FLORAL EMBLEMS. 1B0TS0N LONDON: AND PALMER, PRINTERS, SAVOY STREET, STRAND. FLORAL EMBLEMS OR A GUIDE TO TIIE LANGUAGE OF FLOWERS NEW EDITION BY HENRY PHILLIPS, F. L. & F. H. S. AUTHOR OF POMA'RIUM BRITANNICUM, &C. &C. LONDON SAUNDERS AND OTLEY, CONDUIT STREET 1831 \M ILLT GF q^o ps~6> /33l 7 - t* jPatovfrjnp aTv^vn9 fr -fh-cwTcref of Menwry ■ oM TO THE POETS AND PAINTERS OF Erttaut, 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. ■ 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. vii 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- Yin 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. IX 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 he 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. X PREFACE. LA BOUQUETIERE. J’ai des bouquets pour tous les gouts ; 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 fidele ; De hellebore, pour les fous; Et pour l’amitie, l’immortelle. J’ofFre la pensee 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’ofFre des ceillets d’inde aux sots ; De la fleur d’orange, aux coquettes. Pour l’homme timide et discret J’ai la modeste violette ; J’ai le narcisse et le muguet. Pour le fat et pour la coquette PREFACE. XI J ’offre le myrte aux vrais amans; Aux maris jaloux, des jonquilles ; Des mignardises, aux mamans ; Et du thym frais, aux vieilles filles. Je reserve pour la pudeur La delicate sensitive; L’oreille d’ours a la laideur; Des simples, a l’agnes naive ; A la veuve dans les regrets Mes scabieuses doivent plaire ; J’ai des couronnes de bluets Pour la jeune et fraiche bergere. J’offre aux filles a niarier L’iris, emblthne d’esperance; A tous nos heros, le laurier; Les boutons d’or, a l’opulence ; Les tulipes, a la fierte ; Aux malheureux, la patience; La fleur d’hortense, a la beaute Et tous nos lis, a l’innocence. Malauwe. PREFACE. xii LE LANGAGE DES FLEURS. Fiore n’est point embarrassee, Quand la beaute lui fait lacour; Adele choisitla pensee, 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 l’lris ; La sensible et douce Delphine Prefere le bel Adonis ; Aupres d’une tige de Lierre, On voit la fidele Nina ; Et sur un tapis de Fougere Repose la tendre Zulima. Ainsi dans cette galerie, Chaque belle offrant un bouquet, Mamt savant peut passer sa vie A mediter chaque sujet. PREFACE. Xlll Heureux l’aimable botaniste Qui sait jouir de ces douceurs ! Pour un galant naturaliste Toutes les femmes sont des fleurs. A. Devi lie. XIV PREFACE. LA CORBEILLE DE FLEURS. Par un mysterieux langage Ces fleurs t’apprennent mon amour ; Egle, je t’en ofFre l’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 esperance ; Et le souci, tous mes soucis. Reine des fleurs, suave rose, Heureux symbole du plaisir, Parle pour moi : ma bouche n’ose Exprimer le moindre desir. Rose, sur le sein de ma belle Brille a mon regard enchante, Et sois le presage fidele De ma douce felicite. 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 caractere; Dans la violette,je vois La seduisante modestie; L’immortelle m’offre, a-la-fois, Et les vertus, et le genie. Dans le Muguet, je vois un fat, Dans le Serpolet, la franchise ; La Tulipe, avec son eclat, M ’offre l’orgueil et la sottise ; Le Lis presente la grandeur ; L’Amaranthe, 1’indifference ; Rose blanche, dans sa fraicheur, Est Timage de l’innocence. Le Pavot nous peint. le pouvoir Que, sur nos sens, a maint ouvrage; Dans le Narcisse, je crois voir Un sot epris de son visage; \ VI PREFACE. Dans le Souci, je reconnais L’epoux d’une femme infidele ; Dans une Rose, les attraits. Qu’on admire dans une belle. Le Myrte, cheri des amours. Nous represente leur puissance ; Et le Lierre, amoureux toujours, Donne des lecons de Constance. Si je m’arrete an fond d’un bois, Avec Iris sur la fougere. La Fougere m’offfe a-la-fois Mon lit, ma bouteille etmonverre. Puis-je rencontrer des Lauriers, Sans m’arreter 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 revenir, La paix est le prix du courage. P, Ledoux. 0 /' y?7~i£iZ6n/j wz?/i , h//rtSr?' 0f.jff7.ip ^jyos/etfty 's JBzrtt-yyc*/ l 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 2 INTRODUCTION. by the representation of vegetables that are foreign to their climate. Brown says in his Pseudodoxia 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 theii 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 of caligraphy. 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, Phoenicians and Ethiopians, of the interme¬ 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. -i Even at the present day, when written lan¬ guage is 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 nor end. 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- S 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 phoenix, 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.” i 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 im¬ 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. II 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, iEschylus, 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 coins. 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- lic and Scottish names of the plants, as well as that of the English and generic definitions. 14 INTRODUCTION. Highland clans. Gaulis. > Scottish. English. Classical. Buchanan Am beatha Birk Birch Betida Cameron An darach Oak Quercus Campbell Roid Gaul Myrtle Myrica Chisholm Am fearna Eller Alder Alnus Colquhoun An Calltain Hazel Corylus Cumraing Sei leach Sough Sallow Salix caprea Drummond An cuil-fhionn Holly Ilex aquifolina Farquharson Meuran-fith Purple fox- - Digitalis glove Ferguson Poplar Populus alba Forbes Bealaidh Broom Spartium sco- pariam Frazer An t iudhar Yew Taxus Gordon Eidhionn-na- Ivy Hedera craige Graham Spurge lau- Daphne laur- . • rel eola Grant Miiileag Cranberry- Vaccinium ox heath yeorlos Gunn Lus-nan-laogh Rosewort Rhodiola rosea Lamont Abhal-fiad- . Crab-apple Pyrus malus haich tree McAllister Fraoch Hather Five leaved Erica cinerea heath M‘Donald Curachd-na- Heath bell Campanula ro- cu’aig t undifolia INTRODUCTION. 