Proserpina, Volume 2

13. Broadly, however, the families of the Veronica fall into three main divisions,—those which have round leaves lobed at the edge, like ground ivy; those which have small thyme-like leaves; and those which have long leaves like a foxglove's, only smaller—never more than two or two and a half inches long. I therefore take them in these connections, though without any bar between the groups; only separating the Regina from the other thyme-leaved ones, to give her due precedence; and the rest will then arrange themselves into twenty families, easily distinguishable and memorable.

FIG. IV.

I have chosen for Veronica Regina, the brave Icelandic one, which pierces the snow in first spring, with lovely small shoots of perfectly set leaves, no larger than a grain of wheat; the flowers in a lifted cluster of five or six together, not crowded, yet not loose; large, for veronica—about the size of a silver penny, or say half an inch across—deep blue, with ruby centre.

My woodcut, Fig. 4, is outlined²² from the beautiful engraving D. 342,²³—there called 'fruticulosa,' from the number of the young shoots.

14. Beneath the Regina, come the twenty easily distinguished families, namely:—

1. Chamædrys. 'Ground-oak.' I cannot tell why so called—its small and rounded leaves having nothing like oak leaves about them, except the serration, which is common to half, at least, of all leaves that grow. But the idea is all over Europe, apparently. Fr. 'petit chêne:' German and English 'Germander,' a merely corrupt form of Chamædrys.

The representative English veronica "Germander Speedwell"—very prettily drawn in S. 986; too tall and weed-like in D. 448.

2. Hederifolia. Ivy-leaved: but more properly, cymbalaria-leaved. It is the English field representative, though blue-flowered, of the Byzantine white veronica, V. Cymbalaria, very beautifully drawn in G. 9. Hederifolia well in D. 428.

3. Agrestis. Fr. 'Rustique.' We ought however clearly to understand whether 'agrestis,' used by English botanists, is meant to imply a literally field flower, or only a 'rustic' one, which might as properly grow in a wood. I shall always myself use 'agrestis' in the literal sense, and 'rustica' for 'rustique.' I see no reason, in the present case, for separating the Polite from the Rustic flower: the agrestis, D. 449 and S. 971, seems to me not more meekly recumbent, nor more frankly cultureless, than the so-called Polita, S. 972: there seems also no French acknowledgment of its politeness, and the Greek family, G. 8, seem the rudest and wildest of all.

Quite a field flower it is, I believe, lying always low on the ground; recumbent, but not creeping. Note this difference: no fastening roots are thrown out by the reposing stems of this Veronica; a creeping or accurately 'rampant' plant roots itself in advancing. Conf. Nos. 5, 6.

4. Arvensis. We have yet to note a still finer distinction in epithet. 'Agrestis' will properly mean a flower of the open ground—yet not caring whether the piece of earth be cultivated or not, so long as it is under clear sky. But when agri-culture has turned the unfruitful acres into 'arva beata,'—if then the plant thrust itself between the furrows of the plough, it is properly called 'Arvensis.'

I don't quite see my way to the same distinction in English,—perhaps I may get into the habit, as time goes on, of calling the Arvenses consistently furrow-flowers, and the Agrestes field-flowers. Furrow-veronica is a tiresomely long name, but must do for the present, as the best interpretation of its Latin character, "vulgatissima in cultis et arvis." D. 515. The blossom itself is exquisitely delicate; and we may be thankful, both here and in Denmark, for such a lovely 'vulgate.'

5. Montana. D. 1201. The first really creeping plant we have had to notice. It throws out roots from the recumbent stems. Otherwise like agrestis, it has leaves like ground-ivy. Called a wood species in the text of D.

6. Persica. An eastern form, but now perfectly naturalized here—D. 1982; S. 973. The flowers very large, and extremely beautiful, but only one springing from each leaf-axil.

Leaves and stem like Montana; and also creeping with new-roots at intervals.

7. Triphylla, (not triphyllos,—see Flora Suecica, 22). Meaning trifid-leaved; but the leaf is really divided into five lobes, not three—see S. 974, and G. 10. The palmate form of the leaf seems a mere caprice, and indicates no transitional form in the plant: it may be accepted as only a momentary compliment of mimicry to the geraniums. The Siberian variety, 'multifida,' C. 1679, divides itself almost as the submerged leaves of the water-ranunculus.

The triphylla itself is widely diffused, growing alike on the sandy fields of Kent, and of Troy. In D. 627 is given an extremely delicate and minute northern type, the flowers springing as in Persica, one from each leaf-axil, and at distant intervals.

