prosperity, moral reflections as well
as public events were represented by pictures,
as is shewn by the celebrated inscription on
the temple of Minerva at Sais, where an in-
fant, an old man, a hawk, a fish, and a river-

horse, are made to express this sentence: _

INTRODUCTION. 7

*« All you who come into the world and go
out of it know this, that the gods hate impu-

dence.”

** Between the statues obelisks were plac’d,
And the learned walls with hieroglyphics grac’d.”

In the hieroglyphics of Harapollo two
armies in battle array are represented by two
hands, one holding a shield, and the other a
bow.

Trismegistus, the celebrated Egyptian priest
and philosopher, is said to have been the first
who taught his countrymen the art of record-
ing memorable events by this kind of symbo-
lical writing; perhaps he only improved upon
it by substituting signs which connected pic-
tures and characters, and formed regular
grammatical sentences, as the Egyptians seem
to have been the first who made this advance

in the science.

The Chinese appear to have thrown out

8 INTRODUCTION.

the images altogether, and to have kept only
the contracted marks which serve for words;
yet we are told that they retain an alphabet

composed entirely of plants and roots.

The gods of the early heathen nations ori-
ginated from emblematical representations of
illustrious personages who had _ benefited
mankind either by their abilities in the
arts, by defending their country, obtain-
ing conquests, or establishing equitable laws.
Thus Mars is represented by his armour, Her-
cules by his club and the lion’s skin, Neptune
by his trident, Ceres by a handful of corn,
Bacchus by clusters of grapes, Pomona by
apples, Flora by flowers, &c. Even the bar-
barous Scandinavians adorned their goddess
Frea, with emblems of fertility and abundance

as the deity of marriage.

The language of flowers is said to be as old
as the world, and the antiquity of floral em-

blems as great as that of love itself, and by

INTRODUCTION. 9

whom it is supposed to have been invented,
since it is a kind of parable which speaks to
the eye, and through that medium is trans-
mitted to the heart.

That love reigned in the breast before the
hand had practised the art of forming hiero-
glyphics cannot be doubted, and that man
should select the most beautiful objects in
nature to represent his most ardent passion is
equally probable. We may conclude that the
bower of myrtle and roses was the earliest
temple dedicated to love and beauty, and that
to this happy spot the youth invited his spouse

by means of floral emblems.

Milton thus pictures the first parents of

mankind :

“* Hand in hand alone they pass’d
On to their blissful bow’r: it was a place
Chos’n by the sovereign planter, when he fram’d
All things to man’s delightful use ; the roof
Of thickest covert was inwoven shade,
Laurel and myrtle, and what higher grew

10 INTRODUCTION.

Of firm and fragrant leaf; on either side

Acanthus, and each odorous bushy shrub,

Fenc’d up the verdant wall; each beauteous flower,

Iris all hues, roses and jessamine,

Rear’d high their flourished heads between, and
wrought

Mosaick ; underfoot the violet,

Crocus, and hyacinth, with rich inlay,

Broider’d the ground, more colour’d than with stone

Of costliest emblem.”

The ancient and silent language of flowers
lends its aid to gratitude, friendship, filial
love, and maternal fondness. Even affliction
may be soothed by the emblematical commu-
nication of sentiment. Roucher, when 1m-
prisoned by the tyrants of the revolutionary
tribunal of France, amused himself by the
study of floral language, his daughter being
allowed to send him flowers to the prison.
Thence a few days before he met his fate on
the scaffold, he sent back to this favourite
child, two dried lilies, to express both the
purity of his heart, and the fate which

awaited him.

INTRODUCTION. bi

Sadi the Persian poet, when a slave, pre-
sented a rose to his lord with this pathetic
accompaniment : ‘do good to thy servant
whilst thou hast the power, for the season of
power is often as transient as the duration of
this beautiful flower.” The heart could not
resist what was so forcibly communicated by
the ear and the eye, and Sadi consequently

obtained his freedom.

The Eastern nations not only used emblems
in writing, but they also expressed them-
selves by figurative language in conversation. |
Thus we find in Scripture that the “ harvest”
or ‘‘ the reaping of the earth,” was symbolical
of the gathering in of the Jewish people, and
the “‘ vintage” the symbol of judgment.

Heraldry is nothing more than a pictorial
style of writing the achievements of men,
which was better adapted to the age in which
it originated than a more mysterious style,

since even the most illiterate could conceive

12 INTRODUCTION.

the meaning of such a display, for painting
is an universal language that all countries
equally understand. ‘ Painters,” says Browne,
‘are the visible representers of things, and
such as by the learned sense of the eye en-

deavour to inform the understanding.”

When the Israelites were divided into
twelve tribes, their great lawgiver affixed to
each a certain emblem or device as a peculiar
mark, by which they were to be distin-
guished, and these were arranged according to

the prophetic blessing of the patriarch Jacob.

The shields of the Greek heroes, described
by Homer, /Eschylus, and Virgil, were no-
thing more than symbolical emblems allusive
to past exploits or predicted achievements, as
were also the reverses of their medals and

comns.

In the early days of our own history we

find the rudest symbols were sufficient _ to

INTRODUCTION. 13

answer the purpose of distinguishing one man,
or band of men, from another. The Scottish
clans were generally particularised by the

pattern or colours of their tartan plaid.

But this was found insufficient without the
aid of floral emblems, and they therefore
adopted the plan of ornamenting their bonnets
or helmets with a sprig or branch of a plant as
a symbolical badge of their various bodies.
This ancient custom was again revived when
his majesty visited his northern capital in he
year 1822. His loyal Scottish subjects on
that joyful event, paid their respects to their
sovereign, at the palace of Holyrood House,
each wearing the heraldic emblem of his
clan. And as it may be interesting to their
southern friends to know these symbols of the
Scotch families, we have added a list of such
as appeared at the royal court at Edinburgh
on this occasion, to which we add the Gau-
lie and Scottish names of the plants, as well

as that of the English and generic definitions.

14

INTRODUCTION.

Highland clans. Gaulis.

Buchanan
Cameron
Campbell
Chisholm
Colquhoun
Cumming
Drummond

Farquharson

Ferguson
Forbes

Frazer

Gordon

Graham

Grant

Gunn

Lamont

M<‘Allister

M‘Donald

Am beatha
An darach
Roid

Am fearna
An Calltain

Seileach

An cuil-fhionn

Meuran-fith

——— een

Bealaidh

An t iudhar
Eidhionn-na-

craige

Muileag

Lus-nan-laogh

Abhal-fiad-
haich
Fraoch

Curachd-na-

ew aig

Scottish. English.

Birk

Gaul
Eller

Sough

Hather

Classical.
Birch Betula
Oak Quercus
Myrtle Myrica
Alder Alnus
Hazel Corylus
Sallow Salix caprea
Holly Ilex aquifolina
Purple fox- Digitalis

glove
Poplar Populus alba
Broom Spartium sco-
parcam

Yew Taxus
Ivy Hedera

Spurge lau- Daphne laur-
rel eola

Cranberry- Vaccinium ox

heath yeorlos
Rosewort Rhodiola
rosea

Crab-apple Pyrus malus
tree
Five leaved Erica cinerea
heath
Heath bell Campanula ro-
tundifolra

Highland clans. Gaulis.

M‘Donnell

M‘Dougall
M‘Farlane

M‘Gregor

M‘Intosh
M‘Kay

M‘Kenzie
M‘Kinnon
M‘Lachlan
M‘Lean
M‘Leod
M‘Nab
M‘Neill
M‘Pherson

M‘Quarrie

Feamainn

INTRODUCTION. 1S

Lus-nan-cigh- ———.
reag
An Giuthas

Scottish.

English. Classical.

Mountain Erica vulgaris
heath

Cypress Cypressus

Cloud Berry Rubus chame-
heath Morus

Scotch fir Pynus sylves-

tris
Boxwood Buzxus
Bulrush —- Scirpus lacus-

tris

Cip-chaan-du’ Anstra- Deer grass Scirpus caspi-

libus
Achlasan-
Challum chille ———
Craobh-chao- Roan

rain

Lus-nam-
braoileag

tosus
St. John’s Hypericum per-
wort foratum
Mountain Sorbus aucupa-
ash ria
Black berry
heath

Red whortle Vaccinium viti-
_ berries sidea
Rose bush

berries

SeaWare Bladder fu- Fucus vesiculos

cus

Variegated Buxus

box

Black thorn Prunus spinosa

16

Highland clans. Gaulis.

M‘Rae
Munroe
Menzies
Murray
Ogilvie

Oliphant

Robertson

Rose

Ross

Sinclair

Stewart

Sutherland

INTRODUCTION.

Garbhag-an-t- ———

fleibh

Ninsionn —_——
An-t’arteal ae

An sgitheach ————

Plinntrinn Plane
tree
Raineach Brachens
An fhearr- —_—
dhris

Braoileaga-
nan-con

Seamar — ==

Cluas-an- —————

fheidh

Scottish.

English. Classical.
Fir club Lycopodium se-
moss lago

Eagles fea-

thers
Ash Fraxinus
Juniper Juniperus

Hawthorn Crataegus ory-
acantha
Great maple Acer pseudo-
platanus
Fern Pteris aquilina

Briar rose Rosa canina

Bear berries Arbutus uva ursz

Clover Trifolium re-
pens
Thistle Cardus

Cats-tail Phleum nodo-

grass sum

In addition to these emblems the chief of

each respective clan wore two eagles’ feathers

attached to the badge in his bonnet.*

* Blackwood’s Magazine.

INTRODUCTION. i

Poetical fiction makes the use of heraldic
ensigns of greater antiquity than the globe
itself.

“« He from the glittering staff unfurl’d
Th’ imperial ensign, streaming to the wind,
With gems and golden lustre rich emblaz’d,
Seraphick arms and trophies.”

Paradise Lost.

That the use of heraldic emblems greatly in-
creased throughout Europe during the crusades
is generally known, and where, as a flattering
badge, every private soldier wore a cross of
red stuff sewed to his surcoat, from which cir-
cumstance these romantic wars were called
crusades, from croisades. Achievements were
also painted on the outer tunic or coat, and
from this custom originated the term “ coat of
arms.” But the rudeness of the delineation
of the artists of those days frequently caused
the representation to be misconceived, even the
fleur-de-lys has often been taken for trefoil,

and sometimes drawn as a spear’s head. The

Cc

18 INTRODUCTION.

lions painted on the banner of Richard the

First were taken for leopards.

“ Tu vedi ben quella bandiera grande
Ch’ insieme pou le fiordihgi e 1 pardi.”
Orland. Fur. Cant. x. st. 76.

‘“* Yon ensign view, where waving in the wind
Appear the fleur-de-lys and leopards join’d.”’

This verse alluded to the shield of Richard the
First, which was suspended in the hall of the
Knights Templars at Paris. Again it is thus
mentioned in the romance of Richard “‘ Coeur
de Lyon.”

“* Upon his shoulders a scheld of stele

With the lybbardes painted wele.”

Heraldic emblems were used in this country
as long back as the year 1189, they were
generally painted on a small shield and worn
fastened to the belt. During feasts, and other
pacific solemnities, the shield of each knight
was suspended behind him.

‘“« The scheldys hanginge on the hookes.”
Lydgate.

INTRODUCTION. 19

The stars and orders which modern sove-
reigns bestow on their princes and nobility,
are merely emblematical ornaments of their

monarchs favour.

His holiness the pope carries a representa-
tion of St. Peter’s key as an emblem of great
trust. And most of the European cities and
towns derive their arms from some symbolical
allusion to the history of their particular spot
or neighbourhood, as the various incorporated
companies have some device in their arms em-
blematical of their profession or trade. Thus
King Edward the Third granted the Company
of Grocers, a cheveron, gules, between nine
cloves, sable. Henry the Seventh gave the
Company of Merchant Taylors, a tent-royal

between two parliamentary robes.

The Company of Apothecaries are repre-
sented by glorious Apollo mounted on the ser-
pent Python, with a bow in one hand, and

er2

20 INTRODUCTION,

an arrow in the other; emblematical as we

may suppose of their powers to assist death.

Emblems in general are ingenious pictures,
representing one thing to the eye and ano-
ther to the understanding. The rebus, or re-
presentations of names by familiar images
was invented in Picardy, and imported to us
by the English residing at Calais. This sym-
bolical mode of describing proper names was
in great use with the monks of those days,
who sometimes made the analogy so remote
as to require interpretation. When any
name ended in “ ton,” the tun. or vessel was
usually substituted, of which numerous in-
stances are found in stained glass. Thomas
Compton, abbot of Cirencester in 1480, ina
window of stained glass which he contributed
to our lady’s chapel at St. Peter’s in Glou-
cester, has his rebus (a comb and a tun) very
frequently repeated. John Naileheart, abbot
of St. Augustines, near Bristol, in 1510, bore

INTRODUCTION. 21

upon the escutcheon in his seal a human
heart proper, pierced with five nails, in allu-
sion both to the ‘* quinque vulnera” and his

own surname.

We have been too much amused by Pea-
cham’s account of the rebuses that were in-
vented during the reign of Charles the First,
to withhold them from our readers. ‘This au-
thor says “ Excellent have beene the conceipt
of some citizens, who wanting armes, have
coed themselves certaine devices as neere
as may be alluding to their names, which we
call rebus. Master Jugge the printer, (as you
may see in many of his bookes,) tooke, to ex-
presse his name, a nightingale sitting in a
bush with a scrowle in her mouth, wherein

was written Jugge, Jugge, Jugge.”

‘One Foxre-crafte caused to be painted in
his hall and parlour a foxe, counterfeiting
himselfe dead upon the ice, among a company

of ducks and goslings.”

22 INTRODUCTION.

«‘« One Master Gutteridge drew for himselfe
a giant standing in a gutter, and looking over
the ridge of a house, which could not chuse

but make Guttertdge.”

The same author says “‘ A churchwarden of
Saint Martins in the Fields, I remember
when I was in that parish, to expresse Saznt
Martins in the Fields, caused to be engraven
a martin (a bird like a swallow) sitting upon
a molehill betweene two trees, which was
Saint Martins in the Fields. It is there yet

to be seene upon the communion cup.”

The celebrated Le Notre, who planted the
gardens of Versailles, Saint Cloud, the Tuille-
ries, the Champs Elysées, and several other
royal pleasure grounds, was rewarded by a
patent of nobility, by Louis the Fourteenth,
on which occasion he chose for his arms a
cabbage, with a spade and a rake for sup-
porters ; alleging that he owed so many ob-

ligations to gardening, that he would not

INTRODUCTION. 23

have his descendants lose the remembrance of
them.

In the gallant days of knight-errantry,
respectful and faithful love often had _ re-
course to the symbolical language of flowers,
and the bashful swains of our rural scenes still
frequently explain their first passion by the
assistance of these emblems. Although un-
practised in the rules of the floral grammar,
they are instructed by nature to seek the
earliest or the fairest flower of the season,
scarce knowing why they wait at the stile, or
wherefore they enter the wicket to present it.
Their wish is to please, the flower proves

it, and a smile rewards them.

Cottage friendship is frequently commenced
through the aid of flowers, for where the
tongue is disposed, but reluctant to say to
its neighbour, come let us live in friendship
and kindness, a nosegay will explain the

wish, and the offer of a few flowering plants

24 INTRODUCTION.

expresses more powerfully a desire for good
neighbourhood, than all the words of village
dialect.

But to express ourselves more readily by
floral emblems, it is necessary that we should
lay down grammatical rules for the govern-
ment of this silent language before we pro-

ceed to the dictionary of emblems.

The first principle is to observe that the
pronoun [, or me, is expressed by inclining
the flower to the left, and the pronoun thou,
or thee, by sloping it to the right, but when
represented by drawings on paper, these po-
sitions should be reversed, as the flower should
lean to the heart of the person whom it is to

signify.

The articles a, an, and the, may be ex-
pressed by a tendril, the first by a single line,
thus 92-@ , the second by a double ten-

dril_ a 2, and the third by one with

three branches 4" 2.

INTRODUCTION. ao

The second rule is, that if a flower presented
upright expresses a particular sentiment, when
reversed it has a contrary meaning. Thus,
for example, a rose bud upright with its
thorns and its leaves means, ‘ I fear, but I
hope ;” if the same bud is returned held down-
wards, it signifies, ‘‘ you must neither hope
nor fear ;” but if the thorns be stripped off,
it expresses, “‘ there is every thing to hope ;”
deprived of its leaves, it signifies, ‘“ there is
every thing to fear.” Thus the expression may
be varied of almost all the flowers by changing
their position. The flower of the marigold,
for example, placed on the head, signifies
‘trouble of spirits ;” on the heart, < trouble

of love ;’ on the bosom, ‘‘ weariness.”

The pansy held upright denotes “ hearts’

’

ease ;” reversed it speaks the contrary; when
presented upright it is understood to say,
“think of me;” but when offered pendant,
it méans “ forget me.” And thus the ama-
ryllis, which is the emblem of pride, may be

made to express ‘‘ my pride is humbled,” or

26 INTRODUCTION.

“your pride is checked,” by holding it
downwards either to the left or the right, as

the sense requires.

In the same manner the wallflower, which
is made the emblem of fidelity in misfortune,
if presented with the stalk upwards, would
insinuate that the person was considered no
friend to the unfortunate. Thus various sen-
timents may be expressed by all the flowers
noticed in these emblems, but which are

principally intended as floral mottos.

joral Embiems.

2

Sh ee 2 y, ?
Py

Ln buished’ by Saunders Miley: I0- Conard Set

| |
—_— os 5

FLORAL EMBLEMS. 27

LEAFLET NUMBERS.

THE numerical emblems are simply distin-
guished by the leaflets as far as eleven. From
eleven to twenty they are denoted by berries
added to leaf ten, as in the examples 12 and
14. Twenty to a hundred is represented by
joining a compound leaf to the tenth, as in
the example 20, which expresses two tens, and
the odd number is formed by the addition of
berries, as in the representation of 35, where
three tens and five berries denote the number,

and 71 is pictured in the same manner.

A hundred is represented on the same
principal by ten tens, and which may be in-
creased by a third leaflet and a branch of
berries as far as 999, as the example 508. A

thousand is distinguished by a frond of fern

28 FLORAL EMBLEMS.

or brake, to which a leaflet may be added to
increase the number of thousands, in the
same manner as the hundreds. Thus any
given number may be explained, or the date
of the year formed by foliage, as is shewn in
the emblematical British Ewer, on which is

pictured the date of his majesty’s birth.

Thus plate may be embossed or engraved,
and china painted or enamelled, so as to com-

memorate any event by ornamental emblems.

In representing sums of money, the pounds
are to be expressed by round leaflets, the
shillings by oval, and the pence by long
pointed leaves.

Floral Emblems

a
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FLORAL EMBLEMS. 29

EMBLEMATICAL LEAVES FOR EACH
DAY OF THE WEEK.

.

The emblems of days are portrayed on a
single leaf, that they may be more readily dis-
tinguished from the numerical leaflets, and

the monthly symbolical garlands.

The idea of representing the days, is from
the creation, as described by Moses, who in-
structs us

*« In the beginning how the heayen and earth

Rose out of Chaos.”
Milton.

MONDAY.

The emblematical leaf of this day, is that
of the lotus or water lily, Nymphaa, equally
divided by light and darkness. The lotus leaf

30 FLORAL EMBLEMS.

has been selected because the eastern nations

consider it the

‘«* Emblem and cradle of creative night.”

It was anciently revered in Egypt, as it is
at present in Hindostan, Tibet, and Nepal,
where they believe that it was in the conse-
crated bosom of this plant, that Brahma was

born ; and on which Osiris delighted to float.

This day derives its name from moon and
day, it being anciently set aside for the wor-

ship of the changing luminary of the night.

“‘ Queen of the silver bow !—by thy pale beam
Alone and pensive, I delight to stray,
And watch thy shadow trembling in the stream,
Or mark the floating clouds that cross thy way.
And while I gaze, thy mild and placid light
Sheds a soft calm upon my troubled breast :
And oft I think—fair planet of the night,
That in thy orb the wretched may have rest :
The sufferers of the earth perhaps may go,
Releas’d by death—to thy benignant sphere ;
And the sad children of despair and woe
Forget, in thee, the cup of sorrow here.”
Charlotte Smith.

FLORAL EMBLEMS. al

TUESDAY.

The symbolical leaf of Tuesday is divided
into the waters and the heavens, which are
distinguished by one half being light, and

the other blue or sea green.

This day is called Tuesday after the Saxon
name which signifies the day of Mars, “ the
dreadful god of war,” and from hence the
French call it Mardi.

WEDNESDAY.

The Pe dvlermationl leaf for this day is di-
vided into three colours, light for the heavens,

blue for the waters, and green for the earth.

** Th’ imprison’d sea, that restless ebbs and flows,

The fluctuating fields of liquid air,

And the wide regions of the land, proclaim

The power divine, that rais’d the mighty frame.”
Blackmore.

32 FLORAL EMBLEMS.

Wednesday takes its derivation from the
Goths, who named it after their god Woden,
or Odin. Scandinavian Mythology imforms
us, that Odin put off his mortality in Sweden,
declaring, that he was going into Scythia to
join the deities at the immortal banquet, where
he would receive those who died with arms in
their hands. The Swedes call this day Odens-
day, it being most probably the day on which
that great warrior died.

“‘ T was rock’d in giants’ cradle,
Giants’ lore my wisdom gave ;
I have known both good and evil,

Now I lie in lowly grave.”
Herbert’s Helga.

THURSDAY.

This day is represented by a green lotus
leaf, in which is placed the flower as figura-

tive of the luminary then created.

“* Nature’s high birth her heavenly beauties show ;

By every feature we the parent know.

FLORAL EMBLEMS. 3a

Th’ expanded spheres amazing to the sight,
Magnificent with stars and globes of light.”

Blackstone.

Thursday may be drawn or represented by

any leaf on which are placed daisies or other

star flowers.

This day was dedicated to Thor, the son of
Odin; we appear to have corrupted the name
from the Danish, Thorsgday.

FRIDAY.
“<< Let the earth bring forth the living creature.”

The emblem of this day is an insect feeding
on a leaf.

The etymology of Friday, Frea’s-day, 1s
derived from Freya, Frea, or Frigga, a Saxon
deity, who was wife to Odin. She was wor-

D

34 FLORAL EMBLEMS.

shipped by most of the German tribes, and

her principal temple was at Upsal.

SATURDAY.

‘“‘T have given you every herb bearing seed, and every

tree, in which is the fruit.”’

The hieroglyphic leaf for Saturday is there-
fore filled with fruit.

“ The toil-worn cotter frae his labour goes,
This night his weekly moil is at an end ;
Collects his spades, his mattocks, and his hoes,
Hoping the morn in ease and rest to spend.”

Burns.
Etymologists disagree respecting the deri-
vation of the word Saturday. Some suppose
it to have been so called after the Grecian
deity Saturn, but as the other days of the
week owe their names to the Scandinavians,
it is most reasonable to surmise that this day

was named after the Saxon‘idol petep.

FLORAL EMBLEMS. 30

SUNDAY.

The Sabbath day is distinguished bya simple

olive leaf.

This day was anciently dedicated to the
bright luminary of day, and from hence was
called Sun-day, after the Gothic swnno, or the

Saxon word sunna.

Sabbath is derived from an Hebrew word,
signifying rest.

“* Here ev’ry day was Sabbath: only free
From hours of pray’r for hours of charity ;
Such as the Jews, from servile toil releast,
Where works of mercy were a part of rest ;
Such as blest angels exercise above,

Vary’d with sacred hymns and acts of love
Dryden.

{”

Graham pictures the blessings of the Chris-
tian Sabbath in the following beautiful lines :

‘“‘ Hail, Sabbath ! thee I hail!—the poor man’s day,
On other days the man of toil is doom’d
p 2

load

864 FLORAL EMBLEMS.

To eat his joyless. bread lonely—the ground,

Both seat and board, screen’d from the winter’s cold
And summer’s heat by neighbouring hedge or tree ;
But, on this day, embosom’d in his home,

He shares the frugal meals with those he loves.—
With those he loves, he shares the heartfelt joy
Of giving thanks to God—not thanks of form,

A word and a grimace; but reverently,

With cover’d face and upward earnest eye !

Hail, Sabbath, thee I hail!—the poor man’s day ;
The pale mechanic now has leave to breathe
The morning air, pure from the city’s smoke.
While wandering slowly up the river side,
He meditates on Him whose power he marks ,
In each green tree, that proudly spreads the bough
As in the tiny dew-bent flowers that bloom
Around its roots—and while he thus surveys
With elevated joy each rural charm,
He hopes, yet fears presumption in his hope,
That Heav’n may be one Sabbath without end !”

Floral Emblems

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FLORAL EMBLEMS. oe

EMBLEMS FOR THE CALENDAR
MONTRS.

JANUARY.

““ Come, melancholy moralizer—come !
Gather with me the dark and wintry wreath ;
With me engarlan’d now.”
Le jour de l’an.”

This month is represented by a robin en-
circled in a garland of sweet-scented tussilage,
Tussilago fragrans. Since the one cheers our —
dwellings at this season by its cherup, whilst
the other regales the early month by its fra-
grance.

“* Hail! then—hail to thee, January, all hail!
Cold and wintry as thou art.”
‘« —___ Hark! even now the merry bells ring round
With clamorous joy to welcome in the day,
This consecrated day,

To Mirth and Indolence.”’

38 FLORAL EMBLEMS.

“The Red-breast
= Half afraid, he first
Against the window beats: then, brisk, alights

On the warm hearth ; then, hopping on the floor,
Eyes all the smiling family askance,

And pecks, and starts, and wonders where he is ;
Till more familiar grown, the table crumbs
Attract his slender feet.”

Peacham says, ‘“‘ January should be clad
all in white, like the colour of the earth at
this season, blowing his nails; in his left arm
a billet, the sign Aquarius standing by his

side.”

This month and the next were added to the
year by Numa Pompilius, and had the name
from Janus, a Roman god, painted with two
faces, (signifying providence or wisdom.) judg-

ing by things past of things to come.

FLORAL EMBLEMS. 39

FEBRUARY.

“ You have such a February face,
So full of frost, of storm, and cloudiness.”

Shakspeare.

- As an emblem for this month, is presented
a wreath of Snow-drops, Galanthus nivalis,
surrounding a pair of Goldfinches, as birds
usually couple about the middle of February,
when the good Bishop St. Valentine’s day is
celebrated ; for,

“* All the air is his diocese,
And all the chirping choristers
And other birds, are his parishioners.
He marries every year
The lyrique lark, and the grave whispering dove ;
The sparrow, that neglects his life to love ;
The household bird with red stomacher ;
He makes the blackbird speed as soon
As doth the goldfinch or the halicon.”

‘“‘ February,” says Peacham, “ shall be

clothed in a dark sky colour, carrying in

40 FLORAL EMBLEMS.

his right hand, with a fair grace, the sign
Pisces.

Numa Pompilius gave February its name
a Febribus, from Agues, to which this season
is much subject ; or from Februa, which were
sacrifices offered for the purgation of the souls
of the dead; for Februs was an old verb, and

signified to purge.

MARCH.

‘« Be patient, swains; these cruel seeming winds
Blow not in vain.”

Thompson.
An old distich says,

‘* March winds and April showers,
Bring forth May flowers.”

