58 PLANTS: THEIR NATURAL GROWTH 



failed in ; we shall, therefore, here only describe two processes that have stood the test of repeated 

 experience, and by which we have obtained perfectly satisfactory impressions. 



For the first of these the reader must procure a solution of nitrate of silver in the proportion of 

 one part of nitrate to fifteen parts of distilled water. With this solution, by artificial light, a piece of 

 smooth paper must be covered, to be, as soon as dry, carefully put away from the influence of day- 

 light. When a botanical specimen has been procured of which a record is desirable, it must be placed 

 upon the prepared paper, and, over all, a large sheet of glass, free from spottiness, and heavily weighted 

 at the corners, as to ensure close contact of the plant and prepared paper ; the whole must then be 

 placed at the window ; if the sun's rays fall on it the paper will rapidly turn a rich chocolate brown ; 

 if the sun be not shining the same result will follow, but not so speedily. On this result being 

 attained, the glass must be lifted off and the plant shaken aside, when its image will be seen in 

 delicate fac-simile in a pale creamy white on the ground of deep brown, the sun's ray or the 

 daylight not having been able to more than very slightly influence that part of the paper protected 

 by the plant. As, however, that part where the specimen is impressed is as sensitive to the light 

 as the rest of the sheet it will rapidly darken unless preserved from its influence ; this may be 

 readily achieved by putting the paper within a large book. On the approach of evening and 

 gas-light, the impression may be freely examined, as any artificial light will not affect 'it, but as a 

 specimen that can only be referred to by lamp-light would prove of but little practical value, it 

 must be what is technically termed fixed. To effect this, it is only necessary to dip it in a strong 

 solution of hyposulphate of soda ; when a chemical action takes place that at once and for ever 

 after preserves it from being further affected by daylight, and it can be as freely consulted as 

 any ordinary drawing. By this process, the richest and most beautiful results may be obtained. It is 

 especially suited to light and delicate forms, such as ferns and grasses, or finely-cut leaves of any 

 kind. It is very important to ensure close contact, as if the specimen be in any place raised above 

 the general surface of the paper, the rays of light will there penetrate beneath it, and at that point 

 produce an unpleasant blurring that will effectually destroy the sharpness and clearness of the 

 impression, and thus far render it useless. The more richly cut the leaves are the better, as this 

 process only gives the general effect of the mass ; it does not give the veining of the leaflets ; to 

 secure this, our next process, as follows, must be employed. 



Having procured a tube of oil-colour, such as artists use, black, brown, or dark green 

 being the best, a certain amount of the colour must be squeezed (this quantity can be only 

 determined by practice) over a sheet of smooth paper, so as, by means of a dabber made of 

 cotton wool enclosed in fine muslin, to cover the surface with a light and even layer. On this the 

 leaf of which an impression is desired must be placed and, having loaded the dabber with colour, 

 the surface of the leaf is then gone over until all the prominent veins have received a light covering 

 of the pigment. The leaf should now be carefully lifted off and placed between two surfaces of 

 clean and smooth white paper, and a gentle pressure of the hand will suffice to imprint the leaf, 

 one of the papers having an impression of the front, and the other of the back. When the colour 

 is dry a wash of green may be laid over it in water-colour, the result being an absolute transcript 

 of Nature, the veining, texture, and even minute hairs of the surface being given with the most 

 beautiful fidelity. Leaves with prominent veins, as the Hop, Nasturtium, Plane, Horse-chestnut, 

 or Foxglove, are most suitable. 



. In fig. 323, we have a design based on the smaller Celandine, Ranunculus Ficaria. The 

 treatment is conventional, the points worked out being the multiplicity of blossoms starring the 

 ground, and the carpeting of leaves so characteristic of the natural plant, the details of leaf and 

 flower form being much more freely rendered than in fig. 315, a design also based on the same 

 plant. 



The White Trefoil or Dutch Clover, Trifolium repens, is the plant employed in our design, 

 fig. 324, for a diaper for wall decoration. The leaf alone is employed, as the head of flowers, 

 though pleasing in itself, scarcely, from the minuteness of the parts, lends itself happily to art 

 treatment. The plant is so commonly met with in pasture land, being sown for its excellent 

 qualities as fodder, that it must be familiar to all those who, from love of plants or appreciation of 

 beautiful form, will be induced to turn over these pages. In Ireland, it is of comparatively recent 

 introduction, though now it is often accepted as the national emblem, in place of the Wood-Sorrel 

 (Oxalis Acetosella ), the original Seamrog or Shamrock. 



The design, fig. 325, is based on the foliage of the Oriental Plane, Platanus orientalis. The 

 Plane, though now commonly to be met with, is not an indigenous tree, being, as its name implies, 

 a native of the East. It may be easily identified, not only by the size and characteristic shape of 

 its foliage, but by a curious shedding of its ashy grey bark in long thin flakes, exposing large 

 masses of the yellow wood beneath, a feature that at all times renders it conspicuous. It is one 

 of the few trees that seem unaffected by a smoky, atmosphere, hence it is often planted in the 