8. Officinalis. D. 248, S. 294. Fr. 'Veronique officinale'; (Germ. Gebrauchlicher Ehrenpreis,) our commonest English and Welsh speedwell; richest in cluster and frankest in roadside growth, whether on bank or rock; but assuredly liking either a bank or a rock, and the top of a wall better than the shelter of one. Uncountable 'myriads,' I am tempted to write, but, cautiously and literally, 'hundreds' of blossoms—if one could count,—ranging certainly towards the thousand in some groups, all bright at once, make our Westmoreland lanes look as if they were decked for weddings, in early summer. In the Danish Flora it is drawn small and poor; its southern type being the true one: but it is difficult to explain the difference between the look of a flower which really suffers, as in this instance, by a colder climate, and becomes mean and weak, as well as dwarfed; and one which is braced and brightened by the cold, though diminished, as if under the charge and charm of an affectionate fairy, and becomes a joyfully patriotic inheritor of wilder scenes and skies. Medicinal, to soul and body alike, this gracious and domestic flower; though astringent and bitter in the juice. It is the Welsh deeply honoured 'Fluellen.'—See final note on the myth of Veronica, see § 18.

9. Thymifolia. Thyme-leaved, G. 6. Of course the longest possible word—serpyllifolia—is used in S. 978. It is a high mountain plant, growing on the top of Crete as the snow retires; and the Veronica minor of Gerarde; "the roote is small and threddie, taking hold of the upper surface of the earth, where it spreadeth." So also it is drawn as a creeper in F. 492, where the flower appears to be oppressed and concealed by the leafage.

10. Minuta, called 'hirsuta' in S. 985: an ugly characteristic to name the lovely little thing by. The distinct blue lines in the petals might perhaps justify 'picta' or 'lineata,' rather than an epithet of size; but I suppose it is Gerarde's Minima, and so leave it, more safely named as 'minute' than 'least.' For I think the next variety may dispute the leastness.

FIG. V.

11. Verna. D. 252. Mountains, in dry places in early spring. Upright, and confused in the leafage, which is sharp-pointed and close set, much hiding the blossom, but of extreme elegance, fit for a sacred foreground; as any gentle student will feel, who copies this outline from the Flora Danica, Fig. 5.

12. Peregrina. Another extremely small variety, nearly pink in colour, passing into bluish lilac and white. American; but called, I do not see why, 'Veronique voyageuse,' by the French, and Fremder Ehrenpreis in Germany. Given as a frequent English weed in S. 927.

13. Alpina. Veronique des Alpes. Gebirgs Ehrenpreis. Still minute; its scarcely distinct flowers forming a close head among the leaves; round-petalled in D. 16, but sharp, as usual, in S. 980. On the Norway Alps in grassy places; and in Scotland by the side of mountain rills; but rare. On Ben Nevis and Lachin y Gair (S.)

14. Scutellata. From the shield-like shape of its seed-vessels. Veronique à Ecusson; Schildfruchtiger Ehrenpreis. But the seed-vessels are more heart shape than shield. Marsh Speedwell. S. 988, D. 209,—in the one pink, in the other blue; but again in D. 1561, pink.

"In flooded meadows, common." (D.) A spoiled and scattered form; the seeds too conspicuous, but the flowers very delicate, hence 'Gratiola minima' in Gesner. The confused ramification of the clusters worth noting, in relation to the equally straggling fibres of root.

15. Spicata. S. 982: very prettily done, representing the inside of the flower as deep blue, the outside pale. The top of the spire, all calices, the calyx being indeed, through all the veronicas, an important and persistent member.

The tendency to arrange itself in spikes is to be noted as a degradation of the veronic character; connecting it on one side with the snapdragons, on the other with the ophryds. In Veronica Ophrydea, (C. 2210,) this resemblance to the contorted tribe is carried so far that "the corolla of the veronica becomes irregular, the tube gibbous, the faux (throat) hairy, and three of the laciniæ (lobes of petals) variously twisted." The spire of blossom, violet-coloured, is then close set, and exactly resembles an ophryd, except in being sharper at the top. The engraved outline of the blossom is good, and very curious.

16. Gentianoides. This is the most directly and curiously imitative among the—shall we call them—'histrionic' types of Veronica. It grows exactly like a clustered upright gentian; has the same kind of leaves at its root, and springs with the same bright vitality among the retiring snows of the Bithynian Olympus. (G. 5.) If, however, the Caucasian flower, C. 1002, be the same, it has lost its perfect grace in luxuriance, growing as large as an asphodel, and with root-leaves half a foot long.