15 Highland clans. Gaulis. Scottish. English. Classical. IVFDonnell Mountain Erica vulgaris heath M‘Dougall Cypress Cypressus M‘Farlane Lus-nan-cigh- Cloud Berry Rubus chamce- reag heath morus M‘Gregor An Giuthas - Scotch fir Pynus sylves- tris M‘Intosh Boxwood Buxus M‘Kay Bulrush Scirpus lacus- tris McKenzie Cip-chaan-du’ Anstra- Deer grass Scirpus caspi- libus tosus M‘Kinnon Achlasan- St. John’s Hypericum per- Challum chille- wort foratum M‘Lachlan Craobh-chao- Roan Mountain Sorbus aucupa- rain ash ria McLean heath M‘Leod Lus-nam-- Red whortle Vaccinium viti- braoileag berries sidcea M^lVToK berries M‘Neill Feamainn SeaWare Bladder fu- Fucus vesiculos cus M‘Pherson Variegated Buxus box M‘Quarrie Black thorn Prunus spinosa 1 G INTRODUCTION. Highland clans. Gaulis. Scottish. English. Classical. M‘Rae Garbhag-an-t- Fir club Lycopodium se- fleibh moss lago Mnn rnp thers Menzies Ninsionn Ash Fraxinus Murray An-t’arteal Juniper Juniperus Ogilvie An sgitheach Hawthorn Crataegus oxy- acantha Oliphant Plinntrinn Plane Great maple Acer pseudo- tree platanus Robertson Raineach Braehens Fern Pteris aquilina Rose An fhearr- Briar rose Rosa canina dhris Ross Braoileaga- Bear berries A rbutusuva ursi nan-con Sinclair Seamar Clover Trifolium re- pens Stewart Cluas-an- Thistle Cardus fheidh Sutherland 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. 17 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 Post. 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 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 jiordiligi e i 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 c 2 *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, in a 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 coined 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 Foxe-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 Gutteridge .” The same author says “ A churchwarden ol Saint Martins in the Fields, I remember when I was in that parish, to expresse Saint 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 Elysees, 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 7, 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, cm, and the, may be ex¬ pressed by a tendril, the first by a single line, thus — Q .—-, the second by a double ten¬ dril - and the third by one with three branches . INTRODUCTION. 25 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 fearbut 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 means “ 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. V 1 o i' a.l E m blems , 'bc&Ct<(-/ied 6y Jkvmdav zt6y.fJu(r' oy Sxurder.* JCl&ey ->rc : t'.ondotf? 'WSttH* FLORAL EMBLEMS. 29 EMBLEMATICAL LEAVES FOR EACH DAY OF THE WEEK. 4 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 heaven and earth Rose out of Chaos.” Milton. MONDAY. The emblematical leaf of this day, is that of the lotus or water lily, Nymphcea , 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. 31 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 emblematical 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 th£ir god Woden, or Odin. Scandinavian Mythology informs 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. “ I 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 TIelga. THURSDAY. This day is represented by a green lotus leaf, in which is placed the flower as figura¬ tive of the luminary then created. N “ Nature’s high birth her heavenly beauties show ; By every feature we the parent know. FLORAL EMBLEMS. 33 Th’ expanded spheres amazing to the sight. Magnificent with stars and globes of light.” Blackslone. s 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, Frects-day , is 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. “ I 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 Gi ecian deity Saturn, but as the other days of the week owe their names to the Scandinavians, it is most reasonable to surmise that this da} was named after the Saxon idol p^tep. FLORAL EMBLEMS. 35 SUNDAY. The Sabbath day is distinguished by a simple olive leaf. This day was anciently dedicated to the bright luminary of day, and from hence was called Sun-day, after the Gothic sunno , 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 x'eleast, W here works of mercy were a part of rest; Such as blest angels exercise above, Vary’d with sacred hymns and acts of love !” Dry den. Graham pictures the blessings of the Chris¬ tian Sabbath in the following beautiful lines: Hail, Sabbath ! thee 1 hail!—the poor man’s day. On other days the man of toil is doom’d D 2 FLORAL EMBLEMS. 36 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 !” r 1 o t a.l E ni b 1 c jn s FLORAL EMBLEMS. 37 EMBLEMS FOR THE CALENDAR MONTHS 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 cimygdulus, the almond, “ That blooms on a leafless bough.” K m b 1 (Mil s V I o v a fiiihjAerf 61/ < fau/ufov 'tftty /. Jitt vvidzui Si* \ FLORAL EMBLEMS. 41 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 Aries 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.” Hindis. 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 minores, 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 tribuere vocabula Maio, .funis 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 green; 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. I F Lo r ai Em blems . m / a uJ&rA.£'fa/ Sazmtfoi c Ja&rzz&zztJt? FLORAL EMBLEMS. 45 JULY. fC When now no more th’ alternate twins are fir’d. And cancer reddens with the solar blaze ; Short is the doubtful empire of the night.” 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 Caesar, the dicta¬ tor, being before called Quintilis , or the fifth month ; for the Romans began with March.” FLORAL EMBLEMS. 4G 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 Caesar, 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. As a 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 l r irgo.’' 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 48 FLORAL EMBLEMS. this month, a cluster of purple grapes, sur¬ rounded by a wreath of hops. The author of the Complete Gentleman de¬ scribes 44 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 Libra .” 