THE ORCHID REVIEW. 
July, 
obtained, which had no further particulars attached than “ Cypripedium 
hybrid,” or “ Seedling No.. 3,” etc. Of these, some have already been 
identified, and hope is entertained that in time all will be accounted for. 
Among the paintings of Cypripedium hybrids there are four inscribed 
respectively “Seedling No. 1, 2, 3, 4.” On first consideration there 
appeared little additional evidence to assist in the elucidation of the 
problem. The first helpful point appeared when it was discovered that all 
four paintings were executed on similar pieces of Bristol board. The second 
fact was the identity of the hand-written inscription under each flower. 
Thirdly, the similar style of the work proved that one artist only was 
concerned. On comparison with authenticated paintings by J. Nugent 
I^itch, there was no doubt that they were by his hand. These Cypripe- 
diums were unquestionably those of many years ago, and evidently resulted 
from primary, or nearly so, crosses of C. venustum. Looking through the 
lithographic reproductions of-Nugent Fitch’s work in the Orchid Album , it 
was found that C. Meirax (vol. ii. t. 95) was exactly similar to painting 
No. 1; C. chloroneurum (vol. i. t. 37) proved identical with painting No. 2 ; 
C. politum (vol. i. t. 36) was precisely the same as painting No. 3; while 
C. Williamsianum (vol. viii. t. 365) proved a reproduction of painting No. 4. 
Further, each of the descriptions accompanying the above plates states* 
“ This hybrid was raised by Mr. Robert Warner.” There is, therefore, no 
doubt whatever that these examples in Sir Trevor’s collection are four 
of the earliest knqwn paintings of Cypripedium hybrids, and that 
they represent four out of the first ten artificially raised hybrids of 
the genus, not counting three Selenipediums. As the forerunners of 
thousands that have since been painted they thus possess a historic 
interest that will increase as time goes on. In 1880, Reichenbach 
wrote of these hybrids, “ History not known, probably in consequence 
of a lost pocket book.” 
There are three paintings of Cypripedium insigne that carry one back 
many years. The first is C. insigne punctatum violaceum, in which the 
dorsal has the green area so reduced as to leave several of the spots on 
white ground, where they appear as clear purple instead of purple-brown^ 
This variety appeared in a small importation made by Messrs. Henderson 
in 1855, though it was not described until 1869, when a few plants were 
sold at five guineas each. Mr. B. S. Williams noted it in 1877, and a few 
years later stated that it is found in some collections as C. insigne Chantinii. 
The second painting shows this variety Chantinii, and it differs but little 
from the former, perhaps due to cultivation only. These paintings, which 
appear to have been executed about 1880, represent the first known variety 
of this popular species. The third Cypripedium shows the variety albo- 
marginatum, in which the dorsal sepal is entirely margined with white. 
