96 ENGLISH BOTANY. 
out the figure of a parterre. In all cases it presents a most agreeable verdure to the 
eye, and preserves the idea of cheerfulness even in winter, when almost every other 
tree appears ‘‘ mourning for the absence of the sun.” It grows slowly, rarely making 
shoots of more than 6 or 8 inches annually. In old gardens we frequently see box-trees 
cut into all sorts of fantastic shapes—to our modern taste disfiguring the natural growth 
of the tree, but greatly admired in ancient times. Pliny, in his garden at Tusculum, 
had hedges and bushes of box cut into figures of birds and animals, and he mentions 
a lawn as being adorned with similar decorations, and enclosed with verdant statuary. 
This practice was very common in all Roman gardens, and even in modern Rome at 
the present day we hear of it existing. Mr. Loudon says, in 1844: “In the garden 
of the Vatican, the name of the Pope, the date of his election, &c., may be read from 
the windows of the Palace in letters of box.” Virgil calls it— 
“ Smooth-grained, and proper for the turner’s trade, 
Which curious hands may carve, and steel with ease invade.” 
The box-tree appears first to have been mentioned by Theophrastus, who ranks the 
wood with ebony, on account of the closeness of its grain. It takes a fine polish ; is 
generally of an even yellow tint all through. For wood-engraving it is not only the 
best material yet discovered, but the only one that admits of the finely-cut lines that 
are necessary to produce the beautiful effects aimed at by the modern artist. English 
box-wood is, however, inferior to that obtained from Turkey, Spain, and other southern 
countries, though it fetches a very high price when of any useful size. For turnery 
the root is chiefly used in France. The town of St. Claude, which is near a large box- 
forest, is entirely inhabited by turners, who make snuff-boxes, rosaries, forks, spoons, 
buttons, &c., from box-wood. The wood of some roots is most beautifully marked, and 
the price of the articles manufactured varies accordingly. Box-wood is very apt to split 
when drying, but, to prevent this, the French turners put the wood designed for their 
finest works into a dark cellar as soon as it is cut, where they keep it from three to 
five years, according to circumstances. ‘At the end of the given time they strike off the 
sap-wood with a hatchet, and place the heart-wood again in the cellar till it is wanted 
for the lathe. For the most delicate articles, the wood is soaked for twenty-four hours 
in fresh, very clear water, and then boiled for some time. When taken out of the water 
it is wiped perfectly dry, and buried till wanted for use in sand or bran, so as to be 
completely excluded from light and air, Articles made from wood thus prepared 
resemble Tunbridge ware in appearance, and are highly valued. The box-wood that is 
used by wood-engravers is chiefly imported from Turkey or Odessa, and sells in London 
for from 7/. to 14/. a ton, the average consumption in Britain being about 600 tons. 
Tn France the native trees are seldom of sufficient size for wood-engraving, and wood 
to the amount of 10,000 francs is annually imported from Spain. The box-trees that 
were cut down on Boxhill in 1815 sold for upwards of 10,000/., and were chiefly used 
for turning. The art of cutting on wood was invented before that of printing, and it 
is supposed to have been practised between the years 1400 and 1430. It was first 
used for books of devotion and playing-cards. The earliest specimen extant is now in 
the possession of Earl Spenser, and represents St. Christopher carrying the infant 
Saviour; the date is 1423. In the gardens at Leven’s Grove, in Westmoreland, there 
are some fine specimens of topiary work done in the time of James I. Wood-engraving 
is now carried to great perfection, and it is interesting to trace its development, from 
the early attempts at the mere rude outlines of figures on a block, to the finished and 
delicate designs of the present day, which bring the works of some of our best artists 
within the reach of the humblest lovers of art. 