44 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 Jauru&v FLORAL EMBLEMS. 49 # * * * 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 hy 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 Caesars, 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’ aether 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 Maecenas to the skies.” Horace. We would enliven this month of damp clouds and dull spirits by a garland of ivy in FLORAL EMBLEMS. 51 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. Peacharn 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. ,f 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 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 several! 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. ’ ' FLORAL EMBLEMS. DICTIONARY OF EMBLEMS. ABSENCE. Wormwood . — 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 FLORAL EMBLEMS. 56 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. 57 ACTIVITY. Thyme .—Thym us . “ 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.” Hole den. 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 m 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.” Williams . 58 FLORAL EMBLEMS. ACUTE SORROW, OR AFFLICTION. Aloe. — 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.” Winter’s Tale. FLORAL EMBLEMS. 59 ADROITNESS. Spider Ophrys. — 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. Catesby’s Star-wort. —Aster grandiflorus. This North American plant has been made to represent afterthought, because it sends forth its dowel's in the month of November, when most others have disappeared. CO 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-” Dryden's Fables. AGITATION. Moving Plant.— Hedysarum 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 nig-ht; 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. I AMIABLENESS, Wh i t F. Jasmine . —Jasmin urn 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. 63 FLORAL EMBLEMS. ARCHITECTURE. Candy-tuft .— Iberis . “ 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 ol 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, 6 prodige etonnant! L’Arum, qu’ admire l’ltalie, Si le naeud de l’hymen la lie. Lancer, de son spadix brulant, Un feu bien plus etincelant Qu 5 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. Fig.— 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 Pome, 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 Corinthian GG 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 jlammula . “ 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. 0? 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. 08 FLORAL EMBLEMS. ASSIGNATION. Pimpernel .—A nagallis. “ 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 Elijah 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 lor me, and a strong tower from the enemy.” 70 FLORAL EMBLEMS. ATTACHMENT. Scarlet-flowered Ipomcea. — Ipomcea coceinea. 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 ; “ -recompensing well The strength they borrow with the grace they lend.” Coivper. AUSTERITY. Fuller’s Teasel .— Dipsacusfullonum . “ 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. 'China oh Indian Pink. — 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.” 72 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 V’ 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. P CEONY. P OCOHy . “.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. Full-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. China Rose.— R osu Semperflorens. “ 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 Rose. —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. “ Arnoret, my lovely foe. Tell me where thy strength doth lie : Where the power that charms us so, I n thy soul, or in thy eye ?” Waller. FLORAL EMBLEMS. 77 BENEFICENCE. Potatoe.— Solarium 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.” 78 FLORAL EMBLEMS. BIRTH. Dittany .—Origanum Dictamus. “ A branch of healing dittany she brought. Which in the Cretan fields with care she sought.’’ This plant, so celebrated for having been se¬ lected by Venus for the cure of iEneas, 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 cote de sa tige frele Agiter d’ imprudens flambeaux ; A P instant sa robe legere S’ embrase, etincell de feux, Et le jour, inquiet, douteux, Croit encor regner sur la terre.” FLORAL EMBLEMS. 79 BLACKNESS. Ebony .— ■ Diospyros Eben um . “ 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. Borage .—Bor ago. “ 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. Marjoram .— Origanum. O “ 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. I have mark’d A thousand blushing apparitions To start into her face ; a thousand innocent shames.” Shakspeare. FLORAL EMBLEMS. 81 BOASTER. Hydrangea. — Hydrangea Hortensis. Sif/S?J FLORAL EMBLEMS. 83 BOND OF LOVE Honeysuckle or Woodbine.— 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 Melon.— Melo Citrullus. This fruit, which flourishes and swells to a great 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.” 84 FLORAL EMBLEMS. CALM REPOSE. Buckbean .— 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 unruffled 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. Madder .—Rubia 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 White Violet. — 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 Rose .—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. Rosebay Willow Herb, or French Willow. Epilobium A n gust folium . 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 celibacy. 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. T ueni p. — iRapa . “ 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. Acacia. — Robinia 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 Flowers. —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. Vitcx , or Agnus Cashes. -Diana, goddess of chastity, And, for because that she a maiden is. 90 FLORAL EMBLEMS. Into hire hand the branch she bereth this. That agmis castus men call properly. And all the ladies in hire company.” Chaucer. CHEERFULNESS IN OLD AGE. Michaelmas Daisy.