The petals are much veined; and this, of all veronicas, has the lower petal smallest in proportion to the three above,—"triplò aut quadruplò minori." (G.)

17. Stagnarum. Marsh-Veronica. The last four families we have been examining vary from the typical Veronicas not only in their lance-shaped clusters, but in their lengthened, and often every way much enlarged leaves also: and the two which we now will take in association, 17 and 18, carry the change in aspect farthest of any, being both of them true water-plants, with strong stems and thick leaves. The present name of my Veronica Stagnarum is however V. anagallis, a mere insult to the little water primula, which one plant of the Veronica would make fifty of. This is a rank water-weed, having confused bunches of blossom and seed, like unripe currants, dangling from the leaf-axils. So that where the little triphylla, (No. 7, above,) has only one blossom, daintily set, and well seen, this has a litter of twenty-five or thirty on a long stalk, of which only three or four are well out as flowers, and the rest are mere knobs of bud or seed. The stalk is thick (half an inch round at the bottom), the leaves long and misshapen. "Frequens in fossis," D. 203. French, Mouron d'Eau, but I don't know the root or exact meaning of Mouron.

An ugly Australian species, 'labiata,' C. 1660, has leaves two inches long, of the shape of an aloe's, and partly aloeine in texture, "sawed with unequal, fleshy, pointed teeth."

18. Fontium. Brook-Veronica. Brook-Lime, the Anglo-Saxon 'lime' from Latin limus, meaning the soft mud of streams. German 'Bach-bunge' (Brook-purse?) ridiculously changed by the botanists into 'Beccabunga,' for a Latin name! Very beautiful in its crowded green leaves as a stream-companion; rich and bright more than watercress. See notice of it at Matlock, in 'Modern Painters,' vol. v.

19. Clara. Veronique des rochers. Saxatilis, I suppose, in Sowerby, but am not sure of having identified that with my own favourite, for which I therefore keep the name 'Clara,' (see above, § 9); and the other rock variety, if indeed another, mast be remembered, together with it.

20. Glauca. G. 7. And this, at all events, with the Clara, is to be remembered as closing the series of twenty families, acknowledged by Proserpina. It is a beautiful low-growing ivy-leaved type, with flowers of subdued lilac blue. On Mount Hymettus: no other locality given in the Flora Græca.

15. I am sorry, and shall always be so, when the varieties of any flower which I have to commend to the student's memory, exceed ten or twelve in number; but I am content to gratify his pride with lengthier task, if indeed he will resign himself to the imperative close of the more inclusive catalogue, and be content to know the twelve, or sixteen, or twenty, acknowledged families, thoroughly; and only in their illustration to think of rarer forms. The object of 'Proserpina' is to make him happily cognizant of the common aspect of Greek and English flowers; under the term 'English,' comprehending the Saxon, Celtic, Norman, and Danish Floras. Of the evergreen shrub alluded to in § 11 above, the Veronica Decussata of the Pacific, which is "a bushy evergreen, with beautifully set cross-leaves, and white blossoms scented like olea fragrans," I should like him only to read with much surprise, and some incredulity, in Pinkerton's or other entertaining travellers' voyages.

16. And of the families given, he is to note for the common simple characteristic, that they are quatrefoils referred to a more or less elevated position on a central stem, and having, in that relation, the lowermost petal diminished, contrary to the almost universal habit of other flowers to develope in such a position the lower petal chiefly, that it may have its full share of light. You will find nothing but blunder and embarrassment result from any endeavour to enter into further particulars, such as "the relation of the dissepiment with respect to the valves of the capsule," etc., etc., since "in the various species of Veronica almost every kind of dehiscence may be observed" (C. under V. perfoliata, 1936, an Australian species). Sibthorpe gives the entire definition of Veronica with only one epithet added to mine, "Corolla quadrifida, rotata, laciniâ infimâ angustiore," but I do not know what 'rotata' here means, as there is no appearance of revolved action in the petals, so far as I can see.