The hieroglyphics by which we would dis-
tinguish this month are a bird’s nest encircled

in a garland of amygdalus, the almond,

“ That blooms on a leafless bough.”’

ny
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FLORAL EMBLEMS. 4]

Peacham pictures March in a “ tawny dress,
with a fierce aspect, a helmet upon his head, to
show this month was dedicated to Mars his
father; the sign Arzes in his right hand, lean-
ing upon a spade, in, his left hand almond
blossoms and sciens; upon his arm a basket

of garden seeds.”

APRIL.

“* Men are April when they woo ; December when they
wed.” Shakspeare.

As emblematical of the month when “ The
clouds consign their treasures to the fields ;”
we have pictured a linnet in her nest, sur-

rounded by a branch of

“ The vernal furze
With golden baskets hung! Approach it not,
For ev’ry blossom has a troop of swords
Drawn to defend it.”’
Hurdis.

42 FLORAL EMBLEMS.

Peacham draws ‘“‘ April as a young man in
green, with a garland of myrtle and hawthorn
buds; in one hand primroses and violets, in
the other the sign of Taurus. This month hath
the name ab aperiendo,” says Varro, ‘« because
now the earth begins to lay forth her treasures
to the world.”

‘‘ Fair handed spring unbosoms every grace.”

MAY.

‘* Love, whose month is ever May.”

“* Maids are May, when they are maids,
But the sky changes when they are wives.”
As You Like It.

“* Hail! bounteous May, that dost inspire
Mirth and youth, and warm desire ;
Woods and groves are of thy dressing,
Hill and dale doth boast thy blessing.”
Milton.

FLORAL EMBLEMS. 43

A branch of hawthorn in full flower, sup-
porting a nest of young birds “ demanding
food with constant clamour,” is presented as

the emblem of May.

“« May,” says Peacham, “‘ must be drawn
with a sweet and amiable countenance, clad
in a robe of white and green, embroidered
with daffodilles, hawthorn, and blewbottles ;
upon his head a garland of white, damask, and
red roses ; in one hand a lute, upon the fore-
finger of the other a nightingale, with the
sign gemini : it was called Maius a majoribus ;
for Romulus having divided the people of
Rome into two parts, majores and mnores,
whereof the younger were appointed to defend

their country by strength, the elder by counsel.

May, so called in the honour of one, and
June of the other,”

‘© Hinc sua majores tribuére vocabula Maro,
Junis a invenum nomine dictus adest.”’
Ovid.

44 FLORAL EMBLEMS.

JUNE.

« Child of the sun, refulgent summer comes,
In pride of youth.”

Thompson.

“« Now the air
Is rich in fragrance ! fragrance exquisite
As new mown hay !”

Mrs. Robinson.

A wreath of various grasses in flower, encom-
passing a branch of strawberries, is presented
as our emblem of the month of June. Pea-
cham dressed June in a mantle of dark grass
ereen; upon his head a garland of bents,
king-cups, and maiden’s hair ; in his left hand
an angle with a box of cantharides, in his
right the sign of cancer, upon his arm a basket
of the fruits of the season; it hath the name
either a Junvenibus, as observed in May, or

of Junius Brutus.

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Floral Emblems .

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FLORAL EMBLEMS. - 45

JULY.

«“ When now no more th’ alternate éwins are fir’d,
And cancer reddens with the solar blaze ;
Short is the doubtful empire of the night.”

e
Thompson.

This cherry-cheeked month we picture in
our emblems by a garland of purple thyme,

enclosing a bunch of red cherries.

‘< July I would have drawn,” says Peacham,
‘in a jacket of light yellow, eating cherries,
with his face and bosom sun-burnt, on his
head a wreath of centaurie and wild thyme, a
sithe on his shoulder, and a bottle at his girdle
carrying the sign Leo. This month was call-
ed July in honour of Julius Cesar, the dicta-
tor, being before called Quintzls, or the fifth

month ; for the Romans began with March.”

A6 FLORAL EMBLEMS.

AUGUST.

‘« Before the ripen’d field the reapers stand,
In fair array.”

Thompson.

This month, which was anciently called Sex-
tilis, from being the sixth from March, was
named August by the senate of Rome, in ho-
nour of Augustus Cesar, who in this month
was created consul, and triumphed thrice in
Rome. It was in this month also that he sub-
jugated Egypt to the Roman empire, and
terminated the civil wars which had so much

convulsed these warlike people.
Asa symbol of this month we weave a
wreath of wheat, barley, and oats, encircling

a branch of purple plums.

August is portrayed by Peacham in “ form

FLORAL EMBLEMS. 47

of a young man of a fierce and choleric as-
pect, in a flame coloured garment; upon his
head a garland of wheat and rye, upon his
arm a basket of ripe fruits, as pears, plums,
apples, gooseberries : at his belt, a sickle bear-

ing the sign Vergo.”

SEPTEMBER.

—— “ By the potent sun elated high,
The vineyard swells refulgent on the day.”’
Thompson.

The etymology of the name of this month
is derived from its being the seventh from

March.

September may be considered the festival

month of jolly Bacchus.
“ For clust’ring grapes are his peculiar care.”

We have therefore given as our emblem of

AS FLORAL EMBLEMS.

this month, a cluster of purple grapes, sur-

rounded by a wreath of hops.

‘The author of the Complete Gentleman de-
scribes ‘‘ September with a merry and cheer-
ful countenance, in a purple robe, and a
wreath of white and purple grapes upon his
head : in his left hand a handful of millet oats,
and panicle, carrying a cornucopia of ripe
peaches, pears, pomegranates, and other fruits
of his season, in his right hand the sign Lzbra.”
‘«¢ His purple robe sheweth how he reigneth-
like a king above other months, abounding

with plenty of things necessary for man’s life.”

OCTOBER.

«* Ye swains, now hasten to the hazel bank.”
*« In close array,

Fit for the thickets and the tangling shrub,

Ye virgins come. * * *

Floral Emblems

7

pada SEOTEES

Ciley, FAC

La! by Saunias &

FLORAL EMBLEMS. 49

* ~ ie _ the clustering nuts for you
The lover finds amid the secret shade ;

And where they burnish on the topmost bough,
With active vigour crushes down the tree ;

Or shakes them ripe, from the resigning husk,

A glossy shower.”

Hieroglyphically we emblazon this month
by a wreath of purple, crimson and white
china asters, surrounding clusters of ripe

hazel nuts.

In the reign of Charles the First, October
was represented, ‘ In a garment of yellow and
carnation, upon his head a garland of oak
leaves and acorns, in his right hand the sign
Scorpio, in his left a basket of servises, med-
lars, and chestnuts, and other fruits that ripen
late in the year; his robe the colour of the

leaves and flowers decaying.”—Peacham.

Domitian, the last of the twelve Ceesars,
commanded that this month should be called

after himself, Domitianus; but he was no

E

50 FLORAL EMBLEMS.

sooner assassinated than the senate, in order
to obliterate the name of so detestable a ty-
rant, decreed that it should be called October.

NOVEMBER.

“* November chill blaws loud wi’ angry sugh ;”’

—_——_—____—_—_—_——— “‘ the sun

Scarce spreads thro’ ether the dejected day.

Faint are his gleams, and ineffectual shoot

His straggling rays, in horizontal lines,

Thro’ the thick air; as cloth’d in cloudy storm,
Weak, wan, and broad, he skirts the southern sky ;
And, soon-descending, to the long dark night,
Wide-shading all, the prostrate world resigns.”’

Thompson.

‘« An ivy-wreath, fair learning’s prize,
Raises Mecenas to the skies.”’
Florace.

We would enliven this month of damp

clouds and dull spirits by a garland of ivy in

FLORAL EMBLEMS. ou

flower, since of old it was employed to adorn
both the brow and the bowl of Bacchus.’ And
we know not a prescription better calculated
to disperse the ennui of November than an
interesting author and a flowing bowl. From
the centre of the garland we suspend a bunch

of turnips and carrots.

Peacham draws ‘‘ November in a garment
of changeable green and black, with a garland
of olives on his head, a bunch of parsnips and
turnips in his left hand, and the sign Sagita-

rius in his right.

DECEMBER.

«« Tho’ now no more the musing ear
Delights to listen to the breeze,
That lingers o’er the green wood shade

I love thee, Winter, well.”
Southey

E 2

Cad

UNIVERSITY OF
ILLINOIS LIBRARY
AT URBAW iPAIGN

He FLORAL EMBLEMS.

As emblematical of hospitality’s festive

month.

«The cluster’d berries claim the eye
O’er the bright holly’s gay green leaves :”

We therefore weave our garland with this

glossy foliage intermixed with its vermilion

berries, from the centre of which we suspend
>)

a branch of mirth-inspiring misletoe.

Peacham says ‘“‘ December must be ex-
pressed with a horrid and fearful aspect, clad
in Irish rugge, or coarse freeze girt upon him,
instead of a garland upon his head, three or
four night-caps, with a Turkish turban over
them. His nose red, his mouth and beard
clogged with icicles, at his back a bundle of
holly, ivy, or misletoe, holding in furred mit-

tens the sign of Capricornus.

We shall conclude our emblems of the
months by Peacham’s instructions to the pain-

ters of the seventeenth century.

FLORAL EMBLEMS. 53

«¢ Moreover you must be sure to give every
moneth his proper and naturall landtskip, not
making (as a painter of my acquaintance did
in severall tables of the moneths for a noble-
man of this land) blossomes upon the trees in
December, and schoole-boyes, playing at nine

pinnes upon the yce in July.”

We derive the names of the months from
classical languages, and those of the days from

the Gothic tongue.

"ald cee se nk
.s nih aout oe) o ie bad ¥ arigies / AA Nyisi r rie aS
is “4 Fi 4 cp ed noe yor i Siter aya lil
ot exp oe ay it ¥ ¥

‘- remea “lial phan, 26! Ae ee

ny

h i‘? er iy vind “is

} : Tae 4
‘

Peet ig ae {2 34 ; “# “i ‘ea Pe: re ical an
ITA “il ' ‘} Ra Pha Hy! \ fain ve) Sess Nt } Live 4

> an < y : a Hegh ve ay
yes) (pte re

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a Gt a :

y a

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i

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ta , | :
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Leal A! .
:
it as
i =
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i
; 4
iA war ,
HP? A ori | ageh.) :
h : : }

WEL) ) e ; : i) ;
«wi

au ’

y ew] a J

i: arene |
hh y twin S
Cie
-
: = if

2 : ‘ =
5 im . Mi f
as 4 *, aN ¥ ls ;

<7 e

y 4: ail iy fern s A ; | hp

FLORAL EMBLEMS.

DICTIONARY OF EMBLEMS.

ABSENCE.

Wormwoop.—Artemisia Absinthium.

<« She was wean’d; I had then laid
Wormwood to my breast.”
Romeo and Juliet.

WE read in Watts’s Logic, that ‘“ Bitter is
an equivocal word ; there is bitter wormwood,
there are bitter words, there are bitter ene-

mies, and a bitter cold morning.” And we

56 FLORAL EMBLEMS.

will ask, who has not felt the bitterness of

absence ?

“ In spring the fields, in autumn hills I love ;
At morn the plains, at noon the shady grove ;
But Delia always: absent from her sight,
Nor plains at morn, nor groves at noon delight.”
Pope’s Past.

ACCOMMODATING DISPOSITION.

VALERIAN.—Valeriana Rubra.

“* Gay loosetrife there and pale Valerian spring.”

Scott.
This plant propagates itself with equal fa-
cility in the rich borders of the parterre, or
in the dry crevices of old walls, hence the
emblem. It was formerly called Setewale.
Chaucer says,

‘“‘ Ther springen herbes grete and smale,

The Licoris and the Setewale.”’

FLORAL EMBLEMS. iY

ACTIVITY.

TuymMe.— Thymus.

“ O’er fringed heaths, wide lawns, and mountain steeps,
With silent step the artful Thyma creeps,
Unfolds with fragrant bloom her purple flow’rs,
And leads with frolic hand the circling hours.”
Rowden.

The active qualities of this plant are duly
appreciated by epicures, since it excites and
rouses their appetites, by rendering every
dish savoury in which it is used. We are
told, that the highest flavoured venison is
always found where this penetrating herb
abounds, Bees seek it with great activity :
the honey of Athens was esteemed the best
in the world, on account of the thyme which

grew on the hills which surrounded that city.

“ With shepherds on the thyming downs,
I love to pass the summer’s day.”
Willams.

28 FLORAL EMBLEMS.

ACUTE SORROW, OR. AFFLICTION.
Atort.—Aloe.

“The woful teris that thei letin fal
As bittir werin, out of teris kinde,
For paine, as is ligne aloes, or gal.”’
Chaucer.

The aloe is made the emblem of acute sor-
row, on account of its painful bitterness. The
bitter of the aloe affects the body, that of

affliction reaches the soul.

“* Sorrow that locks up the struggling heart.”
Akenside.

‘“‘ If you do sorrow at my grief in love,
By giving love your sorrow and my grief
Were both extermin’d.”
Shakspeare.

‘* Besides, you know,
Prosperity’s the very bond of love;
Whose fresh complexion, and whose heart together,
Affliction alters.”’
Winters Tale.

FLORAL EMBLEMS. a9

ADROITNESS.
SPIDER Opurys.—Ophrys aranifera.

“The spider's touch, how exquisitely fine !
Feels at each thread, and lives along the line.”
Pope.

This flower is made emblematical of adroit-
ness or skilfulness, in allusion to the insect it

resembles.

AFTERTHOUGHT.

Caressy’s Star-wortr.—Aster grandiflorus.

This North American plant has been made
to represent afterthought, because it sends
forth its flowers in the month of November,

when most others have disappeared.

60 " FLORAL EMBLEMS.

Afterthoughts are good when properly used,
but bad when

“ Afterthought, and idle care,
And doubts of motley hue, and dark despair ;
Suspicions, and fantastical surmise ;

And jealousy, suffus’d with jaundice in her eyes,
Discolouring all she view’d of

Dryden’s Fables.

AGITATION.
Movine PLrantr.—Hedysarwn gyrans.

“ Where dwells this sov’reign arbitrary soul,
Which does the human animal controul,
Inform each part, and agitate the whole ?”’

Blackmore.

There is not a greater phenomenon in the
history of plants.than is exhibited in this na-

tive of the banks of the Ganges.

It is difficult to account for the voluntary

motion of the leaves of this plant, which does

FLORAL EMBLEMS. 61

not seem to depend upon any external cause,
and is not occasioned by any touch, irritation,
or movement in the air; or is affected by the
sun’s rays, for the plant is fond of shade, and
the leaves revolve well on rainy days, and
during the night; but when exposed to too
much wind or sun, it is quiet. One leaflet is
frequently revolved, whilst the others on the
same petiole are quiescent ; sometimes about
half the leaflets are in motion at the same time,
and at others the whole plant is agitated as if
it had a soul ill at rest.

62 FLORAL EMBLEMS.

AMIABLENESS.

Wuitr JasmMine.—Jasminum Officinale.

“« The jessamine, with which the queen of flowers
To charm her god, adorns his favourite bowers ;
Which brides by the plain hand of neatness drest,
Unenvied rival! wear upon their breast;
Sweet as the incense of the morn, and chaste

As the pure zone which circles Dian’s waist.”
Churchill.
The beauty of this unassuming flower is even
surpassed by its delightful odour ; may we thus
always find loveliness accompanied by amia-
bility,

«* And brides, as delicate and fair
As the white jasmine flowers they wear.”
T. Moore.

FLORAL EMBLEMS. 63

ARCHITECTURE.
Canpy-rurrT.—lberis. |

** Our father’s next, in architecture skill'd

Cities for use, and forts for safety build :

Then palaces and lofty domes arose ;

These for devotion, and for pleasure those.”
Blackmore.

This little plant has been made the emblem
of architecture, because its flowers are disposed
in stories from the bottom of the stalk to the
top, producing a resemblance to the open co-
lumns of one of the most delicate orders of ar-

chitecture.

64 FLORAL EMBLEMS.

ARDOUR.

CucKOw-PINT.—Arum maculatum.

** Voyez, 0 prodige étonnant !
L’Arum, qu’ admire l’Italie,
Si le neeud de ’hymen la lie,
Lancer, de son spadix brulant,
Un feu bien plus etincelant
Qu’ a toute autre heure de sa vie.”

The phenomenon which this plant displays
at the period of impregnation, determined the

poets to make it the emblem of ardour.

ARGUMENT.

Fic.—Ficus.

‘* Beneath his ample leaf, the luscious fig.”
Thompson.

This emblem is derived from the circum-
stance of Cato’s taking a fig in his hand, when

he stimulated the Roman senators to declare

FLORAL EMBLEMS. 65

war against Carthage. ‘It is not yet three
days,” said this orator, “‘ since this fig was
gathered at Carthage; and by it see how near
to the walls of our city we have a mortal
enemy.” With this argument he prevailed
upon them to begin the third Punic war, in
which Carthage, that had so long been a rival

to Rome, was utterly destroyed.

Argument is frequently used as a battering
ram by those who wish to force their opinions

on others.

ART.

BEAR’S-BREECH.—Acanthus.

“« Two bowls by the same skilful hand I’ve turn’d,
The handles round, and with green leaves adorn’d,

Of soft acanthus.”
Lauderdale’s Virgil.

The acanthus being also the plant from

which Callimachus modelled the Cormthian

F

66 FLORAL EMBLEMS.

chapiter, it has been very properly made em-
blematical of art.

‘“« The art of our necessities is strange,

That can make vile things precious.”’

Shakspeare.

ARTIFICE.

VIRGIN’S-BOWER.—Clematis flammula.

‘“« Clematis, wreath afresh thy garden bower.”

‘“« And virgin’s bower, trailing airily.”
Keats.
When artifice is innocently resorted to for
the purpose of giving pleasure, it may be com-
pared to the agreeable fragrance of the sweet
clematis. But when it is used to entangle the

unwary, it becomes the agent of him whom
Milton thus describes ;

“* He, soon aware,
Each perturbation smooth’d with outward calm,
Artificer of fraud! and was the first

That practis’d falsehood under saintly show.”

FLORAL EMBLEMS. 67

ASSIDUITY.

LavENDER.—Lavendula Spica.

** And lavender, whose spikes of azure bloom
Shall be erewhile in arid bundles bound,
To lurk amidst her labours of the loom,
And crown her kerchiefs clean with mickle rare perfume.”
Shenstone.

In the floral emblems of the Turks this
agreeable plant represents assiduity ; but the
continental emblematists make it symbolical
of mistrust and disunion, because it is_ fre-

quently used to cover disagreeable odours.

Mistrust can only belong justly to such as
are accustomed to cheat and deceive, and

those need no greater curse for their misdeeds.

68 FLORAL EMBLEMS.

ASSIGNATION.

PiIMPERNEL.—Anagallis.

‘« Clos'd is the pink-ey’d pimpernel.

"Twill surely rain, I see, with sorrow ;
Our jaunt must ‘be put off to-morrow.”

Dr. Jenner.

This sensitive little flower is made the sym-
bol of assignation, because the closing of its
petals foretels wet; but when fully expanded
it proclaims fair and dry weather. It is con-
sequently called the peasant’s barometer, and

the shepherd’s weather-glass.

The peasant loiters at the appointed stile,

and the

“« Shepherd tells his tale
Under the hawthorn in the dale.”’

Milton.

FLORAL EMBLEMS. 69

ASYLUM, OR SUCCOUR.

JUNIPER.—Juniperus.

“‘ From lowest juniper to cedar tall.”

“‘ They shall be your refuge from the avenger of blood.”
Joshua.

This shrub of the mountains, which shel-
tered Elyah from the persecutions of King
Ahab, has hence been selected as the type for

an asylum.

Britannia may with just pride add this em-
blem to her national escutcheon, since in
modern times, persons of all countries may

say with the psalmist,

“Thou hast been a shelter for me, and a strong tower

from the enemy.”

70 FLORAL EMBLEMS.

ATTACHMENT.

ScARLET-FLOWERED [poma:a.—IJpomea coceined.

This beautiful plant is made the emblem of
attachment from its entwining nature ; which,
like the bind weed of our fields, fixes itself to
the first prop within its reach ;

ce

recompensing well
The strength they borrow with the grace they lend.”
Cowper.

AUSTERITY.

Fuier’s Teaseit.—Drpsacus fullonum.
“* Let not austerity breed servile fear.”
; Roscommon.
This plant is made the emblem of austerity
from the extreme roughness of its conical re-
ceptacle, which is used to raise the nap upon

woollen cloths, and hence its English name.

Austerity in courtship is generally followed

by brutality in wedlock.

FLORAL EMBLEMS. 71

AVERSION.

Cuina or INpIAN Pinx.— Dianthus Chinensis.

“* Hast thy uncertain bosom ever strove,
With the first tumults of a real love?
Hast thou now dreaded, and now bless’d his sway,

By turns averse and joyful to obey ?”
Prior.

We presume the China pink has been
placed in floral hieroglyphics to represent
aversion, in allusion to the custom of the Chi-
nese, who wish to avoid all intercourse with

other nations.
The great Verulam says,

<“¢ A natural and secret hatred and aversa-
tion towards society, in any man, hath some-

what of the savage beast.”

Ve FLORAL EMBLEMS.

BASHFUL MODESTY.

SENSITIVE PLANT.—Mimosa sensitiva.

“* Whence does it happen that the plant, which well
We name sensitive, should move and feel ?
When know her leaves to answer her command,
And with quick horror fly the neighbouring hand ?”’

Prior’s Solomon.

“ This little plant—how cautiously it meets
Th’ approaching hand! advance, and it retreats !
See how it flies from the suppos’d disgrace,

And shrinks from contact of the rude embrace !

So wisdom folly should for ever shun ;

So virtue from the touch of vice should run ;
So female beauty should from flatt’ry fly,
And spurn the incense of the gilded lie.”’

Modesty becomes the brave as well as the

fair. Young says,

‘“‘ Of boasting more than of a tomb afraid ;

A soldier should be modest as a maid.”’

FLORAL EMBLEMS. 73

BASHFUL SHAME.

Paowny.---Paony.

“« There might ye see the piony spread wide.”’
Cowper.

The blushing petals of this flower are made
symbolical of the countenance that is rouged

with conscious shame.

Impudence frequently takes delight in
painting the cheeks of females, by talking in
a way that modesty cannot answer. These

should be treated as the nettles of society.

74 FLORAL EMBLEMS.

BEAUTY.

Fuui-BLown Rose.--- Rosa.

“* Emblem of beauty ! for to thee it is
That passion likens woman’s loveliness.”

Fitzjohn,

“* Rose! thou art the sweetest flower

That ever drank the amber shower ;

Even the gods, who walk the sky,
Are amorous of thy scented sigh.”

Moore’s Anacreon.

This queen of flowers is considered the pride
of Flora, and the emblem of beauty in every

part of the globe.

Locke says, ‘‘ Beauty consists of a certain
composition of colour and figure, causing de-
light in the beholder.” And trouble in the
breast say the Damons of every age.

** Your beauty was the cause of that effect,

Your beauty, that did haunt me in my sleep.”

FLORAL EMBLEMS. 75

The rose is also symbolical of England, but for
which we would select the variegated or car-
nation rose, commonly called the York and

Lancaster rose.

* Emblem of England, hail! thou fairest flower,
That paints the garden and perfumes the gale.”
Fitzjohn.

BEAUTY ALWAYS NEW.

Cuina Rose.---Rosa Semperfiorens.

“* Rose,
Unbent by winds, unchill’d by snows,
Far from the winters of the west,
By every breeze and season blest,
Returns the sweets by nature given
In softest incense back to heaven ;
And grateful yields that smiling sky,
Her fairest hue, and fragrant sigh.”

Lord Byron.

Moderate beauty when combined with in-

nocent playfulness is constantly delighting by

76 FLORAL EMBLEMS.

the fresh charms it displays. Like the China
rose, which although it is neither the most fra-
grant or beautiful, is perhaps the most va-
luable, since its duration is prolonged by a suc-

cession of beauties.

BEAUTY IS YOUR ONLY ATTRACTION.

Japan Rost.—Camellia Japonica.

“«« Of colours, changing from the splendid rose,
To the pale violets dejected hue.”
Akenside.

This beautiful flower, the pride of the Ja-
panese grove, although it attracts all eyes by
its beauty, fails for want of fragrance to at-
tach us like the rose, whose essence renders it
more precious than even its unequalled beauty.

«« Amoret, my lovely foe,
Tell me where thy strength doth lie :
Where the power that charms us so,

In thy soul, or in thy eye?”
Waller.

FLORAL EMBLEMS. 7

BENEFICENCE.

PotatoE.—Solanum tuberosum.

This root, which forms alike the poor man’s
bread and the rich man’s luxury, is properly
made the representative of beneficence. It is
the palladium against famine, forming flour
without a mill, and bread without an oven.

It was first procured when

* Raleigh, with hopes of new discov’ries fir’d,
And all the depth of human wit inspir’d,
Mov’d o’er the western world in search of fame,
Adding fresh glory to Eliza’s name.”
D. King.

~
GO

FLORAL EMBLEMS.

BIRTH.

Ditrany.—Origanum Dictamus.

** A branch of healing dittany she brought,
Which in the Cretan fields with care she sought.”
Virgil.
This plant, so celebrated for having been se-
lected by Venus for the cure of A‘neas, is pre-
sented as the symbol of nativity or birth;
perhaps from the phenomenon in its natural
history. These flowers exude a viscid juice,
which towards the evening exhales in vapour
or gas, and which is so ignitible, that the
smallest flame will set it in a blaze, which
runs over the whole plant without causing the
least injury.
‘“* Contemplez cette fraxinelle,
Lors qu’ Apollon fuit sous les eaux,
A coté de sa tige fréle
Agiter d’ imprudens flambeaux ;
A I instant sa robe légére
S’ embrase, étincell de feux,

Et le jour, inquiet, douteux,

Croit encor régner sur la terre.”

FLORAL EMBLEMS. 79

BLACKNESS.

Exsony.—Diospyros Ebenum.

“« Oft by the winds extinct the signal lies,
Ere night has half roll’d round her ebon throne.”

Gay.
———— “ Black as ebony!
She abated me of half my train ;
Look’d black upon me.”
King Lear.

BLUNTNESS OR ROUGHNESS OF
MANNERS.

Borace.—Borago.
** Ego borago gaudia semper ago.”’
This stimulating plant, has its stalks and

leaves covered with a rough hairy substance,

and is therefore chosen for this emblem. Pope

Says,

«Tis not enough your counsel still be true :

Blunt truths more mischief than nice falsehoods do.”

80 FLORAL EMBLEMS.

BLUSHES.

MarsoramM.—Origanum.

“* Bind your brows with the flowers of sweet smelling
marjoram.”
Catullus.

The scaly leaves of some species of marjoram
are delicately tinged with red, as when the
blood is suddenly sent into the cheeks of youth.

** T have mark’d
A thousand blushing apparitions
To start into her face ; a thousand innocent shames.”
Shakspeare.

FLORAL EMBLEMS. Sl

BOASTER.

Hyprancea.—Hydrangea Hortensis.

“< No more delays, vain boaster! but begin ;
I prophesy beforehand I shall win :
Pll teach you how to brag another time.”
Dryden.

This Chinese Guelder rose is presented as
the emblem of a boaster, because its magni-
ficent flowers are never succeeded by fruit,
thus resembling the vaunting words of a brag-
gadocio, which are not followed by suitable

results.

“* Who knows himself a braggart,
Let him fear this ; for it will come to pass,
That every braggart shall be found an ass.”
Shakspeare.

82 FLORAL EMBLEMS.

BOLDNESS.

PINE.

“Yon verdant pines, that midst the winter smile,
Offspring of Scotia or Virginia’s soil.”