— Aster Tradescanti. 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. 91 CHEERFULNESS UNDER ADVERSITY Chinese Chrysanthemum. Ch njsanthemurn 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. Butter-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. Will leap 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, is 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 EMBLEM,S. 93 COLD-HEARTED. Lettuce.— Lactuca. “ Fat 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 Reed. — Arundo phragmites. “ Mincius, with wreaths of reeds his forehead cover’d o’er.’ 1 jEneis. This grass of the rivers, which bends so rea¬ dily with the current, is made the type of a pliant 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¬ ing voice. “ I’ll speak between the change of man and boy With a reed voice.” Shakspeare. FLORAL EMBLEMS. 95 CONCEALED MERIT. Coriander . — Coriandrum . “ Israel called the name thereof manna ; and it was, like coriander seed, white.” Exodus xiii. 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. 9 G FLORAL EMBLEMS. CONFIDENCE. IIepatica, or Noble 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, or Linden Tree. — Tilia. “ And the lime at eve Diffusing 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-drop .—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. H 98 FLORAL EMBLEMS. the assurance of the reanimation of nature; and hence it has been made the emblem of consolation. “ Then, spirit flower. I’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. Poppy. — 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. Blue Pyramidal Bell Flower. 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 dryland, and what the marshes breed.” Milton. The blue campanula is made emblematical of constancy on account of its colour. South describes constancy as a 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. 100 FLORAL EMBLEMS. COQUETRY. Yellow Day Lily. — Hemerocallis Flava. Belle (Fun jour of the French. “ Aux feux dont Pair etincelle S’ouvre la belle de jour ; Zephir la flatte de 1’aile : La friponne encor appelle Les papillons d’alentour. Coquettes, c’est votre embleme : Le grand jour, le bruit vous plait, Briller est votre art supreme ; Sans eclat, le plaisir meme 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. F1 o v aJ E tii b 1 c in s . -Z?anjpe?' a-ccpmpa.nl/iner ctfpnetrz/ 7h&&&/iU St/ • ’ \uitiJe/-; A .-i '.'.■vuvnirSt*' FLORAL EMBLEMS. 101 COURAGE. Black Poplar. —Populus nigra. “ A double wreath Evander twined, And poplars black and white his temples bind.” 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 .—Dianthus 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. — Tamarix. “ 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. Squirting 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 elaterium , 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. Stinging Nettle. — Urtica pilulifera. “ And rampant nettles lift the spiry head.” Bloomfield. “ Some so like to thorns and nettles live, That none foi 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 of a slanderer. FLORAL EMBLEMS. 105 A CURE. Balm.— 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. 10 G FLORAL EMBLEMS. DANGER. Rhododendron .— 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- “ Ev’n as those bees ofTrebizond,— 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 Bindweed. —Convolvulus Sepium. “ Regardez : ce beau liseron Desine sa lege re cloche A travers cet epais buisson Dont 1’ epine defend Y 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 Pink. —Statice Armeria. 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.” JEneis, 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 lamise 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 guilty joys, distastes, surmises. False oaths, false tears, deceits, disguises.” Pope. FLORAL EMBLEMS. Ill DECEITFUL HOPE. Daffodil.— 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.” Williams. 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 Daffo¬ dil, Narcissus Bulbocodium, is dedicated to St. Catherine; and the Nodding Daffodil, Narcissus nutans, to St. Julian. 112 FLORAL EMBLEMS. DECEPTION. Winter Cherry.— Physalis Alkekdifei. 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. Tulip.— Tu lipa . “ 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.” Wiffen. The tulip has from time immemorial been Floral -E mb 1 ems /j&c/stra&bn, ?/' lore. Jfodfot&ecZ' {btu&uZySZ'?/z'j r fcnc&wn/ ^ _ c 2>eceOdkZ CA*r?ns S7 Fadsc 7?xcAey Amy JhS&jfod-fo/ Arnnder.} Mey dfl Cmdad.**/#& FLORAL EMBLEMS. 123 DISTINCTION. Cardinal’s Flower. —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.” 124 FLORAL EMBLEMS. DOCILITY. Rush. —J uncus. “ A shaggy goat’s soft hide beneath him spread. And with fresh rushes heap’d an ample bed.” Odyssey. This plant, so proverbial for its pliability, 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. Saffron Flower. —Crocus sativus. -“ Can Tiraolus’ 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. 120 FLORAL EMBLEMS. DRUNKENNESS. Vine.— 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. Dogwood, 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.” JEneis. 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 Sf. Catehrine de Ricci. F ] o r a 1 .Emblems a.7id e-tz-rty lsuf/i fv file? -dye TUdZzenea’ fa Saunders . t 'fates/ Jcl facttiatSr' ^'V/v FLORAL EMBLEMS. 129 EGOTISM AND SELF-LOVE. Narcissus .— Narcissus. “ Narcissus fair. As o’er the fabled fountain 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. K 130 FLORAL EMBLEMS. ELEGANCE. Rose Acacia. — 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. 131 ELEVATION. Silver Fir. —Pinus Picea. ■ - “ Towering firs in conic forms arise. And with a pointed spear divide the skies.” Prior. Nature has adapted this tree to its 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. 132 FLORAL EMBLEMS. ELOQUENCE. Iris or Flag-flower.