17. Of the mythic or poetic significance of the veronica, there is less to be said than of its natural beauty. I have not been able to discover with what feeling, or at what time, its sacred name was originally given; and the legend of S. Veronica herself is, in the substance of it, irrational, and therefore incredible. The meaning of the term 'rational,' as applied to a legend or miracle, is, that there has been an intelligible need for the permission of the miracle at the time when it is recorded; and that the nature and manner of the act itself should be comprehensible in the scope. There was thus quite simple need for Christ to feed the multitudes, and to appear to S. Paul; but no need, so far as human intelligence can reach, for the reflection of His features upon a piece of linen which could be seen by not one in a million of the disciples to whom He might more easily, at any time, manifest Himself personally and perfectly. Nor, I believe, has the story of S. Veronica ever been asserted to be other than symbolic by the sincere teachers of the Church; and, even so far as in that merely explanatory function, it became the seal of an extreme sorrow, it is not easy to understand how the pensive fable was associated with a flower so familiar, so bright, and so popularly of good omen, as the Speedwell.

18. Yet, the fact being actually so, and this consecration of the veronica being certainly far more ancient and earnest than the faintly romantic and extremely absurd legend of the forget-me-not; the speedwell has assuredly the higher claim to be given and accepted as a token of pure and faithful love, and to be trusted as a sweet sign that the innocence of affection is indeed more frequent, and the appointed destiny of its faith more fortunate, than our inattentive hearts have hitherto discerned.

19. And this the more, because the recognized virtues and uses of the plant are real and manifold; and the ideas of a peculiar honourableness and worth of life connected with it by the German popular name 'Honour-prize'; while to the heart of the British race, the same thought is brought home by Shakespeare's adoption of the flower's Welsh name, for the faithfullest common soldier of his ideal king. As a lover's pledge, therefore, it does not merely mean memory;—for, indeed, why should love be thought of as such at all, if it need to promise not to forget?—but the blossom is significant also of the lover's best virtues, patience in suffering, purity in thought, gaiety in courage, and serenity in truth: and therefore I make it, worthily, the clasping and central flower of the Cytherides.

CHAPTER IV

GIULIETTA

1. Supposing that, in early life, one had the power of living to one's fancy,—and why should we not, if the said fancy were restrained by the knowledge of the two great laws concerning our nature, that happiness is increased, not by the enlargement of the possessions, but of the heart; and days lengthened, not by the crowding of emotions, but the economy of them?—if thus taught, we had, I repeat, the ordering of our house and estate in our own hands, I believe no manner of temperance in pleasure would be better rewarded than that of making our gardens gay only with common flowers; and leaving those which needed care for their transplanted life to be found in their native places when we travelled. So long as I had crocus and daisy in the spring, roses in the summer, and hollyhocks and pinks in the autumn, I used to be myself independent of farther horticulture,—and it is only now that I am old, and since pleasant travelling has become impossible to me, that I am thankful to have the white narcissus in my borders, instead of waiting to walk through the fragrance of the meadows of Clarens; and pleased to see the milkwort blue on my scythe-mown banks, since I cannot gather it any more on the rocks of the Vosges, or in the divine glens of Jura.

2. Among the losses, all the more fatal in being unfelt, brought upon us by the fury and vulgarity of modern life, I count for one of the saddest, the loss of the wish to gather a flower in travelling. The other day,—whether indeed a sign of some dawning of doubt and remorse in the public mind, as to the perfect jubilee of railroad journey, or merely a piece of the common daily flattery on which the power of the British press first depends, I cannot judge;—but, for one or other of such motives, I saw lately in some illustrated paper, a pictorial comparison of old-fashioned and modern travel, representing, as the type of things passed away, the outside passengers of the mail shrinking into huddled and silent distress from the swirl of a winter snowstorm; and for type of the present Elysian dispensation, the inside of a first-class saloon carriage, with a beautiful young lady in the last pattern of Parisian travelling dress, conversing, Daily news in hand, with a young officer—her fortunate vis-à-vis—on the subject of our military successes in Afghanistan and Zululand.²⁴

3. I will not, in presenting—it must not be called the other side, but the supplementary, and wilfully omitted, facts, of this ideal,—oppose, as I fairly might, the discomforts of a modern cheap excursion train, to the chariot-and-four, with outriders and courier, of ancient noblesse. I will compare only the actual facts, in the former and in latter years, of my own journey from Paris to Geneva. As matters are now arranged, I find myself, at half past eight in the evening, waiting in a confused crowd with which I am presently to contend for a seat, in the dim light and cigar-stench of the great station of the Lyons line. Making slow way through the hostilities of the platform, in partly real, partly weak politeness, as may be, I find the corner seats of course already full of prohibitory cloaks and umbrellas; but manage to get a middle back one; the net overhead is already surcharged with a bulging extra portmanteau, so that I squeeze my desk as well as I can between my legs, and arrange what wraps I have about my knees and shoulders. Follow a couple of hours of simple patience, with nothing to entertain one's thoughts but the steady roar of the line under the wheels, the blinking and dripping of the oil lantern, and the more or less ungainly wretchedness, and variously sullen compromises and encroachments of posture, among the five other passengers preparing themselves for sleep: the last arrangement for the night being to shut up both windows, in order to effect, with our six breaths, a salutary modification of the night air.