Delille.

These hardy offsprings of bleak and snowy
mountains are made symbolical of boldness
from the resistance they make to the rigour

of the storms.

True boldness (according to Locke) is the
power to speak or do what we intend, before

others, without fear or disorder.

Fioral Emblems

Voath and Beauty uneted by the Bonds of Love

Pabiuched by Saunders &' Cilley, 50 Comic SATEEE

FLORAL EMBLEMS. 83

BOND OF LOVE

HoneEYSUCKLE OR WoopBINE.—Lonicera.

“* So doth the woodbine, the sweet honeysuckle
Gently entwine.”

This happy emblem reminds us that sweet-
ness of disposition is a firmer tie than daz-
zling beauty.

** Copious of flowers, the woodbine, pale and wan,

But well compensating her sickly looks

With never cloying odours, early and late.”
Cowper.

BULKINESS.
Water Mreton.—Melo Citrullus.

This fruit, which flourishes and swells toa
ereat size in the sands of Egypt, is made

symbolical of bulkiness.

The murmuring Israelites exclaimed, ‘‘ We
remember the fish which we did eat in Egypt
freely ; the cucumbers and the melons.”

a2

~~

84 FLORAL EMBLEMS.

CALM REPOSE.

BucxkBean.—Menyanthes.

“« Every pilot
Can steer the ship in calms; but he performs
The skilful part, can manage it in storms.”

Denham.
This aquatic plant, avoiding the rapid
streams, seeks recesses where the unrufiled wa-
ters will allow its flowers to float in calm repose.
** Th’ hour
Of night, and of all things now retir’d to rest,

Mind us of like repose.”
Milton.

CALUMNY.

Mavpper.—Rubhia tinctorum.

“« Be thou as chaste as ice, as pure as snow,
Thou shalt not escape calumny.”
Shakspeare. |

This plant, that is so essential to dyers and

calico-printers, is made the emblem of ca-

FLORAL EMBLEMS. 85

lumny, since it leaves so permanent a stain on

the purest cloth.

L’Estrange says, ‘‘ He that would live clear
of the envy and hatred of potent calumniators,
must lay his finger upon his mouth, and keep

his hand out of the ink-pot.”

CANDOUR AND INNOCENCE.

Sweet Wuite Vio.tet.— Viola odorata.

‘“ The daughters of the flood have search’d the mead

For violets pale.”
Virgil.

This flower, that delights us so much by its
innocent perfume and spotless purity, is also
made to represent a third virtue. A sonnet of

the sixteenth century says,

** Violet is for faithfulnesse,
Which in me shall abide ;
Hoping likewise that from your heart

You will not let it slide.”
“The bond that knits together and sup-
ports all compacts, is truth and faithful-

ness.’ — Lowth.

86 FLORAL EMBLEMS.

CAPRICIOUS BEAUTY.
Musk Roste.—Rosa moschata.

‘« Their passions move in lower spheres,

>

Where’er caprice or folly steers.’
Swift.
This Barbary rose seems to have thrown off
its vegetable fragrance in favour of animal
perfume ;

«* And each inconstant breeze that blows,

Steals essence from the musky rose.”’

CELIBACY.

Rosespay Wittow Heres, or FReENcH WILLow.

Epilobium Angustifolium.

The French call this plant Laurier Saint
Antoine, after St. Antony, the first founder
of monastic institutions ; and we have there-
fore made his favourite flower the emblem of

celibae y.

FLORAL EMBLEMS. 87

Reason seems to tell us, that the most de-
vout and strict celibacy cannot be so accepta-
ble to the Almighty as the faithful observance
of the duties of husband and wife, parent,

child, and neighbour.

CHARITY.

TURNIP.

Rapa.

‘“ Turnips hide their swelling heads below.”
Gay.

Peacham pictures the month of November
with bunches of parsnips and turnips in his
right hand; and Guillim says, turnips were
used in armorial bearings to represent a
person of good disposition, who relieved the
poor. Hence we have made it the emblem
of charity:

“ Oh, charity! our helpless nature’s pride,

Thou friend to him who knows no friend: beside :

88 FLORAL EMBLEMS.

Thine are the ample views, that unconfin’d

Stretch to the utmost walks of human kind;

Thine is the spirit that with widest plan

Brother to brother binds, and man to man!”
Bowles.

CHASTE LOVE.

Acacita.—Reobinia Pseudacacia.

‘* Light-leaved acacias, and the shady plain,
And spreading cedar, grace the woodland reign.”

The beautiful blossoms of this North Ame-
rican tree are made the emblem of chaste love,
because the young Americans declare their
first passion by presenting a branch of these
papilionacious flowers to those whom Cupid
directs their choice.

*«* Ev’n here, where frozen chastity retires,

Love finds an altar for forbidden fires.”
Pope.

FLORAL EMBLEMS. 89

CHASTITY.

OrANGE FLoweErs.—Citrus Aurantium.

‘“« The punic granate op’d its rose-like flow’rs,
The orange breath’d its aromatic pow’rs.”
Swift.

These fragrant blossoms are made the em-
blem of chastity from the purity of their
white petals. One of the principal beauties
of the orange tree consists in its bearing fruit
and flowers at the same time, as is beautifully
noticed by Pope:

‘“* Here orange trees with blossoms and pendants shine,

And vernal honours to their autumn join ;

Exceed their promise in the ripen’d store,

Yet in the rising blossom promise more.”

Chastity is also represented by a branch of
the shrub called Chaste tree. Veter, or Agnus
Castus.

Diana, goddess of chastity,

And, for because that she a maiden is,

90 FLORAL EMBLEMS.

Into hire hand the branch she bereth this,
That agnus castus men call properly,
And all the ladies in hire company.”

Chaucer.

CHEERFULNESS IN OLD AGE.

MicuHaAeEtMas Datsy.—Aster Tradescantt.

We present these flowers as the happy em-
blem of cheerfulness in old age, since, like
that blessing, it lengthens the summer of our
days, and contributes towards the enlivening
of all who compose its circle.

“« At sight of thee my gloomy soul cheers up ;

My hopes revive, and gladness dawns within me.”
A. Philips.

By the assistance of the plants of China and
Florida, the reign of: Flora is considerably
lengthened in this climate; and the later
months are clad with great beauty, whereas
formerly,

‘* All green was banish’d, save of pine and yew,

That still display’d their melancholy hue ;

Save the green holly, with its berries red,

And the green moss, that o’er the gravel spread.”

FLORAL EMBLEMS. 9]

CHEERFULNESS UNDER ADVERSITY.

CHINESE CHRYSANTHEMUM.
Chrysanthemum Indicum.

«A merry heart doth good like a medicine; but a broken
spirit drieth the bones.”’ Proverbs xvii. 22.

Cheerfulness is the best shield that can be
found to lighten the strokes of adversity.

This flower, that gives so much cheerfulness
to the parterre, when nearly all the other chil- °
dren of Flora have withdrawn their smiles,
is presented as the emblem of this enviable

disposition.

92 FLORAL EMBLEMS.

CHILDISHNESS.

Butrer-cups.— Ranunculus bulbosus.

** And daisy there, and cowslip too,

And butter-cups of golden hue,

The children meet as soon as sought,

And gain their wish as soon as thought ;

Who oft, I ween, the children’s way,

Willleap the threshold’s bounds to play.”

Village Minstrel.
This flower, which so gaily bedecks our mea-

dows with its golden petals, and enters so
frequently into the sports of infancy, 1s pre-

sented as a meet emblem of childishness.

Locke says, “‘ The actions of childishness,
and unfashionable carriage, time and age
will of itself be sure to reform.” Let us
not therefore shorten the happy days of

butter-cups, or exclaim in the words of Gay,

* Let weeds, instead of butterflow’rs appear ;

And meads, instead of daisies, hemlock bear.’’,

FLORAL EMBLEMS. 93

COLD-HEARTED.

Letruce.— Lactuca.

“* Pat colworts, and comforting purseline,
Cold lettuce, and refreshing rosemarine.”
Spencer.

It is fabled, that after the death of Adonis,

Venus laid upon a bed of lettuce.

*« And now let lettuce, with its healthful sleep,
Make haste, which of a tedious long disease
The painful loathings cures.”
Columella.

94 FLORAL EMBLEMS.

COMPLAISANCE.

Common ReEEv.—Arundo phragmites.

‘“* Mincius, with wreaths of reeds his forehead cover’d o’er.”
Anes.
This grass of the rivers, which bends so rea-
dily with the current, is made the type of a
plant disposition :

** Pliant and warm may still her heart remain,

Soft to the print, but ne’er turn hard again.”

A dried reed is symbolical of a shrill scold-
mg voice.

“ [ll speak between the change of man and boy

With a reed voice.”
Shakspeare.

FLORAL EMBLEMS. 95

CONCEALED MERIT.

CortanDdER.—Coriandrum.

** Tsrael called the name thereof manna ; and it was, like
coriander seed, white.”

Exodus xiu. 31.
The seeds of the coriander were formerly
esteemed one of the best carminative medi-
cines ; and they were generally given to women
and children under the concealed form of

comfits ; hence the emblem.

None enrich their country more than those

who bring concealed merit into notice.

96 FLORAL EMBLEMS,

CONFIDENCE.

Hepatica, or Nope Liver Wort.—Anemone Hepatica.

<¢« Here blushing Flora paints th’ enamell’d ground,
Where frosts have whiten’d all the naked groves.”
Pope.

This beautiful little flower is made the em-
blem of confidence, because it dares the rigours

of the season.

“ Say, lovely gem, why dost thou come
So early in the year?
When no flowers beside thee bloom,
And through the clouds and winter’s gloom,
The sun-beams scarce appear.”

CONJUGAL FIDELITY.

Lime, ok LinpEN TreeE.—Tiha.

«© And the lime at eve

Diftusing odours.”
Cowper.

It is not easy to surmise why the linden

tree is made the representative of this blessing.

FLORAL EMBLEMS. 97

Some suppose it to be on account of its form-
erly being so frequently planted in the front
of houses to shade happy couples from the

noon-tide sun.

A botanical wag observed that each bunch

of flowers had but one tongue between them.*

“‘ He mark’d the conjugal dispute ;
Nell roar’d incessant, Dick sat mute.”
Swift.

CONSOLATION.

Snow-prop.— Galanthus nivalis.

“ A flow’r that first in this sweet garden smil’d,
To virgins sacred, and the snow-drop styl’d.”
Tickell,

The snow-drop is the first flower that awakes

from the repose of winter, and cheers us with

* The flour-stalk springs from, and is attached to a
whitish, tongue-shaped leaf, widely different both in colour
and shape to the foliage of the tree.

98 FLORAL EMBLEMS.

the assurance of the reanimation of nature;
and hence it has been made the emblem of
consolation.
“ Then, spirit flower, P’ll pluck thy bell,
An offering for my breast ;
And when ills come or passions swell,

Thy prophet flowers each storm shall quell
And give it promis’d rest.”

The Romish church dedicated the snow-
drop to the Purification of the Virgin Mary.

CONSOLATION TO THE SICK.

Porppy.—Papaver.

“ And poppies, which bind fast escaping sleep.”
Columella.

In floral language, the poppy is made the
symbol of consolation to the sick, since it pro-

cures ease and sleep to the restless invalid.

‘“‘ From the Poppy I have ta’en

Mortals balm, and mortals bane !

FLORAL EMBLEMS. 99

Juice, that creeping through the heart,
Deadens every sense of smart.”

Mrs. M. Robinson.

Fertility was hieroglyphically described by
Venus, with a head of poppy in her hand.

CONSTANCY.

Biure Pyramipat BELL FLoweEr.

Campanula pyromidalis.

“There thou shalt cull me simples, and shall teach
Thy friend the name and healing pow’rs of each,
From the tall blue-bell to the dwarfish weed,

What the dry land, and what the marshes breed.”’
Milton.

The blue campanula is made emblematical
of constancy on account of its colour. South
describes constancy asa stability and firmness
of friendship, which overlooks and passes by
lesser failures of kindness, and yet still retains

the same habitual goodwill to a friend.

Li)

AH

100 FLORAL EMBLEMS.

COQUETRY.

YELLow Day Lity.—Hemerocallis Flava.

Belle dun jour of the French.

“* Aux feux dont lair étincelle
S’ouvre la belle de jour ;
Zephir la flatte de Vaile :
La friponne encor appelle

Les papillons d’alentour.

Coquettes, c’est votre embléme :
Le grand jour, le bruit vous plait,
Briller est votre art supréme ;
Sans éclat, le plaisir méme
Devient pour vous sans attrait.”’
Philippon de la Madeleine.

This fragile beauty is made the emblem of
coquetry, because its flowers seldom last a
second day.

“ The light coquettes in sylphs aloft repair,

And sport and flutter in the fields of air.”
Pope.

Ke , Tieral Emblems.

Danger ACCOMPANYIRG l’geErY

Lableshit by saunders & : Be nant 3t*
A bed She : id
>. &
-
i”

FLORAL EMBLEMS, 101

COURAGE.

Brack PorLar.—Populus nigra.

** A double wreath Evander twined,
And poplars black and white his temples bind.”
Virgil.
The poplar was dedicated to Hercules, in
consequence of his destroying Cacus, in a
situation where these trees abounded.

“* When Teucer from his sire and country fled,

With poplar wreaths the hero crown’d his head.”
; Horace, Ode 7.

CRAFTINESS.

SwEET-wILLiaM.—Dhianthus Barbatus.

‘* Sweet-william small has form and aspect bright,
Like that sweet flower that yields great Jove delight.” .
Cowley.

This species of pink, possessing none of the

fragrance of its relatives, has had its flowers

102 FLORAL EMBLEMS.

so artfully grouped by nature, as to attract
our admiration ; and it is as frequently made
the symbol of gallantry as of craftiness. Of
craftiness, Locke says, “‘ Nobody was ever so
cunning as to conceal their being so ; and every

body is shy and distrustful of crafty men.”

CRIME.

TAMARISK.—Tamariv.

“On yon rough craig,
Where the wild tamarisk whistles to the sea blast.”
H, Davy.
It was a custom with the Romans, to put
wreaths of this flexible plant on the heads of
criminals; and hence they mention it as the
accursed or unhappy tamarisk, from which

we have devised the emblem.

Criminal love engenders deeds of wicked-
ness that too frequently deserve the wreath of

tamarisk.

FLORAL EMBLEMS. 103

CRITIC.

SeurirRTING CucumBER.—Momordica Elaterium.

‘© Now learn what mortal criticks ought to show,
For ’tis but half a judge’s task to know.”’
Pope.

This plant, which produces that rough and
powerful cathartic medicine called elaterzum,
is made the emblem of a critic. When in
skilful hands, both the juice of this squirting
fruit, and the ink which descends from the
pen of the critic, become beneficial ; but there

are some, of whom Pope says,

** Criticks I saw, that others’ names deface,
And fix their own with labour in their place.”

104 FLORAL EMBLEMS.

CRUELTY.

Stineine Nerrie.—Urtica pilulifera.

‘And rampant nettles lift the spiry head.”’
Bloomfield.

«“ Some so like to thorns and nettles live,
That none for them can, when they perish, grieve.”
Waller.

The nettle carries its cruel venom in a bag
at the base of the sting, always ready to per-
forate the incautious, and throw in its vege-
table poison, which, like slander, attacks even
the brave when it can act slyly. But, neither
the sting of the nettle, nor the tooth of a viper
is so much to be dreaded as the tongue ofa

slanderer.

FLORAL EMBLEMS. 105

A CURE.

Batm.— Melissa.
“« And balm that never ceases uttering sweets.”

Without possessing a knowledge of medicine,
there are none so poor but they may bestow

balm.

“ A tender smile, our sorrow’s only balm.”

Young.

106 FLORAL EMBLEMS.

DANGER.

RuopoDENDRON.— Rhododendron.

** O’er pine-clad hills, and dusky plains,
In silent state rhododendron reigns,
And spreads, in beauty’s softest blooms,
Her purple glories through the glooms.”
Shaw.

These purple flowers abound in a poisonous
honey, and have hence been made emblema-

tical of the dangers that lurk about the im-
perial purple.

«© Ev’n as those bees of Trebizond,—
Which from the sunniest flowers that clad
With their pure smile the garden round,

Draw venom forth that drives men mad.”

T. Moore.

FLORAL EMBLEMS. 107

DANGEROUS INSINUATION.

Great BinpwEeED.—Convolvulus Sepium.

** Regardez : ce beau liseron
Desine sa légére cloche
A travers cet épais buisson
Dont |’ épine défend I’ approche.”

We have added this attractive wild flower,
and its entwining branch to the hieroglyphi-
cal language of flowers, as the emblem of a
dangerous insinuation, because when once
permitted into the parterre it cannot easily
be eradicated, and frequently causes destruc-

tion to its neighbouring plants.

Hooker observes ‘‘ There is no particular
evil which hath not some appearance of good-

ness, whereby to insinuate itself.”

108 FLORAL EMBLEMS.

DAUNTLESSNESS.

THRIFT, OR SEA Pinx.—Statice Armenia.

This plant, which seeks the sea shore, and

«* Stems the bold torrent with a dauntless breast.”

is presented as the emblem of dauntlessness,
since it resists the threatening storms and
cutting blasts from the ocean, as well as the

boisterous winds of the mountains.

DEATH AND ETERNAL SORROW.
Cypress TreE.—Cyparissus or Cupressus.
** The mournful cypress rises round,

Tap’ring from the burial ground.”
Lucan.

This tree has been dedicated to sorrow and

death in all civilized countries, and in all

FLORAL EMBLEMS. 109

ages from the destruction of Troy to the
present day.

“In mournful pomp the matrons walk the round,
With baleful cypress and blue fillets crown’d,
With eyes dejected, and with hair unbound.”

Aineis, Book 3.

DEATH SAID TO BE PREFERABLE
TO THE LOSS OF INNOCENCE.

A WHITE ROSE DRIED.

“ Of the fourth Edward
He rent the crown from vanquish’d Henry’s head,

Rais’d the white rose, and trampled on the red.”
Waller.

“* What comfort does overflow the devout soul, from a

consciousness of its own innocence and integrity !”
Tillotson.

110 FLORAL EMBLEMS.

DECEITFUL CHARMS.

THORN-APPLE.—Datura Stramonium.

This dangerous narcotic plant clothes it-
self with such an elegant indented foliage,
and garnishes its branches with carollas of
so graceful and negligent a shape, and of
so pure a white, that all suspicion of its dele-
terious nature seems lulled to rest. Whilst
like the lamize of old, its charms only allure
that its power may destroy ; and hence, in
symbolical language, the datura is made the
emblem of deceitful charms, and the common

stramonium is made to express disguise.

‘“* Hence cuilty joys, distastes, surmises,
False oaths, false tears, deceits, disguises.”

Pope.

FLORAL EMBLEMS. 111

DECEITFUL HOPE.

Darropiut.—Narcissus Pseudo.

** When early primroses appear,
And vales are deck’d with daffodils,
I hail the new reviving year,
And soothing hope my bosom fills.”
Wilhams.

Fable tells us that Proserpine was gather-
ing daffodils when seized by Pluto.

‘«* Sweet hope! kind cheat! fair fallacy by thee
We are not where or what we be;
But what and where we would be ; thus art thou
Our absent presence, and our future now.”’

Crashaw.

In the Romish church, this flower is dedi-
cated to St. Perpetua. The Petticoat Dafto-
dil, Narcissus Bulbocodium, is dedicated to
St. Catherine; and the Nodding Daffodil,

Narcissus nutans, to St. Julian.

112 FLORAL EMBLEMS.

DECEPTION.

WinTER CuErry.—Physalis Alkekergi,

We present this berry as the emblem of
deception, since it assumes all the beauty of

the cherry, in shape, gloss, and colouring.

One of Shakspeare’s songs says,

“‘ Sigh no more, ladies, sigh no more ;
Men were deceivers ever :
One foot in sea, and one on shore ;
To one thing constant never.”

DECLARATION OF LOVE.
Tuie.—Tulipa.
“« Then comes the tulip race, where beauty plays

Her idle freaks.”
Thompson.

‘‘ There’s fairy tulips in the east,
The garden of the sun ;
The very streams reflect the hues,

And blossom as they run.”

Waffen.

The tulip has from time immemorial been

FLORAL EMBLEMS. il

made the emblem by which a young Persian

makes a declaration of love.

Chardin tells us, that when a Persian pre-
sents a tulip to his mistress, it is his inten-
tion to convey to her this idea, that like this:
flower, he has a countenance all on fire, and

a heart reduced to a coal.

“‘ Good shepherd, tell this youth what ’tis to love.
It is to be made all of sighs and tears ;
It is to be made all of faith and service ;
It is to be made all of fantasy,
All made of passion, all made of wishes ;
All adoration, duty and obedience ;
All humbleness, all patience, all impatience,
All purity, all trial, all observance.
Shakspeare.

DEFENCE.

Privet.—Ligustrum

This shrub is made the emblem of defence
from its being so frequently planted in gar-

den hedges as a protection to tender plants.

I

114 FLORAL EMBLEMS.

DELICACY.
Buiue Botrie Centaury.—Centaurea Cyanus.

*« There is a flower, a purple flower
Sown by the wind, nursed by the shower,
O’er which Love has breathed a power and spell

The truth of whispering hope to tell.

And with scarlet poppies around like a bower,
Found the maiden her mystic flower.

Now, gentle flower, I pray thee tell

If my lover loves me, and loves me well ;

So may the fall of the morning dew

Keep the sun from fading thy tender blue.”
Das eae Oe

This beautiful corn flower, the subject of
the above verses, is made the emblem of de-
licacy from the purity of its celestial colour,
which is not equalled by the finest ultrama-
rine, and scarcely surpassed by the azure

veins of youthful beauty.

FLORAL EMBLEMS. 115

DELICATE PLEASURE.

Sweet-peA.—Lathyrus Odoratus.

“* Here are sweet-peas on tip-toe for a flight,
The wings of gentle flush, o’er delicate white,
And taper fingers catching at all things
To bind them all about with tiny rings.”
Keats..

From the charms this flower displays both
in fragrance and colour has arisen the emblem.

*«* These delicacies,
I mean of taste, sight, smell, herbs, fruit, and flow’rs.”’

Milton.
DESIRE.
Jonquit.—Narcissus Jonguilla.
* Jonquils,
Of potent fragrance.”
Thompson.

This odorous species of Narcissus stands in

floral language as emblematical of desire.

“< Desire’s the vast extent of human mind ;
It mounts above, and leaves poor hope behind.”
Dryden
ae

116 FLORAL EMBLEMS.

DESIRE TO PLEASE.

Mezereon.—Daphne Mezereum.

** Mezereon too,
Though leafless, well attired, and thick beset
With blushing wreaths, investing every spray.”

Cowper.

In floral language, this early flowering
shrub is made to express a desire to please,
whilst others make it one of the emblems of
coquetry, comparing it to a nymph, who in
the midst of winter seeks admiration in her

summer robes.

*< Leave such to trifle with more grace and ease,
Whom folly pleases, and whose follies please.”

Pope.

FLORAL EMBLEMS. by

DESPAIR.
Mary ea Lp.—Calendula Officinalis.

«« As emblem of my heart’s sad grief,
Of flow’rs, the marigold is chief.”

The petals of this flower were formerly in
high repute, as a cordial medicine for raising
the spirits and lessening the too violent pal-
pitation of the heart; and being given to
those in despair it became the emblem of that

malady.

Despair sometimes takes the character of
frenzy, and at others, that of low desponding

indolence.

“« The wretch whase doom is, ‘ hope nae mair,’
What tongue his woes can tell !

Within whase bosom, save despair,
Nae kinder spirits dwell.”

Burns.

118 FLORAL EMBLEMS.

DIFFICULTY.

BLAcK-THORN.— Prunus spinosa.

‘* or sloes austere,
Hard fare! but such as boyish appetite

Disdains not.”
Cowper.

It is difficult to penetrate a thick fence of
black-thorn ; some persons make a difficulty
of walking over a heath, others who mistake
impossibilities for difficulties, can only be
convinced by conviction, which frequently

comes too late.

FLORAL EMBLEMS. 119

DIFFIDENCE.

CycLaMEN.—Cyclamen.

As modest diffidence adds attractions to
beauty, so does this graceful flower engage
our notice by its unassuming carriage, for the
cyclamen, although it expands its petals in
an upright direction, never rears its head to

the sun.

We present this emblem with a hope that
the poets will not longer remain too diffident
to let this pretty plant escape the harmony of
their song, since we cannot find a line to form
a motto, or grace the floral symbol of dif-

fidence.

** Distress makes the humble heart diffident ”’

The church has dedicated this flower to St.

Romuald.

120 FLORAL EMBLEMS.

DIGNITY.
LAUREL-LEAVED MacGnouta.— Magnolia grandiflora.

The grandeur of this flower is appropriate
to the elevated station which it takes in the
vegetable kingdom, for in its native soil it
advances itself above the forest trees, display-
ing its dignity, and dispensing its fragrance

throughout the woods of Florida.

It is remarked by an elegant writer that
“some men have a native dignity, which
will procure them more regard by a look,
than others can obtain by the most imperious

commands.”

FLORAL EMBLEMS. 121

DISDAIN.

Yetiow Carnation.—Dianthus Caryophyllus.

‘“« Bring coronations, and sops in wine,
Worn of paramours.”
Spencer.

This variety of the carnation is more accep-
table to the florist than to the lover, since
yellow stockings are not so much coveted by
us as yellow boots are by the unfortunate
Greeks. One of the first acts of the late Sul-
tan Selim’s reign, was to cut off the head ofa
common Greek whom he met when incognito,
wearing yellow slippers: he staid to see the
execution performed. Yet so vain are the
Greeks, that they will run this fatal risk in
order to be taken for their betters. Shak-
speare says,

“« Supple knees

Feed arrogance, and are the proud man’s fees.”

122 FLORAL EMBLEMS.

DISGUST.

Froc Orpurys.—Habenaria viridis.

“ No more shall violets linger in the dell,

Or purple orchis variegate the plain.”
Mrs. C. Smith.

From the resemblance which this curious
flower is thought to bear to the frog, it has

been made the emblem of disgust.

‘¢ Those unenlarged souls are disgusted
with the wonders which the microscope has

discovered.” —W atts.

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FLORAL EMBLEMS. 123

DISTINCTION.

CARDINAL’s FrowER.— Lobelia Cardinalis.

“« You hold a fair assembly ;
You are a church-man.” ‘
Shakspeare.

This beautiful Mexican plant obtained the
name of cardinal’s flower from the bright
red colour of its corollas, on which account

we place it as the symbol of distinction.

‘* In the wind and tempest of fortune’s frown,
Distinction, with a broad and powerful fan,
Puffing at all, winnows the light away.”

Shakspeare.

124 FLORAL EMBLEMS.

DOCILITY..

Rusu.—Juncus.

«A shagey goat’s soft hide beneath him spread,
And with fresh rushes heap’d an ample bed.”
Odyssey.

This plant, so proverbial for its phability,
is the symbol of docility.

«« Soon docile to the secret acts of ill,
With smiles I could betray, with temper kill.”
Prior.

Those pliable minds which bend to every

will, are never worth a rush !

FLORAL EMBLEMS. 125

DO NOT ABUSE.

Sarrron FrowER.—Crocus sativus.

“© Can Timolus’ head
Vie with our saffron odours ?”’

Philips.

Too liberal a use of this cordial and stimu-
lating flower, is said to destroy the reason, or

cause the death of those who indulge in it.