— Iris. “ Iris, on safiron wings array’d with dew Of various colours, through the sun-beams flew.” 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. — Ni^ella Damascena. O 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 is a 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 Bramble. — Rubusfruticosus. “ 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 til’ ignoble mind’s a slave. Is emulation in the learn’d or brave.” 134 FLORAL EMBLEMS. ERROR. Fly Orchis. — 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. Garden Sage. —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. Convolvulus Major .—Convolvulus purpreus. “ Convolvulus, expand thy cup-like flower. Graceful in form, a!nd 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.” Dry den . FLO HAL EMBLEMS. 137 FALSEHOOD. Bug loss. — A nchusa . “ 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 mines d’une maison Se peuvent reparer ; que n’est cet avantage Pour les mines du visage ?” 138 FLORAL EMBLEMS. FALSE RICHES. S u n-flowek.— Reliant has. “ 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 ?” Dry den. “ Random chance, or wilful fate, Guides the shaft from Cupid’s bow.” A. Philips. We learn from Pierius 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 in a 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 140 FLORAL EMBLEMS. human things.” Plato holds this chain to be the power of the divine spirit.—(See Homer s Iliad , Book VIII.) FEAST, OR BANQUET. Parsley .—Apium 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 ot 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 a eiadcu aeXivov; to want parsley, was an expres¬ sion applied to a person at the last extremity. FLORAL EMBLEMS. 141 FECUNDITY. Hollyhock. — 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. Sweet Sultan, or Centaury. — 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. Wall 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, veronica 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. 143 FIDELITY. Ros e m ary.— Rosmarinus. “ I 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. — Iledera 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.” W. W. R. “ I 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. __“ Is 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 ?” A ken side. FLORAL EMBLEMS. 145 FIDELITY IN MISFORTUNE. Wall-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.” Lang horn. 14 G FLORAL EMBLEMS. FLAME, OR PASSION OF LOVE. Yellow Iris .— Pseud-Acorns . “ Amid its waving swords, in flaming gold 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.” “ No warning of th’ approaching flame ; Swiftly like sudden death it came— I lov’d the moment I beheld.” Granville. FLORAL EMBLEMS. 147 FLATTERY. Venus’s Looking-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 off 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. 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 columbine 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. 150 FLORAL EMBLEMS. FORESIGHT. Holly.— Ilex. “ 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. Mouse-ear Scorpion Grass. — Myosotis Palustris. “ Pour exprimer l’amour, ces fleurs semblent eclore; 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 d Sophie. This plant so celebrated in German love- song', under the emblem of “ Vergils midi nidit ” 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. Lilac .— 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. Osier.— Salix viminalis. “ And bending osiers into baskets weaved.” Virgil. Frankness or openness is represented by these twigs so celebrated for their pliability in forming basket-work. FRESHNESS, OR BLOOM OF COMPLEXION. Damask Rose, 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 Bagaenaudier. M. Pirolle says, “ Fruit dans des vessies rougeatres qu’on fait claquer par la pression pour baguenauder, d’ou son nom.” “ Triflers not e’en in trifles can excel; ’Tis solid bodies only polish well.” Young. FLORAL EMBLEMS. 155 FRUGALITY. Endive.— Cichorium endivia. “ A garden-sallad. Of endive, radishes, and succory.” Dry den. 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. Butterfly Orchis. — 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. FLORAL EMBLEMS. 157 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 Genii, 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 .— P on, 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. La u rel .—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. Cherries. —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. White Mullein. — 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 Good 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 Neiif, though protected by an iron rail and a guard of soldiers. GOSSIP. Co bcea.— Cobota 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. 161 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. 162 FLORAL EMBLEMS. GRACE, OR PURIFICATION. Rue .—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. I’ll set a bank of rue, sour herb of grace.” FLORAL EMBLEMS. J63 GRANDEUR. Beech Tree.— Fag-us . O - “ 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 greatest 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. Small White Bell Flower.— 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 Religieu.se des Champs. FLORAL EMBLEMS. 165 HATRED. B a s i l .— Ocimum Basilicum. - “ The basil-tuft that waves Its fragrant blossom over graves.” 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 slight and almost innocent oc¬ casions and Sherlock says, < t Hatred has in it the guilt of murder.” 166 FLORAL EMBLEMS. A HEART IGNORANT OF LOVE. Bud 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. Almon d. — 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 ot 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.” Dry den . 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 . —Cr a tag us. “ 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 ot 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 Cereus. — CactusJlagelliformis. “ 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. Oak.