4. The banging and bumping of the carriages over the turn-tables wakes me up as I am beginning to doze, at Fontainebleau, and again at Sens; and the trilling and thrilling of the little telegraph bell establishes itself in my ears, and stays there, trilling me at last into a shivering, suspicious sort of sleep, which, with a few vaguely fretful shrugs and fidgets, carries me as far as Tonnerre, where the 'quinze minutes d'arret' revolutionize everything; and I get a turn or two on the platform, and perhaps a glimpse of the stars, with promise of a clear morning; and so generally keep awake past Mont Bard, remembering the happy walks one used to have on the terrace under Buffon's tower, and thence watching, if perchance, from the mouth of the high tunnel, any film of moonlight may show the far undulating masses of the hills of Citeaux. But most likely one knows the place where the great old view used to be only by the sensible quickening of the pace as the train turns down the incline, and crashes through the trenched cliffs into the confusion and high clattering vault of the station at Dijon.

5. And as my journey is almost always in the springtime, the twisted spire of the cathedral usually shows itself against the first grey of dawn, as we run out again southwards: and resolving to watch the sunrise, I fall more complacently asleep,—and the sun is really up by the time one has to change carriages, and get morning coffee at Macon. And from Amberieux, through the Jura valley, one is more or less feverishly happy and thankful, not so much for being in sight of Mont Blanc again, as in having got through the nasty and gloomy night journey; and then the sight of the Rhone and the Salève seems only like a dream, presently to end in nothingness; till, covered with dust, and feeling as if one never should be fit for anything any more, one staggers down the hill to the Hotel des Bergues, and sees the dirtied Rhone, with its new iron bridge, and the smoke of a new factory exactly dividing the line of the aiguilles of Chamouni.

6. That is the journey as it is now,—and as, for me, it must be; except on foot, since there is now no other way of making it. But this was the way we used to manage it in old days:—

Very early in Continental transits we had found out that the family travelling carriage, taking much time and ingenuity to load, needing at the least three, usually four—horses, and on Alpine passes six, not only jolted and lagged painfully on bad roads, but was liable in every way to more awkward discomfitures than lighter vehicles; getting itself jammed in archways, wrenched with damage out of ruts, and involved in volleys of justifiable reprobation among market stalls. So when we knew better, my father and mother always had their own old-fashioned light two-horse carriage to themselves, and I had one made with any quantity of front and side pockets for books and picked up stones; and hung very low, with a fixed side-step, which I could get off or on with the horses at the trot; and at any rise or fall of the road, relieve them, and get my own walk, without troubling the driver to think of me.

7. Thus, leaving Paris in the bright spring morning, when the Seine glittered gaily at Charenton, and the arbres de Judée were mere pyramids of purple bloom round Villeneuve-St.-Georges, one had an afternoon walk among the rocks of Fontainebleau, and next day we got early into Sens, for new lessons in its cathedral aisles, and the first saunter among the budding vines of the coteaux. I finished my plate of the Tower of Giotto, for the 'Seven Lamps,' in the old inn at Sens, which Dickens has described in his wholly matchless way in the last chapter of 'Mrs. Lirriper's Lodgings'. The next day brought us to the oolite limestones at Mont Bard, and we always spent the Sunday at the Bell in Dijon. Monday, the drive of drives, through the village of Genlis, the fortress of Auxonne, and up the hill to the vine-surrounded town of Dole; whence, behold at last the limitless ranges of Jura, south and north, beyond the woody plain, and above them the 'Derniers Kochers' and the white square-set summit, worshipped ever anew. Then at Poligny, the same afternoon, we gathered the first milkwort for that year; and on Tuesday, at St. Laurent, the wild lily of the valley; and on Wednesday, at Morez, gentians.

And on Thursday, the eighth or ninth day from Paris, days all spent patiently and well, one saw from the gained height of Jura, the great Alps unfold themselves in their chains and wreaths of incredible crest and cloud.