“* Some praise at morning, what they blame at night ;
But always think the last opinion right.”’
Pope.

126 FLORAL EMBLEMS.

DRUNKENNESS.
VIN ae Vitus.

** Great father, Bacchus, to my song repair ;

For clust’ring grapes are thy peculiar care :

Come strip with me, my god; come drench all o’er,
Thy limbs in musk of wine, and drink at ev’ry pore.”

This emblem requires no explanation, and
our only remark on a drunkard will be the

words of Shakspeare.

“* O monstrous beast! how like a swine he lies.”

FLORAL EMBLEMS. 127

DURABILITY.

Docwoop, or CorNEL TREE.—Cornus.

“* His cornel spear
Ulysses wav’d, to rouse the savage war.”

Odyssey.

The firm and lasting nature of this wood

has caused it to be made the type of duration.

«« Fix’d in the wood th’ Italian cornel stood.”
Aineis.

128 FLORAL EMBLEMS.

EARLY YOUTH.

Primrose.—Primula.

“* And here’s the meek
And soft-ey’d primrose.”
Hurdis.

The age between childhood and womanhood
is represented by this early blossom, whose
delicate perfume and modest colour so agree-
ably attend the path to summer.

“¢ Youth is the vision of a morn,
That flies the coming day :

It is the blossom of the thorn,
Which rude winds sweep away.

’Tis like the charming hue that glows
Upon a virgin’s face ;

Till care hath nipp’d her fading rose,

And wither’d every grace.”

Cunningham.
The common primrose is dedicated to St.
Agatha; the red variety, aculis, to St. Ade-
laide ; the early red, Verna rubra, to St. Theo-
dora; and the polyanthus to St. Catehrine de
Ricce.

Floral Emblems

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FLORAL EMBLEMS. 129

EGOTISM AND SELF-LOVE.

Narcissus.— Narcissus.

** Narcissus fair,
As o’er the fabled fountaim hanging still.”

Thompson.

From Ovid’s beautiful metamorphosis of
the lovely and coy Narcissus into this flower

has originated the emblem.

*« Narcissus on the grassy verdure lies :
But whilst within the crystal font he tries
To quench his heat, he feels new heats arise.
For as his own bright image he survey’d,
He fell in love with the fantastic shade ;
And o’er the fair resemblance hung unmov’d:
Nor knew, fond youth! it was himself he lov’d.

This flower is dedicated to St. Apollonia.

130 FLORAL EMBLEMS.

ELEGANCE.

Rose Acacta.—Robinia hispida.

‘“« Graceful to sight, and elegant” hang the
papilionaceous blossoms of this favourite

flowering shrub.

Beauties are frequently seen without ele-

gance, but elegance is composed of beauties.

———— “‘ Graceful ease, and sweetness void of pride,
Might hide her faults, if belles had faults to hide.”
Pope.

FLORAL EMBLEMS. 13]

ELEVATION. «

Sriver Fir.—Pinus Picea.

“ Towering firs in conic forms arise,
And with a poimted spear divide the skies.”
Prior.

Nature has adapted this tree to 1ts moun-

tainous birth-place, so that it resists

“« the storm,
That makes the high elm couch, and rends the oak.
A thousand blows,
That shake the lofty monarch on his throne,
We lesser folks feel not. Keen are the pains

Advancement often brings.”
Hurdis.

K 2

132 FLORAL EMBLEMS.

ELOQUENCE.

Iris On. FLAG-FLOWER.—/Iris.

‘* Ins, on saffron wings array’d with dew
Of various colours, through the sun-beams flew.”

Virgil.

The ancients represented eloquence by the
species of this flower which grows in the waters,
whose various colours harmonize as delight-

fully to the eye as fine oratory does to the ear.

Our immortal bard observes that the eyes of

the ignorant are more learned than their ears.

EMBARRASSMENT.

LovE IN A PUZZLE.— Nigella Damascena.

These pretty flowers being seated in a che-

vaux-de-frise of liner foliage, has induced

FLORAL EMBLEMS. 133

us to present them as emblematical of embar-

rassment.

Love isa puzzle which embarrasses all who

fall into it, yet Anacreon says,

““ Nay, should they take his chains away,
The little captive still would stay.”

ENVY.
Common BramMBLeE.—Rubus fruticosus.

“ The bush my bed, the bramble was my bow’r.”
Spencer.

This rough and prickly trailing plant is
made the emblem of this unhappy disposition,
because it carries thorns in its bosom. Pope
says

‘“* Envy, to which th’ ignoble mind’s a slave,

Is emulation in the learn’d or brave.”

134 FLORAL EMBLEMS.

ERROR.

Fry Orcuis.—Ophrus muscifera.

‘‘ Why do’st thou show to the apt thoughts of men,
The things thou art not?”
Shakspeare.

This plant is made the emblem of error, be-
cause Flora seems to have sprinkled the stem

with flies instead of flowers.

*« As conscious that affection grows,
Pleas’d with the pencil’s mimic power ;

That power with leading hand she shows,
And paints a fly upon a flower.”

Langhorn.

FLORAL EMBLEMS. 135

ESTEEM.
~ GarvEN Sace.—Salva officinalis.

This plant was so highly esteemed by the
school of Salernum, that they left this verse in

allusion to its virtues.
*€ Cur moriatur homo cui salvia crescit in horto ?”’

Why should a man die while he has sage in

his garden ?

136 FLORAL EMBLEMS.

EXTINGUISHED HOPES.

Convotvutus Masor.—Convolvulus purpreus.

« Convolvulus, expand thy cup-like flower,

Graceful in form, and beautiful in hue.”

This flower is given to the ladies, that when
they have made their happy choice, they may
have an appropriate flower to bestow on their
hopeless suitors, so as to extinguish the flame

their charms have created.

“« The soft god of pleasures that warm’d our desires,
Has broken his bow, and extinguish’d his fires.”

Dryden.

FLORAL EMBLEMS. 137

FALSEHOOD.

BucGutoss.— Anchusa.

‘“* Arts on the mind, like paint upon the face,
Fright him, that’s worth your love, from your embrace.”
Young.
The roots of this plant affording a rouge for
the face, has caused it to be made the emblem

of falsehood.

The faded belles exclaim with La Fontaine,

‘« Les ruines d’une maison
Se peuvent réparer; que n’est cet avantage
Pour les ruines du visage ?”

138 FLORAL EMBLEMS.

FALSE RICHES.

SuN-FLOWER.—Helianthus.

“ Uplift, proud sun-flower, to thy favorite orb
That disk whereon his brightness loves to dwell ;
And as thou seem’st his radiance to absorb,
Proclaim thyself the garden’s sentinel.”

Barton.

The sun-flower is made the emblem of false
riches, because gold of itself, however abund-
ant, cannot render a person rich who is poor
in spirit.

“ Let a broad stream, with golden sands
Through all his meadows roll ;

He’s but a wretch with all his lands,

That wears a narrow soul.”

Watts.

FLORAL EMBLEMS. 139

FATE.
FLAX (in a green state, with the flower).— Linum.

“ Courage uncertain dangers may abate ;
But, who can bear the approach of certain fate ?”
Dryden.

«* Random chance, or wilful fate,
Guides the shaft from Cupid’s bow.”
; A. Philips.

We learn from Prertus Valerianus, that flax
was the hieroglyphic of fate among the Egyp-
tians ; and we may presume, that the emblem
originated from its use in the bow.

“ The whizzing arrow sings,

And bears thy fate, Antinous, on its wings.”
Pope.

Peacham says, ‘“‘ Fate is drawn like a man
ima long flaxen robe, looking upward to cer-
tain bright stars compressed about with thick
clouds, from whence hangs a chain of gold,

which signifies the conjunction of divine with

Ge

140 FLORAL EMBLEMS.

human things.” Plato holds this chain to be

the power of the divine spirit.---(See Homer’s
Thad, Book VIII.)

FEAST, OR BANQUET.

ParsLEy.—Apiwm Petroselinum.

‘« Let parsley spread
Its living verdure o’er the feast.”

Horace, 36.

The beautiful curled foliage of this plant
having been used to decorate viands, from the
time of Virgil’s friend to the present day, has

caused it to be made emblematical of a feast.

In the hieroglyphic language of flowers, the
gift of parsley implies a wish of the person's
death to whom it is presented; for parsley
has ever been the herb with which the Greeks
decorate their graves and tombs; and hence
Acis#a sedivov, to want parsley, was an expres-

sion applied to a person at the last extremity.

FLORAL EMBLEMS. 141

FECUNDITY.

HoutitynocKk.—Alcea Rosea.

‘** From the nectaries of hollyhocks
The humble bee, e’en till he faints, will sip.”

This towering and beautiful eastern plant,
which is so prolific in yielding seed, is hence

made the emblem of fecundity.

FELICITY.

SweEeET SuLTAN, OR CeEnTAURY.—Centaurea moschata.

“* To cure the bees, dry’d roses, acorn juice
Athenian thyme and centaury conduce.”

Virgil.
This honey-smelling flower, from the Per-
sian fields, as well as ‘‘ the corn-flower blue,”
of our own arable lands, is made the happy

emblem of felicity.

“Oh! happiness of sweet retir’d content,

To be at once secure and innocent.”
Denham.

142 FLORAL EMBLEMS.

FIDELITY.

Wat SPEEDWELL.— Veronica arvensis.

This beautiful plant, that attaches itself to

old walls,

** And decks his branch with blossoms over all ;”

reflecting in its petals the azure of the heavens,

is made the symbol of fidelity.

Its relative, the common speedwell, veroneca
officinalis, which so happily covers our barren
grounds with its celestial bird’s-eye flowers,
stands as the emblem of resemblance; the

Greek name of speedwell meaning true image.

‘“* Fairest resemblance of thy Maker fair,
Thee, all things living gaze on.”
Milton.

This plant is dedicated to St. Simeon of

Jerusalem.

FLORAL EMBLEMS. 1438

FIDELITY.

RosEMARY.—Rosmarinus.

««T meet few but are stuck with rosemary: every one
asked me who was to be married.”
Noble Spanish Soldier.

Rosemary was formerly worn at weddings,
to signify the fidelity of the lovers. It was |

also an emblem of remembrance ;

“‘ There’s rosemary for you, that’s for remembrance ; pray
you love, remember.”

Ophelia. .

*«< He, from his lass him lavender has sent,
Showing her love, and doth requital crave ;
Him rosemary his sweetheart, whose intent
Is that he her should in remembrance have.”

Drayton.

144 FLORAL EMBLEMS.

FIDELITY IN FRIENDSHIP.
Ivy.—Hedera helix.

*“« As the ivy, when blasts howl before it,
Clasps the bough it encircles more tight ;
So my heart in the storms that break o’er it,
More closely to thine shall unite.
Then come to this bosom—’tis bleeding and bare ;
But the child of affliction may find a home there.”
WW

“ | love the ivy-mantled tower,
Rock’d by the storm of thousand years.”

Cunningham.

This emblem of generous friendship attaches
itself to the wretched :
«« Thus stands an aged elm, in ivy bound,

Thus youthful ivy clasps an elm around.”

Parnell.

—- “Ts aught so fair

In all the dewy landscape of the spring,—
The summer’s noontide grove—the purple eve
At harvest-home, or in the frosty morn,
Glitt’ring on some smooth sea, is aught so fair

As virtuous friendship ?” :
Akenside.

FLORAL EMBLEMS. 145

FIDELITY IN MISFORTUNE.

W ALL-FLOWER.— Cheiranthus Cheiri.

“* The rude stone fence, with fragrant wall-flow’rs gay,
To me more pleasure yield,
Than all the pomp imperial domes display.”
Scott.

The wall-flower is made the emblem of
fidelity in misfortune, because it attaches it-
self to the desolate, and enlivens the ruins
which time and neglect would otherwise ren-
der terrible. It hides the savage strokes of
feudal times on the castle walls; fills the space
of the wanted stone in the mouldering church,
and wreathes a garland on the crumbling mo-
nument, where grateful memory no longer
lingers.

‘ For this, obedient zephyrs bear
Her light seeds round yon turret’s mould ;
And, undispers’d by tempest there,

They rise in vegetable gold.”
Langhorn.

L

146 FLORAL EMBLEMS.

FLAME, OR PASSION OF LOVE.

~Yetuiow Iris.—Pseud-Acorus.

“ Amid its waving swords, in flaming gold

+b]

The Iris towers

Mrs. C. Smith.

This flag flower is made to represent—

«« My heart’s on flame, and does like fire
To her aspire.”
Cowley.

“* No warning of th’ approaching flame ;
Swiftly like sudden death it came—
1 lov’d the moment I beheld.”
Granville.

FLORAL EMBLEMS. 147

FLATTERY.

Venus’s Lookine-GLass.—Campanula Speculum.

“* Nothing so much intoxicates the brain
As flatt’ry’s smooth insinuating bane :
She on th’ unguarded ear employs her art,
While vain self-love unlocks the yielding heart ;
And reason oft’ submits, when both invade,
Without assaulted, and within betray’d.”’
Fenton.

The brilliant corollas of this little plant
have gained it the name of Venus’s looking-
glass ; and on this account it is made the em-

blem of reflection as well as of flattery.

“« The eye sees not itself,
But by reflection from other things.”
Shakspeare.

E23

148 FLORAL EMBLEMS.

FOLLY.

CoLuMBINE.—Aquilegia.

—_—__________—__— ‘‘ And entwine
The white, the blue, the flesh-like columbine.”’
W. Browne.

This flower is made the emblem of folly,
either on account of its party-coloured corolla,
or in allusion to the shape of its nectary, which

turns over like the cap of the old jesters.

The above-mentioned poet says,

‘“« The coiumbine in tawny often taken,
Is then ascribed to such as are forsaken.”

The foxglove having some resemblance to
the cap and the bells, has induced the poets
to make it also symbolical of folly.

*© Love is blind, and lovers cannot see
The pretty follies that themselves commit.”
Shakspeure.

FLORAL EMBLEMS. 149

FOOLISHNESS, OR SIMPLICITY.

PoMEGRANATE.—Punica.

‘* And rich pomegranate, wrapt in dulcet pulp

Their racy seeds.”
Mason.

This emblem is probably made in allusion
to Proserpine’s having eaten the seeds of the
pomegranate in the Elysian fields, which the

poets tell us prevented her return to earth.

We have somewhere seen blindness pictured
under the emblem of a young woman direct-
ing a mole with one hand, and holding a
“pomegranate flower in the other, as the sym-

bol of foolishness.

{50a FLORAL EMBLEMS.

FORESIGHT.

Houtiy.—HTlez.

‘* Fairest blossoms drop with ev’ry blast ;
But the brown beauty will like hollies last.”
Gay.
The holly or holm is made the emblem of
foresight, because nature protects it with
thorny leaves, until it reaches: above the bite
of cattle, when the leaves shine without a

prickle.

Rogers observes, ‘‘ Difficulties and tempta-
tions will more easily be borne---or avoided, if
with prudent foresight we arm ourselves

against them.”

FLORAL EMBLEMS. 151

FORGET ME NOT.

Movuse-EAR Scorpion Grass.—Myosotis Palustris.

« Pour exprimer l’amour, ces fleurs semblent éclore ;
Leur langage est un mot—mais il est plein d’appas !
Dans la main des amans elles disent encor :

Aimez-moi, ne m’oubliez pas.”
Lettres a Sophie.

This plant so celebrated in German love-
song, under the emblem of ‘“ Vergzls mich
nicht,” has hence been made to signify “ for-
get me not,” by all the sonnet writers of

Europe.

** Where time, on sorrow’s page of gloom
Has fixed its envious lot,
Or swept the record from the tomb,
It says—Forget-me-not.”

152 FLORAL EMBLEMS.

FORSAKEN.

Litac.—Syringa.

—_——_———. “The lilac hangs to view
Its bursting gems in clusters blue.”

The eastern nations, from whence this beau-
tiful shrub was originally brought, use the lilac
as the emblem of the forsaken, because it is
the flower lovers offer their mistresses when

they abandon them.

It may generally be observed, that those
who forsake their family and friends, soon
become anxious to run away from them-

selves.

FLORAL EMBLEMS. 153

FRANKNESS.
OsteR.—NSalix viminalis.
** And bending osiers into baskets weaved.”
Virgil.
Frankness or openness 1s represented by

these twigs so celebrated for their pliability

in forming basket-work.

FRESHNESS, OR BLOOM OF
COMPLEXION.

Damask Ross, or THE Rose oF DAMASCUS.

“« A bed of lilies flower upon her cheek,
And in the midst was set a circling rose.”
P. Fletcher.

——— ‘‘ She never told her love ;
But let concealment, like a worm i’ th’ bud,
Prey on her damask cheek.”

This emblem, which is so conformable to
nature, is sanctioned by the poets of every

age.

154 FLORAL EMBLEMS.

FRIVOLOUS AMUSEMENT.
BLADDER-SENNA.—Colutea.

The curious, inflated, and bladder-like le-
gumes of this shrub being frequently made the
toy of idle moments, have induced the French
to name it Baguenaudier. M. Pirolle says,
«Fruit dans des vessies rougeatres qu’on fait

claquer par la pression pour baguenauder,
dott son nom.”

‘«« Triflers not e’en in trifles can excel ;
’Tis solid bodies only polish well.”
Young.

FLORAL EMBLEMS. 155

FRUGALITY.

EnpDIvE.—Cichorium endivia.

“ A garden-sallad,
Of endive, radishes, and succory.”
Dryden.

The succory formerly made one of the dishes
of frugality.

“ Then turn to-night, and freely share
Whate’er my cell bestows ;
My rushy couch and frugal fare,
My blessing and repose.

from the mountain’s grassy side

A guiltless feast I bring ;
A scrip, with herbs and fruits supply’d,
And water from the spring.”

Goldsmith.

Arbuthnot says, ‘“‘ It is impossible to march
up close to the frontiers of frugality, without

entering the territories of parsimony.”

156 FLORAL EMBLEMS.

GAIETY.

ButrerFrty Orcais.—Habenaria bifolia.

‘The orchis race with vary’d beauty charm,
And mock the exploring bee or fly’s aerial form.”’
Mrs. Charlotte Smith:
The butterfly, by its airy movements and
its showy embellishments, gives naturally an
idea of gaiety; and from hence the flower,
which is thought to resemble this short-lived

insect, has been selected for this emblem.
‘‘ Like some fair flow’r that early spring supplies,

That gaily blooms, but ev’n in blooming dies.”
Pope.

GALLANTRY.—See CRAFTINESS.

Or
~i

FLORAL EMBLEMS. ]

GENEROSITY.

AN ORANGE-TREE, WITH FRUIT AND FLOWERs.

This tree appears to have been chosen to
express generosity, from its bearing fruit and
flowers at the same time; and therefore, like
_ that noble feeling, continually tending to the

communication of benefit.

GENIUS.
PLANE TREE.—Platanus.
** His spreading planes their pleasant shade extend.”
Lauderdale’s Virgil.
This beautiful eastern tree, which the an-
cients consecrated to the Geni, is made the
emblem of Genius because the philosophers of
Athens held their discourses under the wide
spreading branches of the plane.

‘“ One science only will one genius fit ;

So vast is art, so narrow human wit.”
Pope.

158 FLORAL EMBLEMS.

GENTEEL, PRETTY.

Rose.—Pon.pone.

This compact, pretty little offspring of the
provins rose, comes about as near to its parent
as the term genteel does to elegant, or pretty
to beautiful.

“« The pretty gentleman is the most complaisant creature
in the world, and is always of my mind.”
Spectator.

GLORY.

LAvuREL.—Prunus Laurocerasus.

* The laurel, meed of mighty conquerors.”

Fairy Queen.
To wear a crown of laurel has been the sol-
dier’s ambition from the earliest ages to the
present day ; and when placed on the brow of
a hero who has defended his country, its rays
are truly glorious.

“Think it no glory to swell in tyranny.” _
Sidney.

FLORAL EMBLEMS. 159

GOOD EDUCATION.

CuHERRIES.—Prunus Cerasus.

———— “‘ Education, power divine.”
Roscoe.

This beautiful fruit is made the emblem of
good education, because cultivation changes it

from a worthless state into a delicious drupe.

GOOD-NATURE.

Waite Mutiein.—Verbaseum Lychnities.

This medicinal plant was formerly in great
repute on account of its power to soothe and
mitigate pain; and from hence, we presume,

the emblem.

160 FLORAL EMBLEMS.

GOODNESS.

Mercury, or Goop Henry.—Mercurialis.

This plant (says a French author) which
grows without culture in the midst of our
plains, will confer a more lasting duration on
the memory of Henri Quatre, than the statue
of bronze placed on the Pont Neuf, though
protected by an iron rail and a guard of

soldiers.

GOSSIP.

Cona@a.—Cobea scandens.

** Go to a gossip’s feast, and goude with me.”

— “ With all my heart, I'll gossip at this feast.”’
Shakspeare.
This Mexican plant, whose flowers remind
us of the tea-table equipage, and whose ten-
drils, like the tongue of the gossip, lets no-

thing escape which it chances to’ meet with,

FLORAL EMBLEMS. 16]

thus runs from branch to branch, or from
post to pillar, to exhibit its floral cup and
saucer, the symbol of innocent chit-chat, as
well as the emblem of venomous scandal.

The most dangerous gossips are those who

——-—— “* Fawn on men, and hug them hard,
And after, scandal them.”’
Shakspeare.

GRACE.

HuNDRED-LEAVED Rose.—Rosa centifolia,

This is the rose with which painters choose
to represent Love and Hymen; but, why it
is selected from amongst the roses as the em-
blem of Grace we know not, since the regu-
larity by which its petals are placed, renders

it less graceful than several other roses.

M

162 FLORAL EMBLEMS.

GRACE, OR PURIFICATION.

Rur.—Ruta graveolens.

** Bow, and sue for grace

With suppliant knee.”
Milton.

“« Reverend sirs,

For you there’s rosemary and rue; these keep

Seeming and savory all the winter long :

Grace and remembrance be to you both.”
Shakspeare.

This plant was formerly called Herb of
Grace, from its being used to sprinkle holy
water.

“* Here did she drop a tear; here in this place,
Ill set a bank of rue, sour herb of grace.”

FLORAL EMBLEMS. 163

GRANDEUR.

Brercu Tree.—Fuagus.

«< And the beech
Of oily nuts prolific.”

This noble tree vies even with the oak in
stateliness and grandeur; whilst its silvery
bark and glossy foliage renders it one of the

ereatest ornaments to the forest.
The true grandeur of men consists in the

greatness of their minds, and the nobleness of

their actions.

M 2

164 FLORAL EMBLEMS.

GRATITUDE.

Smaut Wuite Betyt FLrower.—Campanula.

‘* The debt immense of endless gratitude.”’
Milton.

This little bell flower is made the emblem
of Gratitude, in allusion to its simplicity and
salutary virtues ; or from the name which it

bears in France of Religzeuse des Champs.

FLORAL EMBLEMS. 165

HATRED.

Basitit.—Ocimum Basilicum.

«* The basil-tuft that waves

Its fragrant blossom over oraves.”

This emblem is derived from superstitious
prejudice which condemned the fragrant Basil

as one of the most hurtful of all herbs.

Locke observes, that ‘“‘ hatreds are often
begotten from shght and almost innocent oc-

casions ;” and Sherlock says,

“* Hatred has in it the guilt of murder.”

166 FLORAL EMBLEMS.

A HEART IGNORANT OF LOVE.

Bup OF A WHITE ROSE.

Mythologists tell us that the rose was origi
nally white, and that the warmer tint was

first given to it by the blood of Venus.

“ While the enamoured queen of joy
Flies to protect her lovely boy,
On whom the jealous war-god rushes ;
She treads upon a thorned rose,
And while the wound with crimson flows,
The snowy floweret feels her blood, and blushes.”
Catullus.

FLORAL EMBLEMS. 167

HEEDLESSNESS.

ALMoND.—Amygdalus.

* Like to an almond-tree, mounted high
On top of green Selenis, all alone,
With blossoms brave bedecked daintily ;
Whose tender locks do tremble every one,
At every little breath that under heav’n is blown.”
Fairy Queen.

The blushing petals which bedeck the leaf-
less branches of these trees that of old embel-
lished the banks of the Jordan, are made
emblematical of heedlessness, from their ven-
turing forth before nature has prepared the
foliage for their protection.

“ Mark well the flow’ring almonds in the wood :
If od’rous blossoms the bearing branches load,
The glebe will answer to the sylvan reign,

Great heats will follow, and large crops of grain.”’
Dryden.

168 FLORAL EMBLEMS.

HONESTY.

Honesty.—Lunaria.

‘« —_______. mine honesty shall be my dower.”

This pretty flower owes its valuable name
to the nature of its singular seed vessel, that

honestly shews its number of seeds.

Lunaria was formerly used for the most

dishonest purposes.

“« Enchanting lunary here lies,
In sorceries excelling.”

Drayton.

FLORAL EMBLEMS. 169

HOPE.

HawTHorn.—Crategus.
“* Now let me sit beneath the whitening thorn.”

** And hope, that decks the peasant’s bower,
Shines like the rainbow through the shower :”

Cunningham.

In floral language the hawthorn blossoms
are made the happy emblem of Hope, from
the custom of the Athenian girls crowning
themselves with these flowers at weddings.
The altar of Hymen was also lighted with
torches of this tree, which from its gaseous

nature, produces a bright flame in its green
state.

‘* Hope, like the glimmering taper’s light,
Illumes and cheers the way,

And still, as darker grows the night,
Emits a brighter ray.”

Goldsmith.

170 FLORAL EMBLEMS.

HORROR.

CREEPING CEREvS.—Cactus flagelliformis.

* O sight
Of terror, foul and ugly to behold,
Horrid to think, how horrible to feel !”’
Milton.

This plant, so dangerous to the touch, is fre-
quently called the serpent, and from hence

the emblem.

Yet Flora has bestowed upon it one of the

most beautiful flowers in nature.

HOSPITALITY.

Oaxk.—Quercus.

“ the sturdy oak,
A prince’s refuge once.”’

This noble British tree that feeds our herds,

Floral Emblems

ae 4
‘ PG }

FLORAL EMBLEMS. Lil

shelters our persons, and protects our com-
merce,
«© Stems the vast main, and bears tremendous war
To distant nations, or with sov’reign sway,

Awes the divided world to peace and love.”
Philips.

“* Receive the shipwreck’d on your friendly shore;
With hospitable rites relieve the poor.”
Dryden.

HUMANITY.

Marsu-MaLitow.—Althaa officinalis.

“« Alas! when mallows in the garden die.”

This plant, so celebrated for relieving the
wounds of our ancestors, and decorating their
graves, 1s also made the emblem of a sweet or

mild disposition.

“ enquire the wretched out, _
And court the office of soft humanity ?”’

L722 FLORAL EMBLEMS.

HUMILITY.

Broom.—Spartium.

«* Even humble broom and osiers have their use.”

In the hieroglyphical language of flowers,
the broom is made the emblem of Humility

from the following historical anecdote.

Fulke, earl of Anjou, having been guilty of
some crime, was enjoined, by way of penance,
to go to the Holy Land and submit to cas-
tigation. He acquiesced, habited himself in
lowly attire, and asa mark of his humility,

wore a sprig of broom in his cap.

The expiation being happily finished. Fulke
adopted the name of Plantagenest, from the

latin of this shrub, planta-genesta.

FLORAL EMBLEMS. 173

His descendants continued the name, and
many successive nobles of the line of Anjou,
distinguished themselves by decorating their
helmets with this plant.