— Quercus. - “ the sturdy oak, A prince’s refuge once.” This noble British tree that feeds our herds, n oxal Imtlems FLORAL EMBLEMS. 171 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.” Dry den. HUMANITY. M a r s h - m a l l o w .—A Ithcea officinalis. “ Alas ! when mallows in the garden die.” This plant, so celebrated for relieving the wounds of our ancestors, and decorating their graves, is also made the emblem of a sweet or mild disposition. -“ enquire the wretched out. And court the office of soft humanity?” J 72 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 as a 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.— Sand ford’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 Indian Fig.— 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 I AM NEGLECTED. L A-U R E s TIN E.- Vil)U THUS TillUS . “ 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 guy 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.” Dry den . IMMORTALITY. Am ar a nt h .— 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, ehading the font of life : And where the river of bliss, through midst of heaven Rolls o’er Elysian flowers her amber strain, With thesfrthat 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 la Chaise , the ro¬ mantic Grave of France.” IMPATIENCE. Balsam .—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. N 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.” Dry den. 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. 17 !) IMPORTUNITY OR INTRUSION. Common Thistle. —Car duds. “ 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.” Dry den. The thistle is symbolical of Scotland, it being the emblematical flower of the unfortunate Stuarts, who so frequently wore the Cluas-cm- n 2 ISO 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. CEnothera grundifiora . " 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, is 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.” Dry den . FLORAL EMBLEMS. 181 INCORRUPTIBLE. Cedar of Lebanon.— 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 domest ica . -“ 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.” Piior. I 184 FLORAL EMBLEMS. INDIFFERENCE. Ever-flowering Candy-tuft. —Iberis semperflorens. 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. Bee Oechis.— 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. Yellow Rose. —Rosa lutea. The colour of this flower, so terrible to lovers, is the highest mark of distinction in Eastern countries. INGENUOUS SIMPLICITY. Mouse-ear Chick weed.— 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 sliow’st thee in a child. Than the sea monster .”—King Lear. Crowfoot .— 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 insinuates itself into pastures, and destroys the flocks by its secret poison. “ Ce job bouton satine, Qui sourit commc l’innocence, Recele un sue empoisonne Et souvent blesse l’imprudencc.” 188 FLORAL EMBLEMS. INJUSTICE. Hop .— 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.— Beilis 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. Iloxal Imblems JZ?e£ca& &Ja C&ki, ^ W I«t . "A > M ^WMi/ :i i *£# sa - atw- 1 |i ui ,i|L ; \ . . XT? flg; n ’ uWxwAw J. jrfe ■' TVfl e/7i -e-'S'i ■ oj~zas‘Z'?u? from- SaZz^uf^e- FLORAL EMBLEMS. 285 SOLITUDE. Heath. — Erica. “ -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 . 28G FLORAL EMBLEMS. SORROWFUL REMEMBRANCES. Adonis.— Adonis. • FLORAL EMBLEMS. 303 TIME. White Poplar .— 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. FLORAL EMBLEMS. TIMIDITY. Marvel of Peru.— Mirabilis. “ Solitaire amante des nuits, Pourquoi ces timides alarmes, Quand ma muse au jour que tu fuis S’apprete a reveler les charmes ? Si, par pudeur, aux indiscrets Tu caches ta fleur purpurine, En nous derobant tes attraits, Permets du moins qu’on les devine.” This Belle cle 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. Whortle-berry. — Vaccimum Myrtillus. “ Come, stain your face with whortie-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. x 306 floral emblems. TRUTH. Bitter sweet Nightshade. —Solatium Dulcamara . “ The first great work Is, that yourself may to yourself be true.” Roscommon . However delightfully sweet truth must evei 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. Phlox .— Phlox. “ Unanimous, as sons of one great sire.” 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. 308 FLORAL EMBLEMS. UNEASINESS AND JEALOUSY. Garden Marygold. — Calendula officinalis. “ The marygold, that goes to bed with the sun, And with him rises weeping.” Shakspeare. —i -“ 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 in state, they call in reproach mushrooms.” -“ The humble mushroom, scarcely known. The lowly native of a country town.” Dry den. 310 FLORAL EMBLEMS, USELESSNESS. SpiRiE Hypericum Frutex.— Spira 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. UTILITY. Dried Flax. — Linum. “ The matron, at her nightly task With pensive labour draws the flaxen thread.” Thomson . The ingenuity 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 tlieir ancestors, by applying themselves to raising flax for the same purpose; they therefore continued to woi - 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 312 FLORAL EMBLEMS. Egyptians, to remind the people of the im¬ 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 inhabitants 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 to which they gave the nameofArachne, (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. 313 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 China Aster, or Chinensis Starwort. Aster Ckinesis. “ 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. 315 VICE. Darnel, or Ray-grass.— Lolium. “No fruitful crop the sickly fields return ; But oats and darnel choak the rising corn.” Dry den. 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. Palm.— 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. “ In love, the victors from the vanquish’d fly; They fly that wound, and they pursue that die.” Waller. FLORAL EMBLEMS. 