4 PLANTS: THEIR NATURAL GROWTH 



are most valuable, I would yet say that, at a very slight expenditure of time and trouble, the 

 designer might acquire a sufficient knowledge of the commoner botanical terms to enable him on 

 finding any plant to consult with ease some standard work, if he desired full information respecting 

 it. The enjoyment and profit derived from direct study of Nature would be greatly increased by 

 this, and the sweetness of "the lore which Nature brings" would be enhanced by the greater 

 appreciation that would thus be brought to bear on it. 



We had at first proposed, in writing the present work, to carefully eschew all technicalities 

 of language, but on fuller consideration it has seemed desirable rather to use such terms, being 

 careful, as we proceed, to explain their meaning, since the botanical term, merely one word, will 

 often convey a significance that the substituted round-about description may, after all, not so 

 effectually compass. The leading terms, once acquired, are easily retained, and it is better to 

 master them once for all, as they are common to all writers on the subject (being found in all the 

 books the designer may have occasion, or wish, to refer to for either naming a plant or gathering 

 further information about it), than to forego numerous opportunities of acquiring useful knowledge 

 for want of a little study to begin with. 



After the wonderful richness of natural form, perhaps the most striking feature is its 

 infinite variety. There is no stint, no repetition. Some leaves are long and tapering — some 

 rounds— some triangular. Some blossoms are so minute as to be almost or quite microscopic ; 

 others, like the Rafflesia Arnoldi, of Sumatra, nine feet in circumference. In some plants the 

 leaves are placed singly on the stem, as in the water-cress ; in others in pairs, as we see in the 

 privet or hop ; in some cases in threes, as in the new American water-weed, that has now taken 

 possession of so many of our streams ; in other plants, as the crosswort, in fours ; and in some 

 cases in rings of eight or ten, all springing from the same level, as in the goose-grass. We need 

 not, however, dwell at any further length on this point : the present illustrations will tend to 

 indicate it, and a very slight study of Nature will much more amply and effectually confirm it. 



A very pleasing ornamental feature is found in the variation of form or colour often met 

 with in individual plants : thus, the first leaves are frequently of a different form to all the others 

 that succeed them. We see this very well exemplified in the Sunflower (fig. 27) and the Radish 

 (fig. 64). Many plants have their lower leaves richer in form than those that occur higher on the 

 plant ; the Hedge Mustard (see figs. 33, 34) and the Shepherd's Purse (figs. 62, 63) are illustrations 

 of this — the richer form in each case being the lower one. Other examples may be seen in the 

 bulbous Crowfoot (plate 15), the Water Avens (plate 21), the Agrimony (plate 31), and the 

 Columbine (plate 2)i)- 1 11 other plants this is reversed, the lower leaves being comparatively 

 simple in form, the upper ones richly cut, as in the Sowthistle, or Marsh Mallow (plate 7). Figs. 

 69, 70, 71, 72, on plate 6, are further good examples of this ; the whole series being from one plant 

 — the ivy-leaved Speedwell, a not uncommon plant on arable land. These four examples show a 

 very delicate gradation of form from fig. 69, one of the lower leaves, through figs. 70 and 71, to 

 fig. 72, one of the higher leaves. In some instances the only difference perceptible is in the larger 

 size of the lower leaves, all throughout the plant being of very similar form ; the Bush Vetch 

 (plate 14) and the Ground Ivy (plate 18) are examples of this. In some plants a valuable orna- 

 mental feature is seen in the forms of the opening bud. In the Sycamore (figs. 48, 59) the 

 transition is abrupt and immediate, from the scaly external forms to the true leaves within ; while 

 in the Lilac, the gradation from the smallest scale to the fully developed leaf is very delicate. 

 Figs. 51, 52, 53, 54, 55, are examples of this development of form in the Lilac. 



Variation of colour in a plant, though not so commonly to be noted as variation of form, 

 may also be studied with advantage. Thus we see what greatly increased richness it gives to 

 the flower of the Sweet William (fig. 39), where the deeper band forms a ring of enhanced colour ; 

 or, again, in variegated Ivy, and the leaves (fig. 37) of many species of Pelargonium. 



We might in the same way indicate many other points of study, but we refrain, preferring 

 rather to appeal to our illustrations ; and the more especially as we can, in our remarks upon each 

 plate, better point out many little features than we are here, in a general introduction, able to do. 

 Without further preface, then, we pass to a consideration of the various points thus suggested, 

 endeavouring to make our remarks as practical as possible, in the hope that thus our pleasant 

 labours may prove of real utility to the follower of ornamental art. 