The arms of Richard the First were, ‘‘ two
lions combattant.” Crest, a plantagenista,
or broom sprig. Upon his great seal, a broom
sprig is placed on each side his throne.---
Sandford’s Genealogical History.

“‘ the broom,
Yellow and bright as bullion unalloyed,
Her blossoms.”

** There are some that use
Humility to serve their pride, and seem
Humble upon their way to be the prouder
At their wish’d journey’s end.”

174 FLORAL EMBLEMS.

I BURN.

Common Cactus, or INpIAN Fic.—Cactus Opuntia.

** Tranio, I burn, I pine, I perish, Tranio,
If I achieve not this young modest girl.”

Shakspeare.

The spines of this singular cactus, are
nearly as troublesome to extricate from the
skin, as the flames of Cupid are to extinguish
in the heart.

I DIE, IF 1 AM NEGLECTED.

LAURESTINE.—Viburnus Tinus,

“* Rescue my poor remains from vile neglect.”

Prior.
This hardy plant, which embellishes our
winter groves with its exotic flowers, will not
survive long in neglected grounds ; and from
thence the emblem which approaches so near

to the blighting blast of contempt.

FLORAL EMBLEMS. 175

The Indians have a proverb, which says,
the dart of contempt will even pierce through
the shell of a tortoise.

This plant is dedicated to St. Faine.

IDLENESS.

MESEMBRYANTHEMUM, OR FIG-MARIGOLD.
Mesembryanthemum.

“ Sluggish idleness, the nurse of sin,
Upon a slothful ass he chose to ride.”
Fairy Queen.

This numerous genus of succulent plants,
were formerly named mesembrianthemum,
and noon-flower, because most of the species
do not expand their gay petals before mid-
day, and seldom even at that late hour, un-
less the sun awakes them by his powerful
rays: yet it is amongst the earliest flowers
that take repose, as the petals are generally
closed before the god of day has left the hori-
zon; and we therefore bestow it on the slug-

gard, for his armorial bearings.

176 FLORAL EMBLEMS.

<« For thee, O idleness! the woes

Of life we patiently endure ;
Thou art the source whence labour flows,
We shun thee but to make thee sure.

«* For who’d sustain war’s toil and waste,
Or who th’ hoarse thund'ring of the sea ;
But to be idle at the last,

And find a pleasing end in thee ?”
Smart.

** The tyrant Lucre no denial takes ;
At his command th’ unwilling sluggard wakes.”

Dryden.

IMMORTALITY.

AMARANTH.—Amaranthus.

<* Immortal Amaranth! a flower which once
In Paradise, fast by the tree of life,
Began to bloom ; but soon for man’s offence
To heaven removed, where first it grew; there grows
And flowers aloft, shading the font of life :
And where the river of bliss, through midst of heaven
Rolls o’er Elysian flowers her amber strain,
With these that never fade.”’
Milton.

Homer having described the Thessalians as

wearing crowns of Amaranth flowers at the

FLORAL EMBLEMS. 177

funeral of Achilles, has induced the bards to
place it in the list of funereal flowers, and to

make it the emblem of immortality.

It is one of the flowers which retain their
beauty in a dried state; and hence it is so
frequently used in the ceremonies of the Ro-
mish church, and to decorate the monuments
of the cemetery of Pere /a Chaise, the ro-

mantic “‘ Grave of France.”

IMPATIENCE.
Batsam.—Impatiens Balsamina.

** Balsam, with its shaft of amber.”

This emblem is given on account of the
elasticity of the capsule when ripe, which darts
out its seed the moment it is touched. The
generic name is derived on the same ac-

count.

Z

178 FLORAL EMBLEMS.

The Turks represent ardent love by this
flower.
«« Fame, impatient of extremes, decays

Not more by envy than excess of praise.”
Pope.

IMPERFECTION.

HENBANE.— Hyoscyamus.

“ That to which old Socrates was curs’d ;

Or henbane juice, to swell ’em till they burst.”
Dryden.

This plant, more dangerous by its delete-
rious qualities, than perfect in its medicinal
properties, affects the brain with the most fan-

tastic delirium and delusions.

FLORAL EMBLEMS. 179

IMPORTUNITY OR INTRUSION.

Common TuistTLEeE.—Carducis.

“« Now where the thistle blows his feather’d seed,
Which frolick zephyrs buffet in the air.”
Falconer.

“* Wide o’er the thistly lawn as swells the breeze,
A whitening shower of vegetable down

Amusive floats.”
Thompson.

This plant, that furnishes its seeds with
wings by which it flies from hill to dale, too
frequently intrudes itself into our fields, to the

injury of the farmer’s best hopes.

** Tough thistles choak’d the fields, and kill’d the corn,
And an unthrifty crop of weeds was born.”
Dryden.

The thistle is symbolical of Scotland, it being
the emblematical flower of the unfortunate

Stuarts, who so frequently wore the Cluwas-an-
N 2

180 FLORAL EMBLEMS.

fheiah (melancholy thistle) in their crown.
It is now so happily blended with the English
rose, that we hope no hand will escape the

prickles of each, who shall dare attempt to
divide them.

INCONSTANCY.

GREAT-FLOWERED EVENING PRIMROSE.

(Enothera grandiflora.

‘«« Yon evening primroses, when day has fled,

Open your pallid flowers, by dews and moonlight fed.”’

Barton.

This flower, that shuns the day as if it could

not face the truth, 1s made the emblem of in-
constancy.

*« They know how fickle common lovers are ;
Their oaths and vows are cautiously believ’d ;
For few there are but have been once deceiv’d.”

Dryden.

FLORAL EMBLEMS. 181

INCORRUPTIBLE.

Cepar or LeEBANoN.—Pinus Cedrus.

“« Once were they in their splendour and their pride,
As an imperial cedar, on the brow
Of the great Lebanon! It rose, arrayed
In its rich pomp of foliage, and of wide
Majestic branches, leaving far below
All children of the forest. To its shade
The waters tribute paid,
Fostering its beauty. Birds found shelter there,
Whose flight is of the loftiest, through the sky ;
And the wild mountain-creatures made their lair
Beneath ; and nations by its canopy
Were shadowed o’er. Supreme it stood, and ne’er

Had earth beheld a tree so excellently fair.”
From the Spanish.

The ancients considered the timber of this
tree to be not only incorruptible, but that
whatever it inclosed, became imperishable.
They therefore deposited their precious manu-

scripts in chests made of this tree, which gave

182 FLORAL EMBLEMS.

rise to a proverb ; to praise a work, it was said,
«It is worthy of being cased in cedar.” The
ancients also drew a juice from the cedar,
with which they smeared their writings to
preserve them from decay, and which is al-
luded to by Horace; by means of which it is
said, that Numa’s books were so wonderfully
preserved. The Egyptians used this extract
of the cedar with other drugs, to embalm
their dead bodies, believing it would make
them incorruptible; and a 3000 years expe-
riment has proved them tolerably correct :
hence the emblem. It was customary with
the Jews to plant a cedar at the birth of a son,
which was cut to form his nuptial bed; and
on this account, the Israelites considered it
symbolical of constancy and purity. Were
the works of men imperishable, the globe

would be covered with monuments of folly.

FLORAL EMBLEMS. 183

INDEPENDENCE.

PLUM-TREE.—Prunus domestica.

—— ‘The mealy plum
Hangs purpling, or displays an amber hue.”’

Several kinds of plums grow without the aid
of cultivation, and the tree has therefore been

made the emblem of independence.

‘* Give me, I cry’d, enough for me,
My bread and independency.”
Pope.

There is a kind of plum in the city, oftener

coveted than enjoyed.

“ The miser must make up his plum,

And dares not touch the hoarded sum.”
Prior.

184 FLORAL EMBLEMS.

INDIFFERENCE.

EveER-FLOWERING CANpby-TUFT.—Lberis semperfiorens.

In the floral language of Persia, this plant
is made the emblem of indifference, because
it blossoms alike through the heat of the sum-
mer months, and the severity of the winter’s
frost, equally disregarding the rays of Sol,
and the breath of Boreas.

‘* Indiff’rence, clad in wisdom’s guise,
All fortitude of mind supplies ; -
For, how can stony bowels melt
In those who never pity felt ?”’
Swift.

FLORAL EMBLEMS. 185

INDUSTRY.

Bre Orcuis.—Ophrys apifera.

“ Perhaps, his fragrant load may bind
His limbs ; we’ll set the captive free ;
I sought the living bee to find,
And found the picture of a bee.”
Langhorne.

This singular flower is made the emblem of
industry, from its resemblance to the insect
that has ever been held the symbol of this

virtuous habit.

‘“* So works the honey bees,
Creatures, that by a ruling nature taught
The art of order to a peopled kingdom.”
Shakspeare.

186 FLORAL EMBLEMS.

INFIDELITY.

YeELLow Rosze.—Rosa lutea.

The colour of this flower, so terrible to
lovers, is the highest mark of distinction in

Eastern countries.

INGENUOUS SIMPLICITY.

Movser-EArR CuickwEED.—Cerastum.

Ingenuous simplicity is represented by these
little white flowers, which are more frequently
found in neglected banks than in cultivated

grounds.

‘“* Of manners gentle, of affections mild,
In wit a man, simplicity a child.”
Pope.

FLORAL EMBLEMS. 187

INGRATITUDE.

YELLOW GENTIAN.—-Gentiana lutea.

The strictest care and the greatest art of
the florist is seldom sufficient to make this
plant thrive in the parterre ; on which account

the emblem has been devised.

‘* Ingratitude ! thou marble-hearted fiend,
More hideous, when thou show’st thee in a child,
Than the sea monster.”— King Lear.

Crowroot.— Wild Ranunculus.
** And the crow-flowers, golden-hued.”’

‘« Ingratitude’s a weed of every clime,
It thrives too fast at first, but fades in time.”
Garth.

This emblem of ingratitude imsimuates itself
into pastures, and destroys the flocks by its

secret poison.

** Ce joli bouton satiné,
Qui sourit comme l’innocence,
Recele un suc empoisonné

Et souvent blesse ’imprudence.”’

188 FLORAL EMBLEMS.

INJUSTICE.

Hor.—Humulus.
‘‘ Lo, on auxiliary poles, the hops
Ascending spiral, ranged in meet array.”

Philips.

Injustice suffered this plant to be regarded

as a noxious weed, until we began to

‘* Brew in October, and hop it for long keeping.”

INNOCENCE.

Daisy.— Bellis perennis.
“ With silver crest and golden eye.”

This “‘ bonny gem” of Scotland’s sweet poet,
is made the emblem of innocence, from its
forming one of the earliest floral amusements

of infancy.

Floral Emblems

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FLORAL. EMBLEMS. 189

« The glowing gem, the sparkling stone,
May strike the sight with quick surprise
But truth and innocence alone,
Can still engage the good and wise.”
Fordyce.

The white violet is also an emblem of
“« Simplicity, and spotless innocence.”

The common daisy is dedicated to St. Mar-
garet of Cortona.

INSPIRATION.

ANGELICA.—Angelica.

“« My fancy form’d thee of angelic kind.”
Pope.
Parkinson says, this plant was named An-
gelica from “the angel-like properties therein.”
Since men have began to act more on the prin-
ciples of reason than on pretended inspiration,

this plant has become less celebrated.

-

190 FLORAL EMBLEMS.

The ancients considered this plant possessed
of angelic virtues ; and from whence it derived
its exalted title. Amongst other properties,
it was supposed to possess that of defending
persons from enchantment and the evils of
witchcraft, which induced the poets to make

it emblematical of inspiration.

** Augurs and soothsayers, astrologers,
Diviners, and interpreters of dreams,
i ne’er consult, and heartily despise.”

INSTABILITY.
Danuia.—Dahlia.

The first introduction of this Mexican flower
marked the year when France became revo-
lutionised ; these plants were lost, until again
introduced in the year that saw Napoleon
made Emperor of the French nation, on which
account it has been made the emblem of in-

stability.

FLORAL EMBLEMS. 191

Addison remarks, that ‘ instability of tem-
per ought to be checked, when it disposes
men to wander from one scheme of govern-
ment to another; such a fickleness cannot

but be fatal to any country.”—Freeholder.

INTOXICATED WITH PLEASURE.

Peruvian Hetiorrope.—Heliotropium peruvianun.

** Qui voit ta fleur en boira le poison :
Elle a donné des sens A la sagesses,
Et des désirs a la froide raison.”

Bernis.

Jessieu says, he was intoxicated with de-
light when first he discovered this fragrant
flower on the mountains of the Cordilleras.
When first introduced to France, no vase was
thought too expensive or precious for the
growth of this odorous plant.

192 FLORAL EMBLEMS.

A lady being asked one day what induced
her to be so passionately fond of a flower that
presented so little lustre to the eye, replied,
“Que la parfum de lheliotrope est a mon
parterre ce que l’ame est a la beauté, la volupté

a amour, et l’amour a la jeunesse.”

«* As with new wine intoxicated both,
They swim in mirth, and fancy that they feel
Divinity within them breeding wings,
Wherewith to scorn the earth.”
Milton.

FLORAL EMBLEMS. 193

JEALOUSY.

Frencu Marycoip.—Tagetes Patula.

“* Dans le souci, je reconnais
L’époux d’une femme infidéle.”

** And winking marybuds begin
To ope their golden eyes.”

Shakspeare.
On account of its colour, this flower is given
as an emblem of those who are said to wear

yellow stockings.

JEST, OR BANTERING.

SouTHERN-woop.—Artemisia Abrotanum.

“« That with the yellow crown, named from the queen,
Who built the mausoleum ?”
Smith.
This plant (frequently called Old Man), so
much esteemed by the good people of White-

oO

194 FLORAL EMBLEMS.

chapel, and so little regarded by the rest of
the world, is made the emblem of jesting and
bantering.

L’Estrange says, “It is no new thing for
innocent simplicity to be the subject of ban-

tering drolls.

JUSTICE.

RuppeckiA.—Rudbeckia.

This American plant received its title in
honour of Olans Rudbeck, whose botanical
labours have been thus justly acknowledged

by his successors.

FLORAL EMBLEMS. 195

* KNIGHT ERRANTRY.

Mownx’s-Hoop, or HELMET-FLOWER.
Aconitum Napellus.

«* L’Aconit, au suc malfaisant,
Comme s'il s’armait pour la guerre,
Eléve un casque ménagant.”

We present this flower as the emblem of
knight-errantry, because it rears its threaten-
ing helmet as if to protect the gayer favourites
of Flora.

*« The ancient errant knights
Won all their mistresses in fights :
They cut whole giants into fritters,
To put them into am’rous twitters.”

Hudibras.

19G FLORAL EMBLEMS.

LAMENTATION. .
Aspren TrEE.—Populus tremula.

“Why tremble so broad aspen tree ?
Why shake thy leaves, ne’er ceasing ?
At rest thou never seem’st to be,
For when the air is still and clear,
Or when the nipping gale increasing,
Shakes from thy boughs soft twilight’s tear,
Thou tremblest still, broad aspen tree,
And never tranquil seem’st to be.”

Bigoted ignorance states that the cross was
made from this tree, since which time the
leaves have never known rest, and from hence

the emblem seems to have originated.

“The night has been unruly where we lay ;
And chimneys were blown down : and, as they say,
Lamentings heard 1’ th’ air, strange screams of death.”
Shakspeare.

FLORAL EMBLEMS. 197

LASTING BEAUTY.

Stock, or GILLYFLOWER.— Mathiola.

** Fair is the gillyflow’r of gardens sweet.”
Gay.

“* And lavish stock, that scents the garden round.”
Thompson.

Lasting beauty is represented by this flower
whose charms, although less graceful than
the rose or the lily, are more durable, and
consequently embellishes the parterre for a

greater length of time.

** Herbs and flowers, the beauteous birth
Of the genial womb of earth,
Suffer but a transient death,
From the winter’s cruel breath !
Zephyr speaks—serener skies,
Warm the glebe, and they arise !
We, alas! earth’s haughty kings,
We that promise mighty things,

198 FLORAL EMBLEMS.

Losing soon life’s happy prime,

Droop and fade in little time,

Spring returns, but not our bloom,

Still ’tis winter in the tomb !”

Cowper.

LASTING PLEASURE.

EverLastine Pea.—Lathyrus Latifolius.
This perennial plant, that

“* Catch the neighbouring shrub
With clasping tendrils, and invest his branch,
Else unadorned, with many a gay festoon.”

is made the emblem of lasting pleasure, since
its beautiful clusters of flowers are renewed

every year to the joy of all the admirers of
_Flora’s gifts.

FLORAL EMBLEMS. 199

LIFE.

LucERNE.— Medicago Sativa.

— ‘** Te quoque Medica putres,
Accipiunt sulci.”
Virgil.

This plant, so valuable to the agriculturalist,
is made the symbol of life, since it not only
flourishes in poor soil, but is so tenacious of
existence, that it assumes a vigorous and ver-
nal appearance in a few weeks after it has
felt the effects of the scythe.

“© When I consider life, ’tis all a cheat,
Yet fool’d by hope men favour the deceit,
Live on, and think to-morrow will repay ;
To-morrow’s falser than the former day ;
Lies more ; and when it says we shall be blest
With some new joy, takes off what we possess.
Strange cozenage ! none would live past years again,
Yet all hope pleasure in what yet remain ;
And from the dregs of life think to receive
What the first sprightly running could not give ;
I’m tir’d of waiting for this chemick gold,
Which fools us young, and beggars us when old.”

Dryden

200 FLORAL EMBLEMS.

LIGHTNESS, LEVITY, FICKLENESS.

Larxspur.—Delphinium Ajacis.

The graceful airiness of this elegant flower,
which varies so much both in shape and co-
lour, is made emblematical as above. The
single blue flower, distinguishing lightness,
the double flower, levity, and the party co-

loured, fickleness.
Of levity, Pope says,

‘Where wigs with wigs, with sword-knots sword-knots
strive,
Beaus banish beaugs, and coaches coaches drive,
This erring mortals levity may call.”

Spencer thus cautions us in the Fairy Queen.

‘© Beware of fraud, howe of fickleness,
In choice and change of thy dear-loved dame.”

FLORAL EMBLEMS. 201

LIVELY AND PURE LOVE.
Rep Pinx.—Dianthus.

‘«« Bring hether the pincke and purple cullambine,
With gelliflowres ;
Bring coronations. and sops in wine,
Worn of paramours.”’
Spencer.

This fragrant beauty is deserving the high

rank it holds in floral emblems.

«« Happy they! the happiest of their kind !
Whom gentler stars unite, and in one fate
Their hearts, their fortunes, and their beings blend.”
Thompson.

to
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bho

FLORAL EMBLEMS.

LOVE.
MyrtLte.—Myrtus.

‘« The lover’s myrtle.”
Thompson.

‘«« Like a myrtle tree in flower
Taken from an Asian bower,
Where with many a dewy cup,
Nymphs in play had nursed it up.”
Hunt’s Catullus.

“ The lover with the myrtle sprays,
Adorns his crisped tresses.”

Drayton.

Mythological writers state that when Venus
first sprang from the bosom of the waves, the
Hours preceded her with a garland of myrtle,
since which it has been dedicated to the god-
dess of beauty, and made the emblem of love.
‘«* Tmperial passion! sacred fire !

When we of meaner subjects sing,

Thou tun’st our harp, thou dost our souls inspire ;
Tis love directs the quill, tis love strikes every string.”’

FLORAL EMBLEMS. 203

“ Love: that vast passion of the mind,
Whose roving flames does traverse o’er
All nature’s good, and search for more ;
Still to thy magic spheres confin’d.
*Tis beauty’s all we can desire ;
Beauty the native mansion of love’s fire.”

~A LOVE MATCH.

LONDON-PRIDE, OR NONE-SO-PRETTY.

Saxifraga Umbrosa.

“ If this,” he cries, “a bondage be,
Who would wish for liberty !”

This pretty little flower, which the French
call amourette, is made the emblem of those
love affairs which generally meet with the

most opposition.

« The father, too, a sordid man,
Who love nor pity knew,
Was all unfeeling as the clod,
From whence his riches grew.
Mallet.

204 FLORAL EMBLEMS.

LUSTRE.

ACONITE-LEAVED CrowrooTt, oR Farr Marps oF

France.—Ranunculus Aconitifolus.

This pretty alpme plant, whose white petals
shine so agreeably in the parterre, is made the

symbol of lustre.

‘«* To the soul time doth perfection give,
And adds fresh lustre to her beauty still.”
Davies.

But not so to the person,

«« Pass but some fleeting years, and these poor eyes,
Where now without a boast some lustre lies,
No longer shall their little honours keep,

But only be of use to read or weep.”
Prior.

FLORAL EMBLEMS. 205

LUXURIANCY.

Horse-cHEsNutT.—Aisculus Hippocastanum.

** Filled with flowers—flowers that seem
Lighted up by the sunbeam ;
——__-— and leaves

Green as hope before it grieves.”’
HOP Decal De

From the luxuriant growth of this Asiatic
tree in European soil has originated the

emblem.

«* Prune the luxuriant, the uncouth refine,
But show no mercy to an empty line.”
Pope.

206 FLORAL EMBLEMS.

MAJESTY AND POWER.

Crown ImperiaL.- Fritillaria imperialis.

** The crown imperial ; lilies of all kinds,
The fleur-de-luce bemg one! O, these I lack,
To make you garlands of.”
Shakspeare.

This Persian flower, that towers above the
more humble plants of the parterre, holds a

high rank in floral emblems.

** The hily’s height bespake command,
A fair imperial flower ;
She seemed designed for Flora’s hand,
The sceptre of her power.”

FLORAL EMBLEMS. 207

MATERNAL LOVE.

Mossy SaxiFraGE, oR Lapiges CusHion.
Saxifraga hypnordes.

“« The babe had all that infant care beguiles,
And early knew his mother in her smiles :
At his first aptness the maternal love,
Those rudiments of reason did improve.”’

Dryden.

This plant, that so frequently clothes the
naked rocks of Chedder, Snowdon, and Ben
Lomond, is made symbolical of this instinc-

tive love.

«© Within her breast though calm, her breast though pure,
Motherly cares and fears got head, and rais’d
Some troubled thoughts.”

Milton.

208 FLORAL EMBLEMS.

MELANCHOLY.

“* Thou flickering solitary leaf,
That hang’st on yonder blighted tree,
Sad emblem of deserted grief,
How like thou art to me.”

Faded leaves are made emblematical of this

gloomy and pensive temper.

** Cold grew the foggy morn, the day was brief,
Loose on the cherry hung the crimson leaf.”

Crabbe.

“* So melancholy never tints
The mind that owns her care
With health or warmth, but only prints
Her own cold image there.”
Neele.

How much better then to

** Think of all our miseries
But as some melancholy dream, which has awaked us
To the renewing of our joys.”

FLORAL EMBLEMS. 209

MEDICINE.

SwaLLow-wort.—Asclepias.

“* Well knew he the old Esculapius.”’
Chaucer.

Tradition asserts that the virtues of this
plant were discovered by the god of medicine,
from which cause the generic name was given,

and the emblem devised.
Dryden says,

*“« He scapes the best, who nature to repair,
Draws physic from the fields in draughts of vital air.”

210 FLORAL EMBLEMS.

MELANCHOLY OR FORSAKEN LOVER.

Weepine Wittow.—Salix babylonica.

‘“« Thus o’er our streams do eastern willows lean
In pensive guise ; whose grief-inspiring shade,
Love has to melancholy sacred made.”
Delille.

Few emblems have been more celebrated

by the poets than this of the forsaken lovers.

‘“« To the brook and the willow that heard him complain,
Ah, willow! willow!
Poor Colin went weeping and told them his pain.”
Rowe.

‘* T offered him my company to a willow tree, to make
him a garland, as being forsaken ; to bind him up a rod,
as being worthy to be whipt.””— Shakspeare.

‘ In love the sad forsaken wight
The willow garland weareth.”
Drayton.

FLORAL EMBLEMS. 211

MEMORY.

Syrinca, or Mock Orance.—Philadelphus.

“* The sweet syringa yielding but in scent

To the rich orange.”
Mason.

This fragrant flower is made the emblem
of memory, because when once we inhale
its penetrating odour, it continues to dwell on

the sense for a considerable time.

«* Hail, memory hail! in thy exhaustless mine,
From age to age unnumbered treasures shine!
Thought and her shadowy brood thy call obey,
And place and time are subjects to thy sway !
Thy pleasures most we feel when most alone,

The only pleasure we can call our own,”
Rogers.

212 FLORAL EMBLEMS.

MESSAGE, OR MESSENGER.

tnis—Is.
“ The various iris, Juno sends with haste.”

“ L’ iris que flore a prise aux cieux.”

This flower, which the poets have chosen as
the emblem of the messenger of the gods,
takes its name from the celestial bow, on ac-

count of its various colours.

“* Nor iris, with her glorious rainbow clothed
So fulgent, as the cheerful gardens shine
With their bright offspring.”

FLORAL. EMBLEMS. 2ik3

MIRTH, OR LAUGHTER.

SAFFRON Crocus.

Is represented in floral language by a
saffron crocus with its petals turned down so

as to show the whole of the stamina.

An old proverb, alluding to one of a merry
temper says,

“© Dormivit in sacco croci.”
“‘ He hath slept in a bag of saffron.”

This exhilarating medicinal plant, when
taken in large quantities, causes immoderate
mirth and involuntary laughter, even to a
dangerous degree.

“ With genial joy to warm the soul,
Bright Helen mix’d a mirth inspiring bowl.”
Pope.

214 FLORAL EMBLEMS.

MISANTHROPY.

Fuiuers Teaseit.—Dipsacus fullonum.

‘‘T am misanthropos, and hate mankind.”
Shakspeare.

These unhappy dispositions are represented
in floral emblems by the prickly head of the
dipsacus, a plant so disagreeable to animals
in general, that even the ass refuses it. The
conical receptacle of this plant becomes the
harbour of earwigs, as the head of a misan-
thrope becomes the receptacle of terrible an-

tipathies.

The singularly rough heads of the teasel are
useful in raising the nap upon woollen cloths,
but the head of a misanthrope is as useless
as an ear of blighted corn.

“« His only scope
Was to be held a misanthrope ;

This into gen’ral odium drew him.”
Swift.

FLORAL EMBLEMS. 215

MODESTY.
Sweet VioLet.— Viola odorata.

“« Franche d’ambition, je me cache sous l’herbe,
Modeste en ma couleur, modeste en mon séjour;
Mais si sur votre front je puis me voir un jour,
La plus humble des fleurs sera la plus superbe.”

Desmartes.

This unobtrusive flower is no less honoured
by its emblem than the rose or the myrtle,
to which it is so essential to complete the de-
lights they can inspire. Its motto is “ I

faut me chercher.’ Cunningham makes the

violet say,

“* Modest though the maids declare me,
May, in her fantastic train,
When Pastora deigns to wear me,
Has no flow’ret half so vain.”

The poets of the sixteenth century appear

216 ; FLORAL EMBLEMS.

to have made this favourite flower an em-
blem of faithfulness.
“* Violet is for faithfulness,
Which in me shall abide :

Hoping likewise that from your heart
You will not let it slide.”

The sweet violet is dedicated to St. Gertrude.

MOMENTARY HAPPINESS.

VIRGINIAN SPIDER-wort.—Tradescantia virgimca,

«* Momentary as sound,
Swift as a shadow, short as any dream.”
Shakspeare.
This emblem is formed in allusion to the
fragility of the flowers of this species of spi-
der-wort, which wither almost as soon as they

are perfectly formed. Young says,

«¢ While I a moment name, a moment’s past ;
I’m nearer death in this verse than the last ;
What then is to be done! Be wise with speed ;
A fool at forty is a fool indeed.”