8. Unhappily, during all the earliest and usefullest years of such travelling, I had no thought of ever taking up botany as a study; feeling well that even geology, which was antecedent to painting with me, could not be followed out in connection with art but under strict limits, and with sore shortcomings. It has only been the later discovery of the uselessness of old scientific botany, and the abominableness of new, as an element of education for youth;—and my certainty that a true knowledge of their native Flora was meant by Heaven to be one of the first heart-possessions of every happy boy and girl in flower-bearing lands, that have compelled me to gather into system my fading memories, and wandering thoughts.²⁵ And of course in the diaries written at places of which I now want chiefly the details of the Flora, I find none; and in this instance of the milkwort, whose name I was first told by the Chamouni guide, Joseph Couttet, then walking with me on the unperilous turf of the first rise of the Vosges, west of Strasburg, and rebuking me indignantly for my complaint that, being then thirty-seven years old, and not yet able to draw the great plain and distant spire, it was of no use trying in the poor remainder of life to do anything serious,—then, and there, I say, for the first time examining the strange little flower, and always associating it, since, with the limestone crags of Alsace and Burgundy, I don't find a single note of its preferences or antipathies in other districts, and cannot say a word about the soil it chooses, or the height it ventures, or the familiarities to which it condescends, on the Alps or Apennines.

9. But one thing I have ascertained of it, lately at Brantwood, that it is capricious and fastidious beyond any other little blossom I know of. In laying out the rock garden, most of the terrace sides were trusted to remnants of the natural slope, propped by fragments of stone, among which nearly every other wild flower that likes sun and air, is glad sometimes to root itself. But at the top of all, one terrace was brought to mathematically true level of surface, and slope of side, and turfed with delicately chosen and adjusted sods, meant to be kept duly trim by the scythe. And only on this terrace does the Giulietta choose to show herself,—and even there, not in any consistent places, but gleaming out here in one year, there in another, like little bits of unexpected sky through cloud; and entirely refusing to allow either bank or terrace to be mown the least trim during her time of disport there. So spared and indulged, there are no more wayward things in all the woods or wilds; no more delicate and perfect things to be brought up by watch through day and night, than her recumbent clusters, trickling, sometimes almost gushing through the grass, and meeting in tiny pools of flawless blue.

10. I will not attempt at present to arrange the varieties of the Giulietta, for I find that all the larger and presumably characteristic forms belong to the Cape; and only since Mr. Froude came back from his African explorings have I been able to get any clear idea of the brilliancy and associated infinitude of the Cape flowers. If I could but write down the substance of what he has told me, in the course of a chat or two, which have been among the best privileges of my recent stay in London, (prolonged as it has been by recurrence of illness,) it would be a better summary of what should be generally known in the natural history of southern plants than I could glean from fifty volumes of horticultural botany. In the meantime, everything being again thrown out of gear by the aforesaid illness, I must let this piece of 'Proserpina' break off, as most of my work does—and as perhaps all of it may soon do—leaving only suggestion for the happier research of the students who trust me thus far.

11. Some essential points respecting the flower I shall note, however, before ending. There is one large and frequent species of it of which the flowers are delicately yellow, touched with tawny red, forming one of the chief elements of wild foreground vegetation in the healthy districts of hard Alpine limestone.²⁶ This is, I believe, the only European type of the large Cape varieties, in all of which, judging from such plates as have been accessible to me, the crests or fringes of the lower petal are less conspicuous than in the smaller species; and the flower almost takes the aspect of a broom-blossom or pease-blossom. In the smaller European varieties, the white fringes of the lower petal are the most important and characteristic part of the flower, and they are, among European wild flowers, absolutely without any likeness of associated structure. The fringes or crests which, towards the origin of petals, so often give a frosted or gemmed appearance to the centres of flowers, are here thrown to the extremity of the petal, and suggest an almost coralline structure of blossom, which in no other instance whatever has been imitated, still less carried out into its conceivable varieties of form. How many such varieties might have been produced if these fringes of the Giulietta, or those already alluded to of Lucia nivea, had been repeated and enlarged; as the type, once adopted for complex bloom in the thistle-head, is multiplied in the innumerable gradations of thistle, teasel, hawkweed, and aster! We might have had flowers edged with lace finer than was ever woven by mortal fingers, or tasselled and braided with fretwork of silver, never tarnished—or hoarfrost that grew brighter in the sun. But it was not to be, and after a few hints of what might be done in this kind, the Fate, or Folly, or, on recent theories, the extreme fitness—and consequent survival, of the Thistles and Dandelions, entirely drives the fringed Lucias and blue-flushing milkworts out of common human neighbourhood, to live recluse lives with the memories of the abbots of Cluny, and pastors of Piedmont.