317 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. % VIVACITY. Houseleek . —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 morninp’. 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. - ’ Floral Fiua-talom s JPrtify. J& Ybnabrt 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. Tuberose . —Poly ant kes tuber osa . “ The tuberose, with her silver light, 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 pere. 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 radiant, le pere des fleurettes, Du fragile muguet, simples violettes, 320 FLORAL EMBLEMS. Et de cent autres fleurs quis naissent tour-a-tour, Mais de qui les beautes durent a peine un jour. Voyez-moi seulement : ma fraicheur est exquise, J’ai le teint tres-uni, ma taille est fort bien prise, Des roses et des lis j’ai le brillant eclat, Et du plus beau jasmin le lustre delicat; Je surpasse, en odeur, et la jonquille et l’ambre, Et le plus grand des rois me souffre dans sa chambre.” Madame Scudery. 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 Fimprudente la presse : Quand tout a coup, saisis d’une douce languer, Ses bras sont accables sous le poids du bonheur A ce trouble inconnu la jeunesse alarmee, Veut eviter les traits du dieu qui Fa charmee ; Mais, helas ! ses combats se changent en plaisirs, Ses craintes en espoir, ses remords en desirs : 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. - “ Tvistisque lupini Sustuleris fragiles calamus.” Virgil. The ancients named this plant Lupinus , 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.” Dry den. Y 322 FLORAL EMBLEMS. VULGAR MINDS. African Marygold.— 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, is due to society : but to de¬ pend entirely on it, is valuing our understand¬ ing as naught. FLORAL EMBLEMS. 323 WAR. Common Milfoil, 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 rein'll O’er desolated nations.” Hannah More. Y 0 324 FLORAL EMBLEMS. WEAKNESS. Moschatell.— Adoxa Moschatellina. The generic name of this hollow tuberous rooted plant, signifies ig’noble. - “ If weakness may excuse, What murderer, what traitor, parricide. Incestuous, sacrilegious, but may plead it l All wickedness is weakness.” Milton. WIDOW, OR WIDOWHOOD. Sweet Sultan, Honey-flower, or Sweet Scabious. Scabiosa atropurpurea. The Italians name this flower Fior della 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 “ I have lost all.” FLORAL EMBLEMS. 325 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.” 0 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. Mulberry-tree .— Morbus. “ And that old mulberry that shades the court Has been my joy from very childhood up.” H. Kirlce White. ■ -“ the green leaf Which feeds the spinning worm.” Pliny 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. EnCHAN T ER’s NIG H T-S H A J) E .- CifCOlU . “ 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 Circoea, after Circe the enchantress, so celebrated of old for draw¬ ing the unwary into her power. “ ’Tis now the very witching time of night.” _ “ I’ll 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. Dry den’s Virgil. FLO UAL EMBLEMS. YOU ARE PERFECT. Pine Apple.— 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 fall 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.” FLORAL EMBLEMS. 329 YOU ARE WITHOUT PRETENSION. Rose 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 Plant. — Mesembryantheum crystaUiniim. “ With fretted frost-work spangled o’er.” This species of mesembryantheum, whose crystalized juices glitter like 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. 331 YOU PLEASE ALL. Branch 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¬ liar 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 PRESENCE SOFTENS 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 4th. FLORAL EMBLEMS. 333 YOUR QUALITIES SURPASS YOUR CHARMS. Mignonette. — 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 cc Vos qualites surpassent vos char- mes” by a circumstance related in the Flora Hist orica. 334 FLORAL EMBLEMS. YOU SHALL HAVE JUSTICE. Sweet-scented Tussilage. — Tussilagofragrans . “ 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 rendrajustice.” FLORAL EMBLEMS. 335 YOUTH. Fox-glove .— Digitalis . “ Explore the fox-glove’s freckled bell.” Mrs. Charlotte Smith. “ 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. H e mloc k .— Conium. “ That to which old Socrates was curs’d.” Dry den. 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. Elder .— 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. z 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 innocent amusement, we shall deem our la¬ bours most pleasingly rewarded. INDEX Acacia Page . 88 Acanthus . . 65 Adonis . 286 African Mary gold . . 322 Almond . 167 Aloe . . 58 Althse Frutex . 237 Amaranth . . 176 -, crested . 283 Amaryllis . . 246 Anemone . . 278 Angelica . . 189 Arbor vitse . 224 Arum . . 64 - dracunculus . 284 Aspen tree . . 196 Asphodel . 219 Auricula . . 228 Azalea . 301 Balm . 105 Balsam . . 177 Barberry . . 287 340 INDEX. Page Basil • 165 Bearded Crespis . • J 250 Bear’s-breech • 65 Beech • 163 Bee Orchis . , 185 Betony • 294 Bindweed , . 107 -, small . . # 223 Blackthorn , , 118 Bladder Senna . , 154 Blue Bottle . 114 Borage • 79 Box .... • 289 Bramble . 133 and 263 Broom . 172 Buckbean . 84 Bugloss • 137 Butter-cups • 92 Butterfly Orchis • 156 Cabbage . , , 248 Cactus flagelliformis . • 170 -Opuntia . • 174 Camellia . 76 Campanula • 99 -—, white • 164 Canary Grass • 236 Candy Tuft • 63 -, everflowering • 184 Cardinal’s Flower . 123 Carnation . 260 INDEX. 341 Page Carnation, yellow . . 121 Cedar . . 290 -of Lebanon • . 181 Centaury • . 114 -moschata • • • . 141 Cherries • • . 159 Chervil • • • . 282 Chestnut Tree . . 264 Chickweed . . 186 China aster . . 314 - Pink . . . 71 Chrysanthemum . . . 91 Cistus . . 241 Clematis flammula • . 66 - evergreen • . 242 Clover • . 251 Coat of Arms, origin of the term 17 Coboea • . 160 Cock’s Comb • . 283 Colchicum . . 218 Columbine . . 148 Convolvulus sepium . . 107 -arvensis • • . 223 -, major • . 