FLORAL EMBLEMS. 217

MUSIC.

A BUNDLE OF REEDS WITH THEIR PANICLES, OR
A BRANCH OF PINE TREE WITH CONES.

“ O music! sphere-descended maid,
Friend of pleasure, wisdom’s aid,
’Tis said, and I believe the tale,
Thy humblest reed could more prevail,
Had more of strength, diviner rage,
Than all which charms this laggard age.”

, Collins.

This emblem is derived from the mytho-
logy of the early poets, as we cannot admit

the accustomary symbols of lyre and harp in
this floral collection.

“* By music minds an equal temper know,
Nor swell too high, nor sink too low ;
Warriors she fires with animated sounds,
Pours balm into the bleeding lover’s wounds.”

Pope.

218 FLORAL EMBLEMS.

MY BEST DAYS ARE PAST.

Coutcuicum, or MEADOW-SAFFRON.
Colchicum Autumnale.

«¢ Or temper’d every baleful juice
Which poisonous colchian glebes produce.”

In floral language this autumnal flower
expresses ‘“‘ my best days are past,” for, far
from inspiring us, like the crocus, with joy
and hope, it appears to announce to all nature
the loss of the fine days, and the approach

of a cheerless atmosphere.

“Catch, then, O ! catch the transient hour,
Improve each moment as it flies :
Life’s a short summer, man a flower,
He dies—alas ! how soon he dies !”

Johnson.

FLORAL EMBLEMS. 219

“MY REGRETS WILL FOLLOW YOU
TO THE GRAVE.

AsPHoDEL.—Asphodelus.

** L’Asphodéle aux mutes tombeaux
Arrache les livides ombres
Et du Léthé borde les eaux.”’

The root of the asphodel not only fur-
nished our ancestors with food whilst living,
but was planted on their graves, with a be-
lef that it would supply the manes of the

dead with nourishment.

*« By those happy souls, who dwell
In yellow meads of asphodel.”

** Au-dehors je suis entouré de mauve et d’ asphodeéle,
et au-dedans je ne suis qu’un cadavre.”—Ancient Tombs.

** Dull grave—thou spoil’st the dance of youthful blood,
Strik’st out the dimple from the cheek of mirth,
And ev’ry smirking feature from the face ;

Branding our laughter with the name of madness.”
Blair.

220 FLORAL EMBLEMS.

NEATNESS.

Genista.—Genista florida.

This plant appears to have been made the
emblem of neatness from its frequent use in

forming besoms.

** T am sent with broom before,
To sweep the dust behind the door.”

NEGLECTED BEAUTY.

THROAT-wort.—Trachelium.

«Rescue my poor remains from vile neglect,
With virgin honours let my herse be deck’d
And decent emblem.”

Prior.
This beautiful flower, being so entirely
overlooked by the poet, the painter, and the
generality of florists, has induced us to offer

it as the above emblem.

FLORAL EMBLEMS. DOT,

NEVER-CEASING REMEMBRANCE.

EVERLASTING, oR Cup-wEED.—Gnaphalium.

** Each lonely scene shall thee restore,
For thee the tear be duly shed ;
Belov’d, till life can charm no more,
And mourn’d, till pity’s self be dead.”

We have devised this emblem for the ever-
lasting flower, both from its name and its fre-
quent use on the continent, in decorating the

monuments and graves of departed friends.

* To fair Fidele’s grassy tomb,
Soft maids and village hinds shall bring,
Each opening sweet of earliest bloom,
And rifle all the breathing spring.” ‘
Collins.

222 FLORAL EMBLEMS.

NIGHT.

Convo.Lvutus Minor.—Convolvulus Tricolor.

“« Now sunk the sun; the closing hour of day
Came onward, mantled o’er with sober gray ;
Nature in silence, bid the world repose.”

Parnell.

The hours of darkness are represented by
this bedle-de-jour, which closes its sparkling
eyes at the close of day, as if to sleep through
the dewy night, when

«* All things are hush’d, as nature’s self lay dead.”

“ T love thee, mournful, sober night !
* * * *
I still enjoy thee—cheerless as thou art ;
For in thy quiet gloom the exhausted heart

Is calm, tho’ wretched ; hopeless, yet resign’d.”
Charlotte Smith.

FLORAL EMBLEMS. 223

OBSTACLE.
Ox-rye.— Buphthalurum.

Obstacles sharpen wishes ; and it may gene-
rally be observed, that where reasoning can-
not succeed, they have no other effect than
that of forwarding what they were intended
to protract.

OBSTINACY.

SMALL BINDWEED.—Convolvulus Arvensis.

** Convolvulus in streaked vases flush.”

Keats.
** No ass so meek, no ass so obstinate.”
Pope.
This humble plant is a most formidable
enemy to the husbandman, it being difficult
to dispossess it of the land it has once taken

224 FLORAL EMBLEMS.

possession of. Lucot says, it represents an
obstinate person, who persists in his own
opinion, and prefers being torn in a thou-
sand pieces, sooner than to yield benevolently
to what is required of him.
«The man resolv’d, and steady to his trust,
Inflexible to ill, and obstinately just,

Can the rude rabble’s influence despise.”
Addison.

OLD AGE.

Tree oF Lire.—Arbor-vite, Thya.

«¢ The Thuja from China’s fruitful lands.”

The name of Arbor-vite justifies this em-

blem. Young observes,

“Tis greatly wise to know, before we're told,
The melancholy news that we grow old.”

FLORAL EMBLEMS. 225

ORACLE.

DANDELION.— Leontodon.

“ ______— Dandelion this,
A college youth, that flashes for a day
All gold ; anon he doffs his gaudy suit,
Touch’d by the magic hand of some grave bishop,
And all at once, by commutation strange,
Becomes a reverend divine.”
Hurdis.

The medicinal properties of this plant have
caused it to be familiarly known by a name
that has brought it into contempt, and on
which account it is presumed the emblem
originated.

«« Why, by the verities on thee made good,

May they not be my oracles.”
Shakspeare.

226 FLORAL EMBLEMS.

ORNAMENT.

HornBeam TReE.—Carpinus.

** Ornament,
When foreign or fantastic, never charm’d
My judgment.”

Mason.

The French have made this tree the sym-
bol for ornament, because it forms most of the
cabinets and ornamental divisions of their

royal gardens.

to
bo
“I

FLORAL EMBLEMS.

OBSTACLES, TO OVERCOME, OR
SURMOUNT.

MissE.LToOE.— Viscum.

‘“‘ The naturalists are puzzled to explain
How trees did first this stranger entertain ;
Whether the busy birds ingraft it there,
Or, else, some deity’s mysterious care,
As Druids thought ; for when the blasted oak
By lightning falls, this plant escapes the stroke.”
Garth.

This plant, which is without an earthly. in-
heritance, makes no difficulty in attaching
itself to the branches of lofty trees, and there,
without apparent labour, subsists upon the

ascending sap of its supporter.

When drawn suspended on a tree, it is the

symbol of a flattering hanger-on.

228 FLORAL EMBLEMS.

PAINTING.

AvricuLta.—Primula Auricula.

—__—_—__ — “ Auricula, enrich’d
With shining meal o’er all their velvet leaves.”

Thompson.

As all the most beautiful flowers that were
known to the ancients, had been placed in
the hieroglyphical language of plants, we had
some difficulty in making a selection worthy
of representing the delightful art of painting,

for such it must ever be regarded.

‘«« Whether their hand strike out some free design,
Where life awakes, and dawns at every line,
Or blend in beauteous tints the colour’d mass,
And from the canvass call the mimic face.”

Pope.

We were unwilling to place any but a
European flower on the limner’s escutcheon,
and have therefore gathered « The queen of

the snowy Alps,” for their emblem ; for since

FLORAL EMBLEMS. 229

this flower has been fostered by man, nature
has allowed art to enrich its hues, and di-
versify its varieties, almost without end.
Painting is a dialect that speaks intelligibly
alike to all the globe.

“ Their pow’rful language to no realm
Or region is cunfin’d ;
Tis nature’s voice, and understood
Alike by all mankind.”
Psalm xix. 3. New Vers.

PARTICIPATION, OR, I PARTAKE
YOUR SENTIMENTS.

Douste Datsy.—Bellis hortus.

The cultivated daisy is made the emblem of
participation, because its multiplied petals all
partake of one receptacle. Hooker observes,
that < Civil society doth more content the
nature of man, than any private kind of soli-
tary living; because in society, this good of

mutual participation is so much larger.”

250 FLORAL EMBLEMS.

PATERNAL ERROR.

CARDAMINE. CuUCKOO-FLOWER, OR LADY’s SMOCK.

Nasturtium Pratensis.

‘* When daisies pied, and violets blue,
And lady’s smocks all silver white,
And cuckoo-buds of yellow hue,
Do paint the meadows with delight.”

Shakspeare.

This flower being one which formed the
crown of King Lear, after he had disposed of

his regal diadem to his children, has caused

the emblem.

«* He was met even now
As mad as the vex’d sea: singing aloud ;
Crown’d with rank fumiter, and furrow weeds,
With harlocks, hemlock, nettles, cuckoo-flowers,
Darnel, and all the idle weeds that grow
In our sustaining corn.”

Shakspeare.

FLORAL EMBLEMS. 231

PATIENCE.
Patience Docx.—Rumer patientia.

“ Aux malheurex, la patience:”’
Maleuvre.

‘** Have patience.”

This emblem is derived from the specific
name of the plant, which is also frequently
called monk’s rhubarb, it being often used by
them of old both as a pot-herb and a medici-

nal plant. Mortimer says,

“ Patience, an herb, makes a good boiled salad.”’

232 FLORAL EMBLEMS.

PEACE.
Oxive.—Olea.

“* But he her fears to cease,

Sent down the meek-ey’d Peace ;

She, crown’d with olive green, came softly sliding
Down through the turning sphere,
His ready harbinger ;
With turtle wing, the amorous clouds dividing,
And waving wide her myrtle wand,

She strikes an universal peace through sea and land.”

From the time of the general deluge to the
present day, the olive branch has ever been

the emblem of peace.

““ Come, peace of mind, delightful guest !
Return, and make thy downy nest
Once more in this sad heart :
Nor riches I, nor pow’r pursue,
Nor hold forbidden joys in view ;

We therefore need not part.”
Cowper.

FLORAL EMBLEMS. 233

PENSIVENESS.

Cows.uip.—Primula veris.

** __. Cowslips wan that hang the pensive head.’’
alton.

** Anxious cares the pensive nymph opprest,
And secret passions labour’d in her breast.”

Pope.

We offer this, the poets’ favourite meadow
flower, as symbolical of a mind so nearly al-
lied to melancholy love, that we may occa-
sionally place it on the lover’s escutcheon,

with this motto from Hurdis :

“« The love-sick cowslip, that head inclines,
To hide a bleeding heart.”

234 FLORAL EMBLEMS.

PERFECT GOODNESS.

STRAWBERRY.—Lvagaria.

‘* Content with food which nature freely bred,
On wildings and strawberries they fed.”
Dryden.

This agreeable and wholesome fruit is made
the symbol of perfect goodness, from its fra-
grance, flavour, and inoffensive qualities

Shakspeare says,

«« The strawberry grows underneath the nettle ;
And wholesome berries thrive and ripen best,
Neighbour’d by fruit of baser quality.”

FLORAL EMBLEMS. 235

PERFIDY.

THE COMMON LAUREL IN FLOWER.

Prunus Laurocerasus.

“« T treated, trusted you, and thought you mine ;
When, in requital of my best endeavours,
You treacherously practiced to undo me.”

Otway.

This beautiful plant carries the most invete-
rate poison in its veins, hence the emblem ;
since perfidy is too frequently disguised by
the alluring mask of friendship.

“O spirit accurs’d,
Forsaken of all good, I see thy fall
Determin’d, and thy hapless crew involv’d

In this perfidious fraud.”
Milton.

236 FLORAL EMBLEMS.

PERSECUTION.

CHEQUERED Fritittary.—Fritillaria Meleagris.

Persecution is represented by this flower,
whose chequered petals are too frequently em-

blematical of the events of life.

“Our necks are under persecution ; we labour, and have

no rest.”
Lamentations, v. 5.

PERSEVERANCE.
Canary-GLass.—Phalaris canariensis.

«« Perseverance keeps honour bright ;
To have done, is to hang quite out of fashion,
Like rusty mail in monumental mockery.”
Shakspeare.

We cannot account for this emblem, and

perseverance is not to be recommended in all

FLORAL EMBLEMS. I37.

cases, since to persevere in any evil course
must lead to misery as certainly, as we may

overcome difficulties by patient perseverance.

PERSUASION.

ALTHE Frutrex.—Hibiscus syriacus.

Beauty will frequently gain over what all
the arts of fine persuasion has failed to ac-

complish.

238 FLORAL EMBLEMS.

PLAY, OR GAMES.

Hyacintu.—Ayacinthus.

“‘ T will play no more ; my mind’s not on’t.
—— I did never win of you ;
Nor shall not when my fancy’s on my play.”
Shakspeare.

The hyacinth, so celebrated by the poets
from the time of Homer to the present day,
is made the emblem of play, or games, in al-
lusion to the fable which tells us, that this
flower sprang from the blood of young Hya-

cinthus, the favourite of Apollo.

** A well-pois’d disk first hasty Phoebus threw,
It cleft the air, and whistled as it flew;
It reach’d the mark, a most surprising length,
Which spoke an equal share of art and strength.
Scarce was it fall’n, when, with too eager hand,
Young Hyacinth ran to snatch it from the sand ;
But the curst orb, which met a stony soil,

Flew in his face with violent recoil.”
Ovid.

FLORAL EMBLEMS. 239

PLEASURES OF MEMORY.

PERIWINKLE.— Vinca.

“ Come Memory, and with me go!
Each lovely flower that breathes the spring
Affection’s gentle hand shall strew.”
Dodd.

The admirers of Rousseau held this flower
as the symbol of the pleasures of memory, be-
cause its appearance recalled the poet’s mind

back to former friendships.

‘* Companions of the youthful scene,
Endear’d from earliest days !
With whom I sported on the green,
Or rov’d the woodland maze !”’

Logan.

Too many of us naturally exclaim in the
words of Goldsmith,

“Oh Memory, thou fond deceiver,
Still importunate and vain ;
To former joys recurring ever,
And turning all the past to pain.”

240 FLORAL EMBLEMS.

POETRY.

Sweet Briar, or EGLANTINE.

Rosa rubiginosa, or Eglanteria.

‘* Real indigenous poetry is a sweet flower.”
Campbell.

“‘ Come, gentle air! and while the thickets bloom,
Convey the jasmin’s breath divine ;
Convey the woodbine’s rich perfume,
Nor spare the sweet-leaved eglantine.”
Shenstone.

The fragrance of the eglantine is as delight-
ful to the olfactory nerves, as the charms of
poetry are to the ear; they both reach the

soul of sensibility, and each has its thorn.

— ‘“* How far have we

Prophan’d thy heav’nly gift of poesy ?
Made prostitute and profligate the Muse,
Whose harmony was first ordain’d above
For tongues of angels.”

Dryden.

FLORAL EMBLEMS, 241

POPULAR FAVOUR.

Cistus, ork Rock Rose.—Cistus.

** Admire we then,
Or popularity, or stars, or strings,
The mob’s applause, or the gifts of kings ?”

In floral language, this transient flower is
made the emblem of popular favour, since the
duration of the one cannot be relied on more
than the continuation of the other. Dryden
says, ““ A popular man is, in truth, no better
than a prostitute to common fame and to the

people.”

242 FLORAL EMBLEMS.

POVERTY.

EvERGREEN CrLematis.—Clematis cirrhosa.

*« O’errun
By vines, and boundless clematis.”

This plant represents in floral language the
scale which weighs the sincerity of friendship.
When poverty holds the beam, the multitude
generally fly like chaff before the fan of a
winnower ; yet we hope there are none so
afflicted but they may use the words of
Shakspeare,

“* Poverty could never draw them from me.”

FLORAL EMBLEMS. 243

PRECAUTION.
GoipEN Rop.—Solidago.

** In golden armour, glorious to behold.”

This flower is presented as the emblem of
precaution, nature having so carefully en-
veloped these little florets in a silky down,
as to shield their nectar from the ravages of
the bee.

PRECOCITY.

May Rosr.—Rosa cinnamoma.

** Ton frais bouton, d’une aimable couleur,
Du cinnamome exhale l’ambroisie :
Et Flore en toi, par une douce erreur,
Croit respirer les parfums de I’ Asie.”

Precocity is represented by this early and

aromatic rose, which generally displays its

Rr 2

244 FLORAL EMBLEMS.

beauty and dispenses its odours when Philomel

_ begins towarble. T. Moore says in Lalla Rookh,

“Oh! sooner shall the rose of May
Mistake her own sweet nightingale,
And to some meaner minstrel’s lay
Open her bosom’s glowing veil,
Than Love shall ever doubt a tone,
A breath of the beloved one.”

PREFERENCE.

ScARLET GERANIUM.

‘* Geranium boasts
Her crimson honours.”’
Cowper.
This emblem originated from the preference

shown by florists to the cultivation of the

“* Genteel geranium
With a leaf for all that come.”’

FLORAL EMBLEMS. 245

PRESUMPTION.

SNAP-DRAGON.—Antirrhinum.

‘The stern and furious lion’s gaping mouth.”
Columella.

This singular flower is made the symbol of
presumption, from its monopetalous corolla
forming a mask, which resembles the face

of an animal.

‘“* Pride, and arrogance, and the evil way, and the fro-

ward inouth, do I hate.”
Proverbs viii. 13.

246 FLORAL EMBLEMS.

PRETENSION.

Ly rHruM.——Lythrum.

L’Estrange says, ‘“‘ Men indulge those opi-
nions and practices that favour their preten-

sions.”

“* But if to unjust things thou dost pretend,
Ere they begin, let thy pretensions end.”
Denham.

PRIDE.

AMARYLLIS.—Amaryllis.

“Tn all the liveries deck’d of summer’s pride.”’
Milton.

The splendour of these flowers has caused

them to be made the emblem of pride.

¥ Wloral Emblems.

Hope separated Jrom Love by lrule and Cruelty

Publish by Sundaes i liley, SO Conduct SEIBES,

”

FLORAL EMBLEMS. 247

This beautiful species of the lily tribe varies
not more in its colours than pride does in its

qualities. Man without
‘* The honest pride of conscious virtue,”

is a mere animal, a sloth. Man, with pride
of the insolent kind is lower than the brute.
Man, who permits his self-esteem to “ Peep
through each part of him,” is to be pitied asa
frivolous insect that struts through its short
summer ; whilst the man, whose pride consists
in the elevation of a generous heart, has the
feelings of a celestial being, and must ever be

regarded as the most elevated of his species.

The miser is proud of his wealth ; the spend-
thrift of his extravagance ; the hypocrite of
his cunning ; the honest man cf his integrity ;
the sloven of his filth; the beau of his neat-
ness ; the coxcomb of his dash ; and the quaker
of his prim formality. And arrogance is not
more proud of the wounds it inflicts, than

benevolence is of the balm it bestows.

248 FLORAL EMBLEMS.

The Greek name of this plant signifies
splendour; and the beauty of the flower ren-

ders it appropriate as the emblem of pride.

** Pride was not made for men; a conscious sense
Of guilt, and folly, and their consequence,
Destroys the claim ; and to beholders tells—

| eed

Here, nothing but the shape of manhood dwells!
Waller.

PROFIT.
CaBBAGE.— Brassica.

‘“« That herb, which o’er the whole terrestrial globe
Doth flourish, and in great abundance yields
To low plebeian, and the haughty king,
In winter, cabbage ; and green sprouts in spring.”
Columella.

In the mercantile world, the greatest profit
generally arises out of articles of necessity, or
such as habit has brought into general de-

mand; and but few if any culinary vegeta-

FLORAL EMBLEMS. 249

bles have been as general as that of cabbage.

Shakspeare says,

** To wail friends lost,
Is not by much so wholesome, profitable,
As to rejoice at friends but newly found.”

PROLIFIC.

Fic TREE; oR, A BRANCH WITH LEAVES AND Figs.

This prolific tree, so celebrated in eastern
nations, as being distinguished from all others
by its bearmg two successive and distinct
crops of fruit in one year, and each crop
being produced on a distinct set of shoots,
has caused the origin of this emblematical
representation: we have therefore on this
account selected the fig-tree to bear the
shield of our title-page, with a hope that the
floral emblems may be found prolific of ge-
neral amusement, and thus become produc-

tive of public favour.

250 FLORAL EMBLEMS.

PROMPTITUDE.

Ten WEEKS’ Stock.—Cheiranthus Annuus.

The rapidity of the growth and flowering
of these plants has caused them to be made

symbolical of promptitude.

“« Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the Pole.”
Pope.

PROTECTION.
Bearpep Creris.—Crepis Barbata.

The flower-buds of this plant are protected
by the linear leaves that form the beard, which

has given rise to the emblem.

FLORAL EMBLEMS. D514

PROVIDENT.

Puree CLover.—Trifolium pratense.

“ Flocks, thick nibbling thro’ the clover’d vale.”

Thomson.

** Nature shall provide
Green grass and fatt’ning clover for their fare.”
Dryden.

The provident husbandman lays up a good
store of clover hay for the subsistence of his
cattle during the winter months : his earliest
spring pastures are also covered with this nu-
tritious plant, which ensures both himself and

his stock ‘‘ a bed of clover.”

The great changes which have taken place
in agricultural transactions proves the just-

ness of Atterbury’s remark, that “a very

252 FLORAL EMBLEMS.

prosperous people, flushed with great suc-
cesses, are seldom so pious, so humble, so
just, or so provident, as to perpetuate their

happiness.”
Dryden says,

“ Some men, instructed by the lab’ring ant,
Provide against th’ extremities of want.”

The use of trefoil in armorial bearings is of
great antiquity. The Dutch clover, Trzfolcwm
repens, 18 dedicated to St. Patrick, it being

the shamrock of the Irish.

FLORAL EMBLEMS. 253

PRUDENCE.

Mountain Asu.—Sorbus aucuparia.

** The mountain ash, whose flower-fill’d boughs
Spread like a cloud at noon ;
Whose shade is a haunted place

For the sweet airs of June.

I wreathed amid thy hair
Its berries, like the coral crown
That the sea-maidens wear.”

EE 2:

This elegant tree seems to have been se-
lected as the emblem of prudence, from its
foliage being withheld until the equinoctial
winds have ceased to commit their devasta-

tions.

Peacham says, ‘‘ Under prudence is com-
prehended that discreet, apt, suiting and dis-
posing, as well of action as words, in their due

place, time, and manner.”

254 FLORAL EMBLEMS.

PURITY AND MODESTY.

Waite Lity.—Lilium Candidum.

“ Ye loftier lilies, bath’d in morning dew,
Of purity and innocence renew
Each lovely thought —.”

Barton.

All nations and ages agree in making this

flower the symbol of purity and modesty ;

and its beauty and delicacy has ever been

the theme of admiration with the poets from

the time of Solomon to the present day.

Cotton thus addressed a beautiful young

girl, who was admiring these flowers :

** Lilies are by plain direction
Emblems of a double kind ;
Emblems of thy fair complexion,
Emblems of thy fairer mind.

FLORAL EMBLEMS. 255

But, dear girl, both flowers and beauty
Blossom, fade, and die away ;

Then pursue good sense and duty,
Ever-greens that ne’er decay.”

Thomson says,

“« Observe the rising lily’s snowy grace ;
Observe the various vegetable race ;
They neither toil nor spin, but careless grow ;
Yet, see how warm they blush! how bright they glow !
What regal vestments can with them compare?
What king so shining, or what queen so fair ?”

PURITY OF SENTIMENT.

Wuire Vio.et.— Viola alba.

** That strain again—it had a dying fall ;
O, it came o’er my ear like the sweet breath
That breathes upon a bank of violets,
Stealing, and giving odour.”
Shakspeare.

The white pink is also emblematical of

purity of sentiment.

It is observed by Thomson, that

‘‘ From the body’s purity, the mind
Receives a secret aid.”

bo
Or
op)

FLORAL EMBLEMS.

QUICK-SIGHTEDNESS.

HawkweEeEbD.—H[leracium.

This plant is made the emblem of quick-
sightedness, because it was formerly given to
hawks to sharpen their sight, and from hence

its name originated.

It is observed by Locke, that ‘* nobody will
deem the quick-sighted amongst them to have

very enlarged views in ethicks.”

RARITY, OR EXTRAORDINARY.

ManprakeE.—Atropa Mandragora.

the mandrake’s flow’rs
Whose root shews half a man, whose juice
With madness strikes.”

Columella.

In symbolical language the mandrake is

made the emblem of any thing rare or extra-

FLORAL EMBLEMS. 257

ordinary, on account of its supposed extraor-

dinary properties, as well as its rarity.

7

n

La mandragore qu’on arrache,

Long-temps résiste avec effort,

Jette un grand cri, frappe de mort
_ Le bras hardi qui la detache.”’

An observation is made in the Spectator
that deserves ‘the notice of others as well as

the cultivators of flowers, it says—

“Far from bemg fond of any flower for
its rarity, if I meet with any im a field which

pleases me, I give it a place in my garden.”

258 FLORAL EMBLEMS.

REASON.

Goat’s Rur.—Galega officinalis.

** Dim, as the borrow’d beams of moon and stars,
To lonely, weary, wand’ring travellers,
Is reason to the soul : and as on high,
Those rowling fires discover but the sky,
Not light us here; so reason’s glimmering ray
Was lent, not to assure our doubtful way,
But guide us upward to a better day.”

Dryden.

The goat’s rue, so entirely disregarded in

this country, yet so highly estimated by the

Italians, stands in floral hieroglyphics as the
emblem of reason.

‘* Reason,” says Hooker, “ is the director of
man’s will, discovering in action what is good ;
for the laws of well-doing are the dictates of
right reason.”

FLORAL EMBLEMS. 259

RECONCILIATION.

Fitrpert.—Corylus.

~ “* Thou hast a brain, such as it is indeed !
On what else should thy worm of fancy feed ?
Yet in a filbert I have often known
Maggots survive when all the kernel’s gone.”
Dorset.

Clusters of these agreeable nuts are emble-
matical of reconciliation, and all will allow
that the cracking of filberts at reconcilia-
tion is more agreeable than the breaking of

heads at dissensions.

** No cloud

Of anger shall remain ; but peace assur’d
And reconcilement.”

Paradise Lost.

260 FLORAL EMBLEMS.

REFUSAL.

Srrieep Pink, on CaARNATION.— Dianthus.

** With hues on hues.”’

Thomson.

———— “and streak’d gillyflowers,
Which some call, nature’s bastards : of that kind
Our rustic garden’s barren; and I care not
To get ships of them.”

«* For I have heard it said,
There isan art, in their piedness, shares
With great creating nature.”

Shakspeare.

Ladies shoula think seriously before they
present this emblem to their suitors. Garth

Says,

““ Women are made as they themselves would choose ;
Too proud to ask, too humble to refuse.”’

FLORAL EMBLEMS. 261

RELIGLOUS ENTHUSIASM.
Lycunis.—Lychnis.

This flower, which is frequently named
cross of Jerusalem, in most of the European
languages, the French calling it crozw de Jéru-
salem ; the Spanish, cruces de Jerusalem ; the
Italians, croce di Cavaheri; the Germans,
Hierosolymorum flos ; the Portuguese, cruz de
Malta; all tending to dedicate it to religion,
and as it appears to have been introduced by
the crusaders, we present it as the emblem of

religious enthusiasm.

