CAR 



[ 203 ] 



CAS 



C. gla'brum (smooth). 100. Green. Guiana. 

 1820. 



nuci'ferum (nut-bearing). 100. Red yellow. 



Guiana. 1820. 



tomento'siim (woolly). 100. White. Guiana. 



1820. 



CARYOPHY'LLUS. Clove Tree. (From 

 karyon, a nut, ynsLfhyBon, a leaf; in re- 

 ference to tbe appearance of the flower- 

 buds, or Clovts of commerce. Nat. ord., 

 Myrtkblooms [Myrtacesel. Linn., 12- 

 Icosandria, \-monogynia). The power- 

 ful scent of Cloves, or flower-buds of C. 

 aromaticw, arises from a volatile oil 

 contained in the pellucid dots in the 

 leaves and other parts of the bark. Dotted 

 leaves is one of the peculiar characteris- 

 tics of this, the most natural order of 

 plants. The flower-buds of Calyptranthes 

 are as good a spice as those of the Clove- 

 tree. Stove Tree. Cuttings of firm 

 shoots with leaves on, in heat, under 

 glass. Summer temp., 60 to 85 ; win- 

 ter, 55 to 60. 



C. aroma' ticus (aromatic) 20. Yellowish 

 white. Moluccas. 1797. 



CARYO'TA. (From karyon, a nut; 

 The Greeks first applied this name to 

 their cultivated Date. Nat. ord., Palms 

 [Palmaceae]. Linn., 2l-Monoecia, 9-poly- 

 andria). A noble member of a noble 

 family of plants, most valuable to the 

 natives of the countries they inhabit. 

 C. urens furnishing a highly nutritious 

 sago, besides abundance of palm wine or 

 toddy. Stove trees. Seeds ; rich sandy 

 loam and peat. Summer temp., 60 to 

 85 ; winter, 50 to 55. 

 C. ho'rrida (horrid). 20. South America. 1823. 



mi'^(mild). White. China. 1820. 



u'rens (stinging). 20. White. East Indies. 



1788. 



CASCADE, or Waterfall, is agreeable 

 only when properly associated with the 

 scenery around; that association is a 

 bold broken ground, and a dense planta- 

 tion of trees ; nothing is more misplaced 

 or tasteless than a sheet of water falling 

 into another uniform collection of water 

 in an open unwooded plain. Mr. Whate- 

 ley justly observes, that a rill cannot 

 pretend to any sound beyond that of a 

 little waterfall ; the roar of a cascade 

 belongs only to larger streams : but it 

 may be introduced by a rivulet to a con- 

 siderable degree, and attempts to do 

 more have generally been unsuccessful ; 



a vain ambition to imitate nature in 

 her great extravagances betrays the 

 weakness of art. Though a noble river 

 throwing itself headlong down a preci- 

 pice be an object truly magnificent, it 

 must be confessed that in a single sheet 

 of water there is a formality which its 

 vastness alone can cure ; but the height, 

 not the breadth, is the wonder : when it 

 falls no more than a few feet, the regula- 

 rity prevails, and its effect only serves to 

 expose the vanity of affecting the style 

 of a cataract in an artificial cascade ; it 

 is less exceptionable if divided into seve- 

 ral parts, for then each separate part 

 may be wide enough for its depth ; and, 

 in the whole, variety, not greatness, will 

 be the predominant character. But a 

 structure of rough, large, detached stones 

 cannot easily be contrived of strength 

 sufficient to support a great weight of 

 water; it is sometimes from necessity 

 almost smooth and uniform, and then it 

 loses much of its effect: several little 

 falls in succession are preferable to one 

 greater cascade, which in figure, or in 

 motion, approaches to regularity. 



When greatness is thus reduced to 

 number, and length becomes of more 

 importance than breadth, a rivulet vies 

 with a river, and it more frequently 

 runs in a continued declivity, which is 

 very favourable to such a succession of 

 falls. Half the expense and labour 

 which are sometimes bestowed on a river 

 to give it at the best, a forced precipi- 

 tancy in any one spot only, would ani- 

 mate a rivulet through the whole of its 

 course ; and, after all, the most interest- 

 ing circumstance in falling waters is 

 their animation. A great cascade fills us 

 with surprise, but all surprise must 

 cease ; and the motion, the agitation, the 

 rage, the froth, and the variety of the 

 water are finally the objects which en- 

 gage the attention : for these a rivulet is 

 sufficient, and they may there be pro- 

 duced without that appearance of effort 

 which raises a suspicion of art. To ob- 

 viate such a suspicion, it may sometimes 

 be expedient to begin the descent out of 

 sight, for the beginning is the difficulty. 

 If that be concealed, the subsequent falls 

 seem but a consequence of the agitation 

 which characterises the water at its first 

 appearance, and the imagination is, at 



