294 
THE FLORIST. 
equal by aiming at the same properties which rendered the green, 
grey, or white so estimable, namely, smooth in the segments of the 
corolla, circular in the eye, stout in substance, rich in colour, well 
shaded, and perfectly flat, with the other properties necessary to the 
completing of all Auriculas ? Indulging in these thoughts, I set to 
work raising seedlings about sixteen or eighteen years ago, and have 
continued raising and blooming thousands of them annually, and 
now it is gratifying to me to think that I have not laboured in vain. 
I flatter myself that I have now placed the Alpine Auricula on equal 
footing with the other classes; indeed, I am confident that the 
varieties I have produced only want to be seen by those who are 
good judges of a florist-flower thus to esteem them. As proof of 
what I have above stated I might refer to the flattering opinions of a 
weekly journal on a variety I call Beauty, which is only a sample out 
of a score or more possessing equal merit. There is one point 
which should, I think, now be determined, namely. What ought to 
constitute a good show-flower in the Alpine class ? Some parties 
with whom I have conversed on the subject say that the eye should be 
of a bright golden colour, while others think that it could be equally 
perfect with a white, or with a sulphur eye, provided it be clear and 
decided. Now I certainly incline to the latter opinion; but then it 
would make two or more classes,—two at least, and these, to me, 
appear very natural ones; let us look at the two old varieties known 
by all who have grown the Alpine Auricula, Emertson’s Favourite 
and King of the Alps; in the first, we have the white eye, accom¬ 
panied by violet-purple shade; in the latter, the bright yellow eye, 
and rich crimson and black shading; now something of this is to be 
found running through the Alpine; so that with the white eye we 
generally find the purple, blue, and lilac shades, while with the 
bright yellow eye, we find the crimson, bronze, and scarlet shades; 
there are, indeed, those that are intermediates or nondescripts, but 
those ought to be less esteemed, if not discarded altogether. Ano¬ 
ther idea has struck me sometimes: Would not the Alpine be most 
complete if the following were its properties—a perfect circle in the 
outline, segments quite entire, substance very stout, colours be what 
they might, rich and well contrasted, say a rich black with a scarlet 
margin or belt to the segment, or a violet or blue edged with a belt 
of white, perfectly flat, and, instead of a yellow or papery-white eye, 
having the pure white paste eye, like that required in the other classes ? 
I know that the notion is pretty general that the Alpine, to keep its 
true character, ought to have the yellow eye, because it had it 
originally; to this it might be said, it had the notch in the segment 
originally; on this point I should like to hear the candid opinion of 
some one who has paid attention to the Alpine Auricula. I have 
not as yet raised any thing complete in this respect, but have had 
some considerably inclined to it, and I think it could easily be 
attained by crossing Netherwood’s Othello with some good Alpine, 
or vice versa. 
New Gardens, Whitby, Oct. 1848. 