Locke observes, that enthusiasm is founded
neither on reason nor divine revelation, but
rises from the conceits of a warmed or over-

weening brain.

262 FLORAL EMBLEMS.

RELIGIOUS SUPERSTITION.

Passton Frower.—Paussiflora.

‘* At rosy morn, or evening’s silent hour,
Some fair enthusiast views the sainted flower,
When lo! to wrapt imagination’s eye,
Springs the sad scene of darken’d Calvary!
The thorny crown the heavenly brows around,
The scourging thorns, the galling cords that bound,
And nails that pierced with agonizing wound ;
Sudden she lifts to heaven her ardent eye
In silent gaze and solemn ecstacy :
Then, fill’d with timid hope and holy fear,

Drops on the flower a consecrated tear.”’

Shaw.

The Murucuia of the western world was
no sooner seen in Italy, than superstition or
craft, found a mysterious representation of
the passion of Christ in this flower, and it
received the sanctimonious titles of Flos Pas-
stonis and Christe Passionis Imago, from which

our name of passion flower is derived, and
the emblem formed.

FLORAL EMBLEMS. 263

It is justly observed that the christian reli-
gion, rightly understood, is the sure foun-
dation of true happiness ; how terrible then
that such a blessing should be abused by

either craft or ignorance.

REMORSE.

BramBLe.— Rubus.

“The bush my bed, the bramble was my bow’r,
The woods can witness many a woful store.”
Spencer.

Remorse is well represented by the thorny

bramble.

‘“* Curse on th’ unpard’ning prince, whom tears can draw

To no remorse ; who rules by lion’s law.”
Dryden.

264 FLORAL EMBLEMS.

RENDER ME JUSTICE.

CuestNvuT TREE.—Castanea.

‘«« New cheese and chestnuts are our country fare,

With mellow apples for your welcome cheer.”
Virgil’s Pastorals.

This tree, which aftords a wholesome nou-
rishment to the inhabitants of many coun-
tries, is not sufficiently regarded in Britain.
It was however of more importance in former
days, and the roasting of these nuts is men-
tioned by poets whose verses will ever be ad-

mired, however time may change our customs.

“« Or whose discourse with innocent delight
Shall fill me now, and cheat the wintry night ?
While hisses on my hearth the pulpy pear,
And black’ning chestnuts start, and crackle there.”
Milton.

FLORAL EMBLEMS, 265

Shakspeare thus alludes to the practice.

* A woman’s tongue,
That gives not half so great a blow to th’ ear,

As will a chestnut in a farmer’s fire.”’

RESEMBLANCE.

SprkeED SPEEDWELL.— Veronica Spicata.

“« Fairest resemblance of thy maker fair,
Thee all things living gaze on.”

Milton.

This beautiful little blue flower, familiarly
known by the name of bird’s eye, is made the

emblem of resemblance.

In the flowers of the saints this plant is
dedicated to St. Barbatus.

266 FLORAL EMBLEMS.

RESERVE.

Mapuie.—Acer.

** On sods of turf he sat, the soldiers round ;
A maple throne, rais’d higher from the ground,

Receiv’d the Trojan chief.”
Anis.

<The maple seldom inward sound” is made

symbolical of reserve.

“* To all obliging, yet reserv’d to all,
None could himself the favour’d lover call.”
Walsh.

FLORAL EMBLEMS. 267

RESISTANCE.

Tansy.—Tanacetum.

‘* Before my door the box-edg’d border lis,
Where flowers of mint, and thyme, and tansy rise.”
Scott.
This balsamic plant, so celebrated of old, is
made the emblem of resistance, because it was
supposed to act against contagion.
‘** Since you can love, and yet your error see,

The samme resistless power may plead for me.”

Dryden.

RESTORATION.

Persicaria.—Polygonum Oriental.

‘“« Restore me to your favour.”

The seeds of this Asiatic plant were pro-
cured by M. Tournefort, from the varden of
the three Churches near Mount Ararat, the

spot on which the ark is supposed to have

268 FLORAL EMBLEMS.

rested, from whence it is selected for the em-

blem of restoration.

‘“* Behold the different climes agree,
Rejoicing in thy restoration.”

Dryden.

RETURN OF HAPPINESS.

Lity or THE VALLEY.—Convallaria majalis.

and ye, whose lowlier pride,
In sweet seclusion seems to shrink from view,—
You of the valley nam’d, no longer hide
Your blossoms meet to twine the brow of purest bride.”

Barton.

This flower, whose odour is as agreeable as
its form is elegant, announces the happy sea-

son of May, when

“* new verdure clothes the plain,

And earth assumes her transient youth again.”

Milton.

‘« Then the sweet lily of the vale
In woodland dells is found,
While whisp’ring winds its sweets exhale,

And waft its fragrance round.” :
D

FLORAL EMBLEMS. 269

REWARD OF VIRTUE.

Crown or RosgEs.

** And on hire hed, ful semely for to see
A rose gerland fresh and wel-smelling.”
Chaucer.

This emblem originated from the festival
of Salency, where a chaplet of roses is an-

nually given to the most virtuous daughter of
the hamlet.

“* If there’s a power above us,
And that there is all nature cries aloud
Thro’ all her works, he must delight in virtue,
_And that which he delights in must be happy.”

Addison.

270 FLORAL EMBLEMS,

RICHES.

Wueat.—Triticum.

“* Of golden wheat, the strength of human life.”

Philips.

Floral hieroglyphics have not a more ap-
propriate emblem than that of representing

riches by this gift of Ceres.

Without content no man can be rich, and
it will always be found that there is a greater

proportion of wealthy poor people, than of
rich in content.

“© What riches give us, let us first enquire,

Meat, fire, and clothes; what more? meat, clothes, and
fire.”

Pope.

FLORAL EMBLEMS. 271

RIGOUR.

VaRIous COLOURED LANTANA.—Laniana Camara.
‘«« Rigour makes it difficult for sliding virtue to recover.”

Self imposed rigour, is a presumptuous
pride, that is both injurious and offensive to

pure religion.

RUPTURE.

BLuE-FLOWERED GREEK VALERIAN.—Polemonium
ceruleum.
Violent ruptures are more frequently pro-
duced from frivolous disputes than trom

either reason or justice.

ho
~“
wo

FLORAL EMBLEMS,

RUSTIC BEAUTY.

Frencu HoNEYSUCKLE .—Hedysarum cornoarium.

Rustic beauties lose all their charms when
removed out of their natural situations. As
flowers of the fields appear weeds in the gar-
den, so will village belles look like foils in a

court assembly.

FLORAL EMBLEMS. PAT ico}

SCULPTURE.

Hoy a.—Hoya carnosa.

«* Then sculpture and her sister arts revive,
Stones leap’d to form and rocks began to live.’
Pope.

The artists who give in substance what the
poets give in idea must not want a symbol to
their ensign. And as we have not the power
to convoke a general meeting of these creative
artificers, to ascertain which of the undis-
posed of flowers they would prefer, we assume
the privilege of registering their floral em-
blem, in our little college of heraldic flowers,
without either their assent, or the assistance

of the pursuivant or garter king of arms.

We have gathered this emblematical flower
of sculpture in Asia, it being the quarter of
the globe where the arts first originated. And

at

274 FLORAL EMBLEMS.

the hoya appears to have been formed by
nature, when in a frolic she tried to mimic
art, as it bears more the resemblance of sculp-
ture than of vegetation. When this orna-
mental climbing plant embellishes the co-
lumns of our conservatories, we may truly

say 10 the words of Milton---

“* Nor did there want

Cornice, or freeze, with bossy sculpture graven.”

SECRECY .

This emblem is formed by a full blown

rose being placed over two buds.
‘“« It was told under the rose.”

It is related in mythological history that
the god of love made Harpocrates, the god of
silence, a present of the first rose, to bribe
him not to divulge any of the private prac-
tices of his mother Venus. Hence the rose was

made the symbol of silence, and it became

FLORAL EMBLEMS. 275

a custom with the ancients to place a rose
above their heads in their banqueting rooms,
in order to banish restraint, as it expressed
that nothing would be repeated that was said

under the rose.

** For secrecy no lady closer.”
Shakspeare.

SENSUALITY.

SPANISH JASMINE.— Jasminum grandiflorum.

‘* Here jasmines spread the silver flower,
To deck the wall or weave the bower.”
Cotton.

This highly odorous flower represents an

immoderate desire for sensual gratifications.

Youth spent in sensuality, ends in prema-
ture old age, accompanied by disease of body,
and infirmity of mind.

r 2

276 FLORAL EMBLEMS.

When we can no longer maintain folly,
neglect is sure to approach us, who never

fails to present her ungracious cup of bitters.

SEPARATION.

Asu-LEAVED TrRuMPET FowEr.— Bignomia radicans.

“« Did you not hear
A buzzing of a separation

bP)

Between —————— and
Shakspeare.

Separations are eagerly announced by the
trumpets of scandal and ill-nature, who by
their discordant sounds, frequently prevent

the possibility of a re-union.

The gay corollas of this North American
plant drop off, leaving the pistilum destitute
of protection, and hence it is presumed the
emblem was devised, for where attachment 1s

so slight, separation becomes easy.

to
~
~~

FLORAL EMBLEMS.

SEVERITY, OR RIGOUR.

Brancu or Tuorns.

‘“* Thorns and thistles shall it bring forth.”

«Spare the rod and spoil the child,” is a
proverb happily gone out of favour, since it
has been so generally known that birch ma-
nure produces those sour and obstinate weeds
that destroy the fair flowers from which we

might otherwise have expected agreeable fruit.

SLEEP OF THE HEART.

Wuite Poppy.—Papaver Somniforum.

** From the poppy I have ta’en
Mortal’s. balm, and mortal’s bane!
Juice, that creeping through the heart,

Deadens ev’ry sense of smart.”

Mrs. M. Robinson.

This somniferous plant, which mitigates

pain, damps also the energies of the mind,

218 FLORAL EMBLEMS.

~_

and deadens all the warmer sensations of the

heart.

‘* For is there aught in sleep can charm the wise,
To lie in dead oblivion, losing half
The fleeting moments of too short a life—

Total extinction of the enlightened soul.”
Thomson.

SICKNESS.

ANEMONE.—Anemone.

‘© So sudden fades the sweet Anemone.
The feeble stems, to stormy blasts a prey,
Their sickly beauties droop and pine away.
The winds forbid the flow’rs to flourish long,
Which owe to winds their name in Grecian song.”

Eusden’s Ovid.
The anemone was made the emblem of
sickness, in allusion to the fate of Adonis, or,
as some suppose, from its being anciently

worn against disease.

* Trust not too much your own resistless charms,

Those age or sickness soon or late disarms.”
Pope.

FLORAL EMBLEMS. 279

SILENCE.

Lorus rLower, or Warer Lity.—Nymphea.

‘« Where blameless pleasures dimple quiet’s cheek,
As water-lilies ripple a slow stream!”

Coleridge.

“* T suffer not a woman to teach, nor to usurp autho-
rity over the man, but to be in silence.”
1 Timothy 1. 12.

We present this aquatic plant as the em-
blem of silence, since the antiquarians assure
us, that they recognize this flower on the

head of Harpocrates.

Love glides silently upon us, and the In-
dians feign that Cupid was first seen floating

down the Ganges on the Nymphaea Nelumbo.

“* Down the blue Ganges laughing glide
Upon a rosy lotus wreath,
Catching new lustre from the tide,
That with his image shone beneath.”

T. Moore.

280 FLORAL EMBLEMS.

The lotus is an object of supreme venera-
tion in all the mythological systems of the
east especially in that of the Hindus.

The sacred name of this plant is Pedma,
and it is pretended that Brahma was born in
a lotus, when he created the world, wherefore

it is regarded as the symbol of creative power.

** And thy own pedma, roseate flower of light,
Emblem and cradle of creative might.”
C. Grant.

‘“¢ This plant, (says Mr. Knight,) being pro-
ductive of itself, and vegetating from its own
matrice, without being fostered in the earth,
was naturally adopted as the symbol of the
productive power of waters, upon which the
active spirit of the creator operated, in giving

life and vegetation to matter.”

FLORAL EMBLEMS. 281

SIMPLICITY.

A FULL BLOWN EGLANTINE, OR SINGLE ROSE.

“ Of old, the rose on lowly bramble sprung.”
De Lille.

*« And, blushing, the uncultured rose,
Hangs high her beauteous blossoms.”

Mrs. C. Smith.

The single rose presents to the botanist,
all those natural beauties of the flower, which

are lost in its highly cultivated double state.

Thus simplicity will ever have charms for

true discernment. Lavinia won Palemon’s love

“© Veil’d in a simple robe.”

282 FLORAL EMBLEMS.

SINCERITY.

GARDEN CHERVIL.—Scandix cerefolium.

“ The thoughts of past pleasure and truth,
The best of all blessings below.”

The ancients affirm, that this herb, when
eaten, causes cheerfulness without inebriety ;
and hence it was made the symbol of since-

rity.

FLORAL EMBLEMS 283

SINGULARITY.

Cock’s-cCOMB, OR CRESTED AMARANTH.
Celosia Cristata.

- plants, divine and strange,

That ev’ry day their blossoms change,
Ten thousand lovely hues !

With budding, fading, faded flowers,

They stand, the wonder of the bowers,

From morn to evening dews.”

This singular amaranth is a native of
flowery lands, being common in China, Japan,

and some parts of Persia.

Singularity is frequently adopted by those
who have no other claims to public notice ;
but it is justly observed, that to be singular in
any thing that is wise and worthy, is not a

disparagement but a praise.

ho
(@ 6)
x

FLORAL EMBLEMS.

SNARE.
a

DracGon Prant.—Arum dracunculus.

** Oh! wander not where dragon Arum show’rs
Her baleful dews, and twines her purple flowers,
Lest round thy neck she throw her snaring arms,
Sap thy life’s blood, and not on thy charms.
Her shining berry, as the ruby bright,
Might please thy taste, and tempt thy eager sight,
Trust not this specious veil; beneath its guise,
In honey’d streams, a fatal poison lies.”

Mrs. F. A. Rowden.

The above lines were penned to caution
children against the dangers of this beautiful
vegetable production. But as children of a
full growth are frequently entangled, we shall
caution them in the words of Dryden, who

Says,

‘** The spreading snare for all mankind is laid,

And lovers all betray, or are betray’d.”

Floral Emblems

wh

SOCPUAE.

: Sree

e

LERAEtPLACES arvs~Rng

FLORAL EMBLEMS. 285

SOLITUDE.
Heatu.—Ervica.

The Erica here,
That o’er the Caledonian hills sublime,
Spreads its dark mantle, (where the bees delight,
To seek their purest honey,) flourishes.
Mrs. C. Smith.

“« To you, ye wastes, whose artless charm

Ne’er drew ambition’s eye,

’Scap’d a tumultuous world’s alarms,
To your retreats I fly. |

“* Deep in your most sequester’d bower,
Let me at last recline ;
Where solitude, mild modest power,

Leans on her ivy’d shrine.”
Beattie.

The beautiful heath with its purple bells,
has been chosen for the emblem of solitude,
because it grows only in poor acrid soil, con-
sequently in dreary situations.

«< What call’st thou solitude? Is not the earth
With various living creatures, and the air,

Replenish’d, and-all these at thy command,

To come and play before thee.”
Milton.

286 FLORAL EMBLEMS.

SORROWFUL REMEMBRANCES.

Apvonis.—Adonis.

«¢ Adonis dont la vie eut des termes si courts
Qui fut pleuré des ris, qui fut plait des amours.”’
La Fontaine.

Fable tells us that Adonis stained with his
blood the flower that bears his name, and
hence it has been made the emblem of sor-

rowtul remembrances.

** Then on the blood sweet nectar she bestows,
The scented blood in little bubbles rose :
Little as rain drops, which flutt’ring fly,
Born by the winds along a low’ring sky.
Short time ensu’d, till where the blood was shed,
A flow’r began to rear its purple head.”

Eusden’s Ovid.
Some poets make this flower symbolical
of the chase, in allusion to Adonis’s love of
hunting.

“* On the discolour’d grass Adonis lay,
The monster trampling o’er his beautious prey.
Yet dares not Venus with a change surprise,
And in a flow’r bid her fall’n hero rise.”

FLORAL EMBLEMS. 287

SOURNESS.

Barsperry.— Barberis vulgaris.

** Sullen and sour, with discontented mein,
Jocasta frown’d.”’

Pope.

This acid fruit with its sour leaves, is em-
blematical of the temper that is soured by

peevish asperity.

Too great a propensity to seriousness, is apt

to engender sourness.

SPLENDOUR.

Scartet Nasturtium.—Thopeolum.

This Peruvian plant, which wears the gay
livery of the worshippers of the Sun, has,

288 FLORAL EMBLEMS.

from its gold like colour, been made the

type of splendour or magnificence.

How poor is the magnificence of gold in
comparison to a splendid sun-set! Yet, how
we neglect the grandeur of the heavens to
run after the momentary pageantry of men,
the whole power of whose greatest dazzle is
insufficient to ripen a gooseberry ; and leaves
us without bestowing either warmth or nou-

rishment.

“ Thus unlamented pass the proud away,
The gaze of fools, and pageant of a day.”

Pope.

SPLEEN.

Common Fumitory.—Fumaria officinalis.

“We know not why this weed of our corn

fields, has been selected for this angry emblem.

FLORAL EMBLEMS. 289

“* The spleen with sullen vapours clouds the brain,
And binds the spirits in its heavy chain ;
Howe’er the cause fantastic may appear,

Th’ effect is real, and the pain sincere.”

Blackmore.

: STOICISM.

Box.— Burrus.

‘“* How goodly looks Cytorus, ever green,
With boxen groves.”

Dryden’s Virgil.

This tree is made symbolical of a Stoic, on
account of the firmness of its wood, which,

like the Stoics of old, cannot be warped.

«* Nor box, nor limes, without their use are made,
Smooth-grain’d, and proper for the turner’s trade ;
Which curious hands may carve, and seal with ease

invade.”
Virgil.

290 FLORAL EMBLEMS.

STRENGTH.
Cepar TREE LLPinas Cedrus.

———— ‘ Cedars here,
Coeval with the sky-crown’d mountain’s self,
>

Spread wide their giant arms.’

Mason.

The use of this wood for all purposes re-
quiring strength, has been proverbial from

the time of Solomon to the present day.

«Yet heaven their various plants for use designs,
For houses, cedars ; and for shipping, pines.”

Virgil.

FLORAL EMBLEMS. 291

SUCCESS CROWN YOUR WISHES.

CoronitLaA.—Coronilla.

«« Thy wish, exactly to thy heart’s desire.”
Milton.

“© My crown is call’d content ;
A crown it is that seldom kings enjoy.”
Shakspeare.

This little shrub, which enlivens the fields
of Spain and Italy, derives its name from
corona, acrown, because the head of each of its
branches is crowned by a corymb of golden
flowers. We have, therefore, placed it in this
collection, as emblematical of our friendly
wishes. The gay coronilla, that dispenses its
sweet odours so agreeably through our con-
servatories, we hope will shortly attract the
notice of some poet, whose pen may happily
describe its beauties, and in return for the
verse, we will bestow on him the motto this

flower is made to eXpress.

292 FLORAL EMBLEMS.

SUPERSTITION.

Vervian.—- Verbena.

‘“« The nightshade strews to work him ill,
Therewith the vervian and her dill,
That hind’reth witches of their will.”
Drayton.

In superstitious ages this plant was not
only used in religious ceremonies, but was

thought to possess the power of repelling

witches and enchanters.

** A rev’rent fear, such superstition reigns
Among the rude, ev’n then possess’d the swains.”

Dryden.

In ancient times the ambassadors or heralds
at arms wore crowns of vervian when they
went to denounce war, or give defiance to

their enemies.

‘* A wreath of vervian heralds wear,
Amongst our garlands named,
Being sent that dreadful news to bear,

Offensive war proclaimed.”
Drayton.

FLORAL EMBLEMS. 293

SUPERSTITIOUS SANCTITY.

Sr. Joun’s-worr.— Hypericum.

“* Hypericum all bloom.”
Cowper.

“* T hold you as a thing enskied and sainted.”
Shakspeare.

The name of this plant seems to have given
the idea of the emblem.

«« At his touch,
Such sanctity hath heaven given his hand,
They presently amend.”
Shakspeare.

294 PLORAL EMBLEMS.

SURPRISE.
Breronvy.— Betonica.

« He has as many virtues as betony.”

This proverb is common im Spain, and
some other countries where the betony is still
regarded for its efficacy in curing many com-
plaints. The use of this plant is, however,
subject to give a kind of intoxication, which
causes the patient to commit all sorts of ex-
travagancies, and the leaves when dried and
powdered into the form of snuff, produces

immoderate sneezing, from which cause the

emblem has been devised.

ve

Xe)
or]

FLORAL EMBLEMS. a

SUSPICION.

Musuroom.—Fungus.

* And fungus fruits of earth, regales the sense
With luxury of unexpected sweets.”
Cowper.

The dangerous properties of some species
of this family of plants have caused the em-
blem, for suspicion is a poison that destroys
the quietude of those who cultivate it. Lord

Bacon says,

‘Suspicions amongst thoughts are like bats
amongst birds, they ever fly by twilight ;
they are to be repressed, or at least well

guarded, for they cloud the mind.”

296 FLORAL EMBLEMS.

SWEET, OR MILD DISPOSITION.
Matitow.— Malva.

** Exoneraturas ventram mihi villica Malvas

Astulit, et varias, quas habet hortus, opes.””
Martial. Lib. 10.

The mild and healing properties of this
plant have caused it to be made the symbol
of this amiable quality.

** Nothing reserv’d or sullen was to see,
Bnt sweet regards, and pleasing sanctity;
Mild was his accent, and his actions free.”’

Dryden.

FLORAL EMBLEMS. 297

TALENT. —

Wuite Pinx.—Dianthus.

“« Sweet flower, beneath thy natal sky
No fav’ring smiles thy scents invite ;
To Britain’s worthier regions fly,
And paint her meadows with delight.”
Shaw.

This flower, so richly gifted with odour, 1s

emblematical of those persons who benefit

society by their talents.

‘“« Each pink sends forth its choicest sweet
Aurora’s warm embrace to meet.”

Mrs. M. Robinson.

298 FLORAL EMBLEMS.

TARDINESS.

FLAXx-LEAVED Goupy-Locks.—Chrysocoma Linosyris.

‘“* Cry mercy, lords, and watchful gentlemen,
That you have ta’en a tardy sluggard here.”

Shakspeare.

This British plant, whose blossoms sléep
until other flowers have sported their day, is
more conspicuous through its tardiness than
its beauty, like those who reserve their revels
until the time of rest, as if aware that their
attractions would be overlooked if associated
with the multitude.

FLORAL EMBLEMS. 999

TASTE.

ScarRutetr Fucus1a.—Fuchsia Corcinea.
** Klegant, with ease.”’

We place the fuchsia in the floral emblems
as the symbol of taste; for, with its richly-
coloured blossoms, there is a peculiar har-
mony and beauty in the unassuming appear-
ance of the flowers, which hang with so much

gracefulness amongst the foliage.

300 FLORAL EMBLEMS.

TEARS.

HevLentum.—Helenium.

‘‘ Sweet drop of pure and pearly light !
In thee the rays of virtue shine ;
More calmly clear, more mildly bright,
Than any gem that gilds the mine.

Benign restorer of the soul!
Who ever fly’st to bring relief,
When first she feels the rude control
Of Love or Pity, Joy or Grief.”
Rogers.
This plant is named after the fair daughter
of Leda, whose beauty caused the Trojan war,
and from whose tears it 1s said to have sprung,

which gave rise to the emblem.

FLORAL EMBLEMS. 30]

TEMPERANCE.

AZALEA.—Azalea.

«* Make temp’rance thy companion ; so shall health

>

Sit on thy brow.
This beautiful family of American plants

were named Azalea, in allusion to their grow-

ing naturally in a dry soil only.

They flourish in this country only when
planted in poor heathy ground ; for when fed
by the richly manured earth of English gardens
they sicken and decay, disappointing the hopes
of the planter. We have therefore made the
Azalea emblematical of “‘ Temperance, that
virtue without pride, and fortune without
envy, which gives indolence of body and tran-
quillity of mind ; the best guardian of youth,
and support of old age.”---Temple.

302 FLORAL EMBLEMS.

THOUGHTS.

YOU OCCUPY MY. THOUGHTS:
OR,

PENSEZ A MOI.
PanseEE, oR Heart’s Ease.—Viola tricolor.

And there are pansies, that’s for thoughts.”
Shakspeare.
«« And thou, so rich in gentle names, appealing
To hearts that own our nature’s common lot ;
Those, styl’d by sportive fancy’s better feeling
‘ A Thought,’ ‘ The Heart’s Ease,’ or ‘ Forget me not.’”

Barton.
Thoughts are not more numerous than the
varieties of this little sportive flower, since it
is difficult to find two alike, although we

generally see

ee

= The garden’s' gem
Heart’s ease, like a gallant bold,
In his cloth of purple and gold.”

Leigh Hunt.

In the flowers of the saints the pansée 1s
dedicated to St. Euphrasia.

Floral Emblems

peta Se

r Be

ee ond
a

Consolatzon wising From 1 hough.

FLORAL EMBLEMS. 303

TIME.
Waite Porpitar.—Populus canescens.

‘“* And poplar, that with silver lines its leaf.”
Cowper.

This rapid growing tree stands as the sym-

bol of Time in floral language.

“ Come what come may,
Time and the hour runs through the roughest day.”
Shakspeare.

304 FLORAL EMBLEMS.

TIMIDITY.

Marve. or Peru.—Mirabilis.

_

‘© Solitaire amante des nuits,
Pourquoi ces timides alarmes,
Quand ma muse au jour que tu fuis
S’appréte a révéler les charmes ?

Si, par pudeur, aux indiscrets

Tu caches ta fleur purpurine,

En nous dérobant tes attraits,
Permets du moins qu’on les dévine.”’

This Belle de nuit is made the emblem of
timidity, because it cannot endure the gaze of
Sol, which enlivens and expands most other

flowers.

‘“* The infant flames, whilst yet they were conceal’d
In tim’rous doubts, with pity I beheld ;
With many smiles dispell’d the silent fear,
That durst not tell me what I dy’d to hear.”
Prior.

FLORAL EMBLEMS. 305

TREASON.

WuHorTLeE-BERRY.-— Vaccinium Myrtillus.

“« Come, stain your face with whortle-berry.”’

This emblem of treason is only found on
dreary heaths and mountainous situations,
where its fruit has often been used to disguise

the face of the proscribed.

306 FLORAL EMBLEMS.

TRUTH.

Birrer sweet NicuTrsuadeE.—Solanum Dulcamara.

‘* The first great work
Is, that yourself may to yourself be true.”

Roscommon.
However delightfully sweet truth must ever
appear, it is frequently found a bitter draught

to those to whom it is presented; and from

this cause we presume the emblem has been

established.

FLORAL EMBLEMS. 307

UNANIMITY.
Puiox.—Philox.

“* Unanimous, as sons of one great sire.”
3

Milton.

This North American plant is presented as
the emblem of unanimity, in allusion to the
united forms of the flowers, whose clustered
corymbs form an umbel; and also from the
United States, from whence we procured
them.

x 2

308 FLORAL EMBLEMS.

UNEASINESS AND JEALOUSY.
Garven Maryeoip.—Calendula officinalis.