136 -, minor . . 222 Coriander . . 95 Cornel Tree . . 127 Coronilla . . 291 Cowslip . . 233 Creeping Cereus • . 170 Crown Imperial . . 206 Crowfoot , , . 187 342 INDEX. Page Cuckoo Flower . . . 230 Cuckoo Pint . . . .64 Currants . . • • 331 Cyclamen . . . .119 Daffodil . . • • -HI Dahlia . 190 Daisy . . . . .188 -, double . . . . 229 Dandelion .... 225 Darnel . . . . 315 Day Lily ..... 100 Dittany . . . 78 Dogwood . . . .127 Dragon Plant . . . 284 Ebony . . . . .79 Eglantine . . . 281 Elder . 337 Emblems, the invention of 3 -, used by the Turkish ladies . vii -, in Scripture . . ix—xi - , Highland L . . 13 - , numerical . . .27 - , for the days of the week . 29 - , for the Calendar Months . 37 Enchanter’s Night Shade . . • 327 Endive ..... 155 Evening Primrose . . 180 Everlasting . . . .221 Everlasting Pea . . 198 INDEX. 343 Page Faded Leaves . 208 Fair Maids of France . . . 204 Fig . 64 Fig Tree . . 249 Filbert . 259 Flax .... . . 139 -, dried . 311 Fly Ophrys . . 134 Fox-Glove . 335 French Marygold . 193 - Honeysuckle . . 272 - Willow . 86 Fritillary . . 236 Frog Ophrys . 122 Fuchsia . . 299 Fullers’ Teasel 70 and 90 Fumitary . . 288 Genista . 220 Gentian Yellow . . 187 Geranium . . 244 Goat’s Rue . . 258 Golden Rod . 243 Goldy Locks . . . 298 Good Henry . 160 Grammar of Floral Emblems . . . 24 Guelder Rose . 325 Hawkweed . . 256 Hawthorn . . 169 Heart’s Ease . 302 344 INDEX. Page Heath ... . 285 Helenium . . . . .300 Heliotrope . . . 191 Hemlock ..... 336 Henbane . . . . . 178 Hepatica . . . . .96 Heraldry, antiquity of . 11 and 17 Hierogdyphics, the first written Language . 1 - originated in Egypt . 2 -, by whom first taught . 7 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 . . . ] 74 - Pink . . . .71 Ipomoea . . . 70 Iris . . . 132 and 212 , yellow . . . . 146 Ivy ..... 144 Jasmine, common 62 INDEX. 345 Page Jasmine, Spanish . . . 275 Jonquil . . . . .115 Juniper . . . 69 Ladies’ Cushion .... 207 Lantana . . . . 271 Larkspur .... 200 Laurel . . . 158 -in flower . . . 235 Lavender . . . 67 Lemon . .... 338 Le Notre, anecdote of . .22 Lettuce . . . 93 Lilac . . . . .152 Lily . . . . . 254 -of the valley . . 268 Lime, or Linden Tree . 96 London pride .... 203 Lotus ... . . . 279 -, where revered . . .30 Lucern . . . 199 Lupin . . . .321 Lychnis . . . 261 Lythrum .... 246 Madder . . . 84 Magnolia . . . .120 Mallow . . . . 296 Mandrake .... 256 Marjoram . . 80 Maple .... 266 Marsh-mallow . . . . 171 34 6 INDEX. Marvel of Peru Mary gold 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 Nymph sea Oak Olive Orange Flowers -Tree Page. . 304 117 and 308 . 160 . . 175 . 116 . . 90 . 333 . . 324 . 332 . . 317 . 227 . . 195 . 324 . . 253 . 60 . . 326 . 159 295 and 309 . 151 . . 202 . 129 . . 287 . 306 . 27 . 279 . 170 . 232 . . 89 . 157 . . 153 Osier [NDEX. 347 Ox-eye Page . 223 Palm . . 316 Pansee . 302 Parsley . . 140 Passion Flower . 262 Patience . . 231 Periwinkle . 239 Persicaria . . 267 Phlox . 307 Pimpernel . . 68 Pine Apple . 328 -Tree . 82 Pink, red . . 201 -, white . 255 and 297 -, striped . 260 Plane Tree . . 157 Plum Tree . 183 Pceony . 73 Pomegranate . 149 Poplar, black . . 101 -, white . 303 Poppy . . 98 - White . 277 Potatoe . . 77 Primrose . 128 Privet . . 113 Ranunculus . 328 Rebuses, by whom invented . . . 20 Reed 94 and 217 348 INDEX. Page Rose, moss . 318 -, Pompone . . 158 , China • 75 -, Japan . . 76 , hundred leaved . 161 , white bud . . 166 , Eglantine . 281 - full blown over buds . 274 , crown of . 269 Rose, Acacia . . 130 Rose, Bay . 86 Rose, Campion . . 329 Rosemary . 143 Roucher, anecdote of 10 Rudbeckia . 194 Rue . . 162 Rush . 124 Sadi, anecdote of . 11 Saffron 125 and 213 Sage . 135 Scorpion Grass . . 151 Sea pink . 108 Sensitive plant . 72 Silver Fir . 131 Snap-dragon . . 245 Snowdrop 97 Southernwood . . 193 Speedwell wall . 142 -spiked . . 265 Spider Ophrys 59 INDEX. 349 Page Spirce Hypericum • . 310 St. John’s Wort . • . 293 Star Wort . . 59 Stock . . 197 -, ten weeks . . 250 Stinging-nettle . . 104 Strawberry • . 234 Stramonium . . 110 Squirting Cucumber . . 103 Sun-flower . . 138 Sweet-briar . . . 240 -Scabious . . 324 --—• William . . 101 --—— Pea . . 115 -Sultan . . 141 Swallow-wort • . 209 Syringa • . 211 Tamarisk . . 102 Tansy • . 267 Thistle • . 179 Thorns, branch of . . 277 Thrift • . 108 Thyme • . 57 Trefoile • . 252 Trumpet flower • . 276 Tuberose . . 319 Tulip • • . 112 Turnip • . 87 Tussilage • • . 334 % 350 INDEX. Page Rhododendron 106 Rose . . 74 -, white . , 109 -, yellow . 186 -, damask . 153 -, musk . 86 Valerian . . 56 -, Greek • • 271 Venus’s Looking-glass • 147 Vervian . 292 Vine . . 126 Violet • « 215 - , white 85 and 255 Virginian Spider wort • 216 Wall flower 145 Water Lily . . 279 Water Melon , . 83 Weeping Willow . 210 Wheat . 270 Whortle-berry • 305 Winter Cherry • 112 Woodbine . 83 W ormwood • 55 Yarrow • 323 Zealousness • 337 Zest • • .338 DIRECTIONS FOR PLACING THE PLATES. Plate Page 1. The Shield of Floral Emblems to form the Title Page. 2. The Emblematical Design for the Dedi¬ cation to follow. 3. The British Ewer, with the Symbol of IIis Majesty’s Birth-Day; to face the Introduction* 4. The Numerical Leaflets - to face 27 5. The Seven Leaves for the Days of the Week - - - - 29 6. The Emblems for January, February, and March - - - - 37 7. April, May, and June - - - 41 8. July, August, and September - - 45 9. October, November, and December - 48 * 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 to a looking-glass it will appear correct. 352 DIRECTIONS FOR THE PLATES. Plate Page 10. Youth and Beauty united by the Bonds of Love to face 83 11. Danger accompanying Coquetry - - 100 12. Declaration of Love - 112 13. Desire not Popular Favour - - 123 14. Folly and Error - - - 128 15. The Bowl of Hospitality - - 170 16. Delicate and Lasting Pleasures - - 188 17. Hope separated from Love - - - 246 18. Pensiveness arising from Solitude - - 285 19. Consolation arising from Thoughts - 302 20. Idleness, Voluptuousness, &c. - - 319 IBOTSON AND PALMER, PRINTERS, SAVOY STREET, STRAND, « % * *