EUROPEAN NOMENCLATURE. 75 



in cross-fertilization revolts' at man's knowledge of hereditary 

 forces. Atavism is a scientific fact. Parentalism leaps genera- 

 tions, and then renews its features with enforced effect. There are 

 lapses into barbarism in men wearing stripes in penitentiaries 

 whose ancestors wore the solid colors of civilization. 



Some delicate and interesting experiments have recently 

 been made in Germany to determine what color in flowers is. 

 It is found to be a substance called Flowerblue, mixed with a red 

 colored element, and pervades the juices of the plant. When the 

 Flower blue is treated with chemicals, various hues are artifi- 

 cially obtained. Copperas turns white hydrangias to pink, roses 

 to a lilac hue; and muriatic acid turns pink carnations to a cop- 

 per red. The color of the yellow carnation is found to depend 

 on yellow iridescent granules inside of transparent cell walls, and 

 differs in this respect from the causes of colors in other flowers. 



To describe a carnation as merely variegated, as is often done, 

 leaves the mind in mental darkness as to colors ; while to use the 

 pre-nomen white- variegated, or j^//0w-variegated indicates the 

 dominating shade and conveys some intelligence. 



Repeated experiments have been made to test the compara- 

 tive keeping qualities of the seven classified carnation colors. 

 They have resulted in awarding the palm, for greatest durability, 

 to the crimson color. 



If the German physiologists are right, the yellow colored car- 

 nation, with its different habits, marked eccentricities, and means 

 of colorization, it is entitled to rank as a distinct species. It is not 

 colored by the alchemy of its juices, but mechanically, like a dia- 

 mond that steals a sunbeam and hides it in its heart to sparkle for- 

 ever from countless facits, the yellow carnation imprisons an iri- 

 descent atom in translucent cells to reflect its golden hues. 



It can be asserted with scientific assurance, that the coloring 

 of the petals of flowers is a chemico-vital process, in which Nature 

 outrivals Raphael in toning dazzling frescoes. No use is known 

 for petals but that of a gonfalon to guide insects to a bacchanal of 

 nectar. They are painted with pencils made of sunbeams, and pig- 

 ments mixed with life. The petals are soft, watery and delicately 