“ The marygold, that goes to bed with the sun,

And with him rises weeping.
Shakspeare.

—— “ And jealousie,
That wered of yeleve goldes a gerlond,
And had a cuckowe sitting in her hand.”

Chaucer.

This flower, which closes its petals with the
last smile of the sun, is given as a represent-
ative of jealousy on account of its yellow

colour.
Dryden says,

‘« Small jealousies, ’tis true, inflame desire ;
Too great, not fan, but quite blow out the fire.”

FLORAL EMBLEMS. 309

Spencer pictures,

— “* Gnawing jealousy, out of their sight,
Sitting alone, his bitter lips did bite.”

Shakspeare calls this monster

“* Green-eyed jealousy.”

AN UPSTART

Is represented by a mushroom on a green
turf. The great Verulam observes, ‘“‘ Mush-
rooms come up in a night, and yet they are
unsown ; and therefore such as are upstarts mm

state, they call in reproach mushrooms.”

‘““ The humble mushroom, scarcely known,
The lowly native of a country town.”

Dryden.

31d FLORAL EMBLEMS.

USELESSNESS.
Spire Hypertcum Frurex.—sSpire hypericifolia.

As this plant has not yet been turned to
any profitable purposes in Europe, it stands

as the degrading emblem of uselessness.

On. close investigation, we find every plant
of some utility in its natural situation, although
they are frequently cursed as weeds when

they do not exactly meet our wants.

“So have I seen the lost clouds pour
Into the sea an useless show’r;
And the vext sailors curse the rain
For which poor shepherds pray’d in vain.”
. Waller.

FLORAL EMBLEMS. 3il

UTLLITY.
Driep Frax.—Linum.

“ The matron, at her nightly task
With pensive labour draws the flaxen thread.”
Thomson.

The imgenuity of man has rendered this
simple plant of the greatest utility, hence the

emblem.

The Egyptians appear to have been the in-
ventors of weaving linen cloth. The Athe-
nians, who were an Egyptian colony from
Sais, followed the custom of their ancestors,
by applying themselves to raising flax for the
same purpose; they therefore continued to wor-
ship Minerva, who was also styled Ergatis, or
the work-woman, for her excellency in spin-
ning and weaving; and who is supposed to

be no other than the Egyptian Isis ; for the

one FLORAL EMBLEMS.

Egyptians, to remind the people of the 1m-
portance of their linen manufactory, exposed
in their festivals an image, bearing in its
right hand the beam or instrument round
which the weavers rolled the warp of their
cloth. This image was called Minerva, from
Manevra, a weaver’s loom. The name of
Athene, that is also given to this goddess, is
the very word denoting in Egypt the flaxen
thread used in their looms. Near this figure,
which was intended to warn the mhabitants
of the approach of the weaving or winter sea-
son, they placed another of an insect, whose
industry is supposed to have given rise to this
art, and towhich they gave the nameof Arachne,
(from arach, to make linen cloth), to denote its
application. All these emblems, transported to
Greece, were by the genius of a people fond
of the marvellous, converted into real objects,
and indeed afforded ample room for the ima-
gination of the poets to invent the fable of the

transformation of Arachne into a spider.

FLORAL EMBLEMS. sis

Ovid describes Arachne as

“One at the loom so exquisitely skill’d
That to the goddess she refused to yield.
Low was her birth, and small her town,
She from her art alone obtained renown.”

“«« Providence,” says Moore, ‘‘ would only
enter mankind into the useful knowledge of
her treasures, leaving the rest to employ our

leisures.”

314 FLORAL EMBLEMS.

VARIETY

Cuina ASTER, OR CHINENSIS STARWORT- ~
Aster Chinesis.

«© As from a cloud his fulgent head

And shape star-bright appear’d.”

The diversities of colour and variations of

this flower have caused the emblem.

** All sorts are here that all th’ earth yields ;
Variety without end.”
Milton.

FLORAL EMBLEMS. 313

VICE.

DarRneE.L, or Ray-erass.—Lolium.

‘* No fruitful crop the sickly fields return ;
But oats and darnel choak the rising corn.”
Dryden.

This degenerated species of corn frequently
springs up to the injury of the crops, as vice
will rear its head in the midst of virtue, for

“* No vice so simple, but assumes

Some mark of virtue on its outward parts.”

Shakspeare.

316 FLORAL EMBLEMS.

VICTORY.

Patm.—Palma.

“ Get the start of the majestic world,
And bear the palm alone.”
Shakspeare.

The branches of palm-trees were anciently
carried before the conquerors in warlike pro-
cessions to show that they had overthrown the
enemy ; and hence the palm became the symbol

of victory and superiority.

‘* Tn love, the victors from the vanquish’d fly ;
They fly that wound, and they pursue that die.”’
Waller.

FLORAL EMBLEMS. oly

VIRTUE.
Mint.—Mentha.

** Then rubb’d it o’er with newly-gather’d mint,
A wholesome herb, that breath’d a grateful scent.”

The medicinal properties of this herb were
formerly held in such high estimation, that the

plant became the emblem of virtue.

** Virtue only makes our bliss below.”’
Pope.

WIVACITY.. :

HovsELEEK.—Sempervivum tectorum.

‘« The sprightly Sylvia trips along the green ;
She runs, but hopes she does not run unseen.”
Pope.
This emblem is given to the houseleek, be-

cause it maintains its vivacious nature even

318 FLORAL EMBLEMS.

on the hot tiles of cottage roofs. In such
situations it generally bespeaks the residence

of some good old dame, well skilled in simples.

“« Of simples in these groves that grow,
We'll learn the perfect skill ;
The nature of each herb to know,
Which cures, and which can kill.”
Drayton’s Cynth.

“VOLUPTUOUS LOVE.
Moss Rose.

«The rose that hails the morning,
Array’d in all its sweets,
Its mossy couch adorning,
The sun, enamour’d, meets.”

This rose, on which Flora has bestowed so
many of her choicest gifts, has been selected

to represent voluptuous love in floral language.

“«« Then,’ said the rose, with deepened glow,

* On me another grace bestow.

. aT lJoral Emblems e

Se Seay: oh oe
Ldlleness, F OLLPLROUSHESS ANM Sf. CASUAL , encompassed by
Loverty Luyetetety, Crime; Fike, Stckvios.s and Det

gh n Bee Aso 4s te ee

FLORAL EMBLEMS. 319

The spirit paused in silent thought—
What grace was there that flower had not ?
’Twas but a moment—o’er the rose

A veil of moss the angel throws ;

And, robed in nature’s simplest weed,

Can there a flower that rose exceed ?”

Of voluptuousness, Shakspeare says,

“* Had I a dozen sons, I had rather eleven died nobly for
their country, than one voluptuously surfeit out of action.”

VOLUPTUOUSNESS.

Tuserose.—Polyanthes tuberosa.

“« The tuberose, with her silver hight,
That in the gardens of Malay,
Is called the mistress of the night ;
So like a bride, scented and bright,
She comes out when the sun’s away.”

T. Moore.

‘“* Des bords de l’Orient je suis originaire ;
L’astre brillant du jour se peut dire mon pére.
Le printemps m’est rien ; je ne le connais pas,
Et ce n’est point a lui que je dois mes appas.
Je l’appelle, en raillant, le pére des fleurettes,

Du fragile muguet, simples violettes,

320 FLORAL EMBLEMS.

Et de cent autres fleurs quis naissent tour-a-tour,
Mais de qui les beautés durent a peine un jour.
Voyez-moi seulement : ma fraicheur est exquise,

J’ai le teint trés-uni, ma taille est fort bien prise,

Des roses et des lis j’ai le brillant éclat,

Et du plus beau jasmin le lustre délicat ;

Je surpasse, en odeur, et la jonquille et l’ambre,

Et le plus grand des rois me souffre dans sa chambre.”

Madame Scudeéry.

The highly odoriferous properties of this
Eastern flower has caused it to be a represent-
ative of voluptuousness in the floral emblems

of the Persians.

“* Dans ses bras amoureux |’imprudente la presse :
Quand tout a coup, saisis d’une douce languer,
Ses bras sont accablés sous le poids du bonheur
A ce trouble inconnu la jeunesse alarmée,
Veut éviter les traits du dieu qui l’a charmée ;
Mais, hélas! ses combats se changent en plaisirs,
Ses craintes en espoir, ses remords en désirs :
Confuse, elle retombe au milieu de ces chaines :
Un charme involontaire accompagne ses peines :
Elle voudrait hair, elle ne peut qu’aimer ;
Son cceur cherche le calme, et se laisse enflammer.
C’est alors qu’ A ses yeux se decouvre l’abime :
Mais un chemin de fleurs la conduit jusqu’au crime.”

Bernis, Epitre.

FLORAL EMBLEMS. 321

VORACIOUSNESS.

Lupin.— Lupinus.

** Tristisque lupini
Sustuleris fragiles calamos.”’
Virgil.

The ancients named this plant Lupznus,
from Lupus, a wolf, on account of its vora-
cious nature, which is such, that it draws in
all the nourishment of the soil to feed its own
growth, and consequently, destroys other ve-
getation; but in doing so, it forms an ex-

cellent manure for poor and foul lands.

‘“« Where stalks of lupins grew,
Th’ ensuing season, in return, may bear
The bearded product of the golden year.”

Dryden:

See FLORAL EMBLEMS.

VULGAR MINDS.

ArricaAN MaryGoup.—Tagetes erecta.

‘Open afresh your round of starry folds,
Ye ardent marigolds !”
Keats.

These flowers have only their gaiety to re-
commend them, since their odour is more of-
fensive than agreeable, and may be compared
to those persons who depend more on their
wardrobe than their conduct for making them-
selves pleasing. We therefore present them

as emblematical of vulgar minds.

An attention to the mode of dress of the
age we live in, 1s due to society : but to de-
pend entirely on it, is valuing our understand-

ing as naught.

FLORAL EMBLEMS. 323

WAR.

Common Mi Foi, or Yarrow.—Achillea Millefolium.

—— ‘‘ War’s a game, which were their subjects wise,
Kings would not play at.”

Cowper.

The ancients named this plant after Achil-
les, the celebrated Grecian hero, on which ac-

count it has been made the emblem of war.

“© O War, what art thou ?

After the brightest conquests, what remains

Of all thy glories? For the vanquish’d—chains :
For the proud victor—what? Alas! to reign
O’er desolated nations.”’

Hannah More.

324 FLORAL EMBLEMS.

WEAKNESS.

MoscuaTEtLu.—Adoxra Moschatellina.

The generic name of this hollow tuberous

rooted plant, signifies ignoble.

*« If weakness may excuse,
What murderer, what traitor, parricide,
Incestuous, sacrilegious, but may plead it ?

All wickedness is weakness.’’
Milton.

WIDOW, OR WIDOWHOOD.

SWEET SULTAN, HONEY-FLOWER, OR SWEET SCABIOUS.

Scabiosa atropurpured.

The Italians name this flower For dedla
Vedova, and the French Fleur de Veuve, (widow’s
flower,) on account of its sable hue; hence the
emblem, as also the symbolical expression of

“ T have lost all.”

FLORAL EMBLEMS. 320

WINTER OF AGE.

GUELDER-ROSE.— Viburnum opulus.

‘« Her silver globes, light as the foamy surf
That the wind severs from the broken wave.”
Cowper.

“« The snow-ball which eclipses
The white bosom of Venus.”

This cold-coloured, abortive flower is made
to represent the age which banishes gaiety

and warm desire.

** After summer, evermore succeeds
The barren winter, with his nipping cold.”
Shakspeare.

“ And on this forehead, (where your verse has said
The loves delighted, and the graces play’d,)
Insulting age will trace his cruel way,

And leave sad marks of his destructive sway.”

Prior.

326 FLORAL EMBLEMS.

WISDOM.

MvULBERRY-TREE.— Morbus.

‘“‘ And that old mulberry that shades the court
Has been my joy from very childhood up.”
H. Kirke White.

—— “the green leaf
Which feeds the spinning worm.”

Piiny observes, that the mulberry-tree was
esteemed the wisest of all the trees, because it
never expanded its buds until all fear of frost

was past, and hence the origin of the emblem.

‘« Pronounce him blest, my muse, whom wisdom guides
In her own path to her own heavenly seat ;
Through all the storms his soul securely glides,
Nor can the tempest, nor the tides

>

That rise and roar around, supplant his steady feet.
Watts.

FLORAL EMBLEMS. 327

WITCHCRAFT.

ENCHANTER’s NIGHT-SHADE.—Circea.

‘“‘ The night-shade strews to work him ill.” _
Drayton.

—— —— “ O, who can tell
The hidden power of herbes, and might of magic spell !”
Spenser.
The fruit of this plant has little hooks by
which it lays hold of passengers by their gar-
ments, and thus drawing them to it; on
this account it was named Circea, after Circe
the enchantress, so celebrated of old for draw-

ing the unwary into her power.
“Tis now the very witching time of night.”

‘“T’H witch, sweet ladies, with my words and looks.”

Shakspeare.

“ For Circe had long lov’d the youth in vain,
Till love refused, converted to disdain :
Then mixing pow’rful herbs, with magic art,
She chang’d his form, who could not change his heart.”
Dryden’s Virgil.

328 FLORAL EMBLEMS:

YOU ARE PERFECT.

PINE ApPpLe.— Ananas.

The difficulty of acquiring perfection is of
great advantage, since it acts as a stimulus to
exertion ; but we may safely conclude in the
words of Pope,

«© Whoever thinks a perfect work to see,

Thinks what ne’er was, nor is, nor e’er shall be.”

YOU ARE RICH IN ATTRACTIONS.

GARDEN RANUNCULUS.

« And full ranunculus, of glowing red.”
Thomson.

Mortimer observes, that ranunculuses excel

all flowers in the richness of their colours.

*« Adorn’d
She was indeed, and lovely, to attract
- Thy love; not thy subjection.”
Milton,

FLORAL EMBLEMS. ‘329

YOU ARE WITHOUT PRETENSION.

Rosr Campion.—Agrostemma coronaria.

The simplicity and unassuming character
of this flower has procured it this honourable

motto. Denham says,

“« But if to unjust things thou dost pretend,
Ere they begin, let thy pretensions end.”

330 FLORAL EMBLEMS,

YOU FREEZE ME.

Ice Pranr.—Mesembryantheum crystallinum.

‘* With fretted frost-work spangled o’er.”

This species of mesembryantheum, whose
crystalized juices glitter lke diamonds on the
plant, giving the idea of icicles in the heat of
summer, is emblematical of those cold-hearted
persons whose bosoms never warm _ into

friendship.

Lord Byron says, a lady’s friendship is love
full fledged, and only waiting for a fine day
to fly.

FLORAL EMBLEMS. 334

YOU PLEASE ALL.

Brancu oF Currants.—Ribes.

“ They butter’d currants on fat veal bestow’d,
And rumps of beef with virgin honey stew’d.”

This transparent fruit (which has no pecu-
har flavour to gratify one palate at the ex-
pense of others) seems agreeable to all, and
therefore it has been selected to represent the

motto, ‘‘ You please all.”

Overstrained attentions to one party gene-

rally bring displeasure from others.

332 FLORAL EMBLEMS,

YOUR PRESENCESOFTENS MY PAINS.

MILK-vETCH .—Astragalus.

“« The power of herbes, both which can hurt and ease,
And which be wont t’ enrage the restlesse sleepe.”

Spenser.

This emblem originated from the medicinal
properties of the plant, as its name was be-
stowed in consequence of the quantity of milk,
that it causes animals to yield which feed on

it. Shakspeare says,

‘“« The presence of a king engenders love
Amongst his subjects, and his loyal friends,
As it disanimates his enemies.”’

Henry Ath.

FLORAL EMBLEMS. 333

YOUR QUALITIES SURPASS YOUR
CHARMS.

Micnonetre.—Reseda Odorata.

— “ the fragrant weed,
The Frenchman’s darling.”
Cowper.

This odorous little plant of Egyptian sands,
whose flowers are so unassuming, gave rise to
the motto of “ Vos qualités surpassent vos char-
mes,” by a circumstance related in the Flora

Historica.

334 FLORAL EMBLEMS.

YOU SHALL HAVE JUSTICE.

SwEET-SCENTED TusstLaGce.—Tussilago fragrans.

“« And trodden weeds send out a rich perfume.”
Addison.

That a European plant of such an exqui-
site fragrance should have remained unknown
until the nineteenth century, was sufficient to -
have induced M. Villan when he discovered

it, to exclaim,

““ On vous rendra justice.”

FLORAL EMBLEMS. 330

YOUTH.

Fox-cLove.— Digitalis.

‘‘ Explore the fox-glove’s freckled bell.”’
Mrs. Charlotte Smuth.

“« Et la vermille digitale
Image des feux du couchant.”

The light down which covers the stalks of
this plant, induced the poets to make it the

emblem of youth.

“ Youth, ah stay, prolong delight,
Close thy pinions stretch’d for flight ;
Youth disdaining silver hairs,
Autumn’s frowns, and winter’s cares,
Dwell’st thou but in dimple sleek,
In vernal smiles, and summer’s cheek ?
On spring’s ambrosial lap thy hands unfold,
They blossom fresh with hope, and all thy touch is gold.”
Lovibond,

336 FLORAL EMBLEMS.

YOU WILL CAUSE MY DEATH.

Hemiock.—Conium.

“* That to which old Socrates was curs’d.”’

Dryden.

This deadly plant is not more to be dreaded

than the insinuating arts of the deceiver.

** Quivers and bows and poison’d darts,
Are only us’d by guilty hearts.”

Roscommon.

FLORAL EMBLEMS. 337

ZEALOUSNESS.

ELper.—Sambucus.

‘“« There the favourite elder was planted,
Whose wide-extending branches, shelter’d
The early plants of the rustic garden,

Whilst its umbels of faint-smelling flowers
Afforded them their only cosmetic,

And its purple berries their only wine.

Its first young buds form’d their only pickle ;
Its pithy stalks their children’s only toy.”

This native tree, which forms the dispensary
of our peasantry, seems zealous in their ser-
vice, for it is so tenacious of life, that it
thrives not only in swampy grounds, wet
ditches, arid and sterile banks, but it grows
also on the ruins of old towers, and is fre-
quently seen self-planted on the trunks of de-

caying trees.

338 FLORAL EMBLEMS.

ZEST.
Lemon.—Citrus Limon.

“ Bear me, Pomona,
To where the lemon and the piercing lime
With the deep orange, glowing through the green,

Their lighter glories blend.”
“* Nor be the citron, Media’s boast, unsung.”

** Sharp-tasted citron Median climes produce,
Bitter the rind, but gen’rous the juice ; -
A cordial fruit.”

This fragrant plant, whose fruit imparts such
an agreeable relish to the board and the bowl,
we present as the emblem of zest, and should
our pages give a similar zest for a novel and
mnocent amusement, we shall deem our la-

bours most pleasingly rewarded.

INDEX.

ACACIA
Acanthus
Adonis
African Marygold
Almond
Aloe
Althe Frutex
Amaranth

, crested
Amaryllis
Anemone .
Angelica
Arbor vite
Arum

dracunculus

Aspen tree
Asphodel
Auricula
Azalea

Balm
Balsam

Barberry

340

Basil
Bearded Crespis
Bear’s-breech
Beech
Bee Orchis
Betony
Bindweed

, small
Blackthorn
- Bladder Senna -
Blue Bottle
Borage
Box .
Bramble
Broom
Buckbean
Bugloss
Butter-cups
Butterfly Orchis

Cabbage

INDEX.

Cactus flagelliformis .

Opuntia
Camellia
Campanula
=, white
Canary Grass
Candy Tuft

Cardinal’s Flower

Carnation

, everflowering

294

107

223

118

154

114

79

. Maes
133 and 263
172

84

tn! ki)

pe
156

248
170
174

76

99
164
230

63
184
123
260

INDEX.

Carnation, yellow
Cedar
- of Lebanon

Centaury

- moschata
Cherries

Chervil

Chestnut Tree
Chickweed

China aster

- Pink
Chrysanthemum
Cistus

Clematis flammula

- - evergreen

Clover : f
‘Coat of Arms, origin of the term
Cobcea

Cock’s Comb

Colchicum

Columbine

Convolvulus sepium

arvensis .

—., major
, minor

Coriander
Cornel Tree
Coronilla
Cowslip
Creeping Cereus
Crown Imperial
Crowfoot

342

INDEX.

Cuckoo Flower
Cuckoo Pint

Currants.

Cyclamen

Daffodil
Dahlia
Daisy

—==—., double .

Dandelion

Darnel
Day Lily
Dittany
Dogwood

Dragon Plant

Ebony
Eglantine

Elder

Emblems, the invention of

, used by the Turkish ladies

, in Scripture

. Highland
, numerical

, for the days of the eal
, for the Calendar Months

Enchanter’s Night Shade

Endive

Evening Primrose

Everlasting

Everlastin

@ Pea

327
155
180
221
198

INDEX.

Faded Leaves

Fair Maids of France .
Fig

Fig Tree

Filbert

Flax

——., dried

Fly Ophrys
Fox-Glove

French Marygold
_—_——— Honeysuckle
Willow
Fritillary

Frog Ophrys

Fuchsia
Fullers’ Teasel

Fumitary

Genista
Gentian Yellow
- Geranium .
Goat’s Rue
Golden Rod
Goldy Locks
Good Henry

Grammar of Floral Emblems .

Guelder Rose

Hawkweed .
Hawthorn
Heart’s Ease

343

Page

208

204

64

249

259

139

dll

134

3390

193

272

86

236

122

a a ee
70 and 90
288

220
187
244
258
243

344 INDEX.

Page

Heath 285
Helenium . 300
Heliotrope 191
Hemlock 336
Henbane 178
Hepatica > 96
Heraldry, antiquity of 11 and 17
Hieroglyphics, the first written Language . 1
originated in Egypt 2

» by whom first taught 4,

Holly 150
Hollyhock 141
Honesty 168
Honeysuckle 83
Hop 188
Hornbeam 226
Horse Chestnut 205
Houseleek 317
Hoya 273
Hyacinth 238
Hydrangea 81
Ice Plant 330
Indian Fig 174
— Pink me |
Tpomeea ; > huge
Iris . : 132 and 212
—-, yellow 146
Ivy " 144
Jasmine, common 62

INDEX.

Jasmine, Spanish
Jonquil
Juniper

Ladies’ Cushion
Lantana
Larkspur

Lanrel

in flower

Lavender

Lemon ;
Le Notre, anecdote of
Lettuce

Lilac

Lily

of the valley

Lime, or Linden Tree
London pride

Lotus

——, where revered
Lucern

Lupin

Lychnis

Lythrum

Madder
Magnolia
Mallow
Mandrake
Marjoram
Maple
Marsh-mallow

345
Page
275
115

69

207
271
200
158
235

67
338

22

93
152
254
268

96
208
279

30
199
321
261
246

84
120
296
256

80
266
171

346

Marvel of Peru
Marygold
Mercury
Mesembryanthemum
Mezereon
Michaelmas Daisy
Mignonette
Milfoil
Milk-vetch

Mint

Misseltoe
Monkshood
Moschatell
Mountain Ash
Moving Plant
Mulberry Tree
Mullen
Mushroom
Myosotis

Myrtle

Narcissus
Nasturtium, scarlet
Nightshade
Numerical Emblems

Nymphea

Oak

Olive

Orange Flowers
Tree

Osier

INDEX.
Page.
304
117 and 308
160
175
116
90
3393
324
332
317
227
195
324
253
60
326
; . Sg
295 and 309
151

INDEX.
Ox-eye

Palm
Pansée
Parsley
Passion Flower
Patience
Periwinkle
Persicaria
Phlox
Pimpernel
Pine Apple
Tree
Pink, red
——., white

, striped
Plane Tree
Plum Tree
Pceony
Pomegranate
Poplar, black

, white

Poppy
-- White

Potatoe
Primrose
Privet

Ranunculus
Rebuses, by whom invented
Reed

82

& jel
255 and 297
260

167

183

73

149

101

303

98

217.

ee |

128

113

328
3 11 a0
94 and 217

348 INDEX.

Page

Rose, moss F : : nooks
——, Pompone : ; .. aes
——, China : 3 : . oS
——, Japan : : . ees
, hundred leaved : : 2 64

, white bud y : . hes
——., Eglantine : ; SL
——., full blown over buds. olf ewinee
,crown of. : : 5 269
Rose, Acacia : : . sels
Rose, Bay : : : (86
Rose, Campion : : stuck sooo
Rosemary : : , . 148
Roucher, anecdote of : : . 10
Rudbeckia : ; : > al GE
Rue : , : rite. lee
Rush ; es: : ., 124
Sadi, anecdote of : 5 . \ een
Sattron ‘ : : 125 and 213
Sage : : ws
Scorpion Grass a : a ceeion
Sea pink : i ; 108
Sensitive plant : . SM as aie
Silver Fir : : ’ elt
Snap-dragon : - Aasiqgedta
Snowdrop ‘ ; : SAG
Southernwood : ; £* SPS
Speedwell wall ; : pnb
spiked 5 , A265

Spider Ophrys_. . ; . ess

Spirce Hypericum
St. John’s Wort
Star Wort

Stock

, ten weeks

Stinging-nettle
Strawberry
Stramonium

Squirting Cucumber

Sun-flower
Sweet-briar
Scabious
——— Wilham
Pea
Sultan

Swallow-wort

Syringa

Tamarisk
Tansy
Thistle

Thorns, branch of

Thrift

Thyme

Trefoile
Trumpet flower
Tuberose

Tulip

Turnip
Tussilage

350

Rhododendron
Rose

——, white
——, yellow
——-, damask

, musk
Valerian
-, Greek

Venus’s Looking-glass

Vervian
Vine
Violet

-, white

Virginian Spider wort

Wall flower
Water Lily
Water Melon
Weeping Willow
Wheat
Whortle-berry
Winter Cherry
Woodbine
Wormwood

Yarrow

Zealousness
Zest

Plate

DIRECTIONS

FOR

PLACING THE PLATES.

Page
DecitaraATion of Love, to face the printed

Title Page

The SHIELD OF FLORAL Emetems to follow -
the printed Title Page.

The EMBLEMATICAL DesicGn and DEpIcaA-
TION to be placed next.

THe British Ewer, with the Symspou of
His Masesry’s Birtu-Day,; to face the
TIntroduction.*

The NuMERICAL LEAFLETS = to face 27

The Seven Leaves for the Days OF THE

WEEK = : - - 29
The Emsuems for JANUARY, FEBRUARY, and
Marcu - - - - of
Aprit, May,andJuNnE - - = - 4)
Juuy, Avevst, and SEPTEMBER - - 45

* By an error in the drawing the date of the year on the Ewer, it has been
made to read from the right to the left. If held toa looking-glass it will
appear correct.

352 DIRECTIONS FOR THE PLATES.

Plate Page
10. Ocrosrer, NovemsBer, and DECEMBER - 48

11. Youru and Beauty united by the Bonps of

Love - - - to face “3s
12. DaNncGeER accompanying CoQquETRY - - 100°
13. Desire not Poputar Favour - - 123
14. Foxy and Error - - - - 128
15. The Bow. of Hospiratity - - 170
16. Dexicate and Lastinc PLEASURES - - 188
17. Hops separated from Love - - - 246
18. PENsivENEss arising from SonitupDE - - 285
19. CoNnsoLATIoN arising from THOUGHTS - 302
20. ieee VoLuPpTuousNEss, &c. - - 319

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LONDON:

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