110 
THE FLORIST AND POMOLOGIST. 
[ August, 
general outline being rather that of the entire 
bloom of the whole plant, the minute appear¬ 
ance of each particular blossom becomes 
secondary, and the starry outline is less of a 
defect. 
“ But even in the general outline, absolute 
perfection in getting rid of this appearance is 
in many flowers certainly not to be wished. The 
resulting appearance would be tame, from the 
want of a foil to call attention to the beauty of 
the more perfect part of the form. This would be 
especially the case in the Auricula. Small pro¬ 
cesses in the way of points to the petals are 
clearly serviceable to the general appearance, 
though lobes produce the same effect in a less 
objectionable way. In a subordinate position, 
a distinct star, or a starry appearance, would 
have all its lively effect, without involving the 
charge of roughness. 
“ A curve is a line the direction of which is 
deflected at every point according to a fixed 
law, whence its effect is to disperse instead of 
concentrating force. And the impression pro¬ 
duced by it will be that of gracefulness, gentle¬ 
ness. 
“ Curve lines are of two kinds, of single and 
of compound curvature ; the former being those 
of which the flexure is always in one direction, 
as the circle, ellipse, and others. The latter 
are those which are not always concave towards 
the same parts, but the curvature is alternately 
in opposite directions, or such as that a straight 
line might meet them in more points than two. 
The quilled form is an instance of it. Curves 
of high mathematical complexity of both kinds 
are found in flowers. The hyperbola is repre¬ 
sented by the blossom of the Arum. In the 
detached petal of a good Tulip, and in some 
other flowers, the two portions of the outline 
divided by the axis or line of symmetry are 
asymptotes to each other and to the axis. 
“ The general outline of trumpet and of bell 
flowers is commonly of double curvature. So 
is that of some disc flowers. And when, as in 
the best varieties of the Polyanthus, the seg¬ 
ments are small and equal, and symmetrically 
arranged upon the circumference of a circle, 
they form one of the most pleasing and effective 
of all. 
“ The circle is the curve which, in proportion 
to its length, encloses the greatest space, and 
therefore, for a containing outline, it is theoreti¬ 
cally the most perfect, and must ever stand the 
highest in reference to its capabilities. Its 
diameter, moreover, being in all directions equal 
to itself, it has nothing to attract the eye to 
one part rather than to another, but all is 
equable. These properties belong to no other 
curve, and therefore it possesses advantages for 
a general outline which no other possesses. 
“ It does not, however, from thence follow 
that a circle is one plane , or presenting a flat 
surface, is the most perfect. On the contrary, 
we should say, a priori , that the spherical 
form which presents a circle in every 
direction would be superior. Whether in any 
given instance it is so, will depend on several 
considerations, as the characteristic of the 
flower, the form and disposition of its colours, 
and in part also on its size. What is invariable 
is, that the circle, abstractedly speaking, must 
take the first place among curves for a primary 
outline, as will be admitted at once on com¬ 
paring a circular with an oblong Pansy. 
“ In secondary outlines the oval is often 
better than the circle, because completeness is 
in them not unfrequently out of place, as being 
an element of separation, not of union ; and the 
want of fullness and completeness in a figure 
disposes the eye to connect it with surrounding 
objects to make up what is wanting. 
“ To sum up, therefore, the difference in the 
impressions produced by straight lines and 
curves. A straight line concentrates its force 
in one direction, and produces the idea of 
pungency and sharpness. In following a curve, 
the direction of the eye is in a constant state 
of change, and therefore no accumulation takes 
place ; and as the change can never be abrupt, 
the perception arising from it is one of smooth¬ 
ness, softness, and elegance. Hence curves alone 
are suited to the general outline, because the 
general notion of beauty must be one of softness ; 
while a moderate amount of straight lines, and 
of angles produced by them, are effective in 
contained figures; and to reverse this, is an 
analogous mistake to that made by Petruchio 
in offering his mistress mustard instead of beef. 
—Iota.” 
EARLY CHERRIES. 
.0 fruit more amply and generously re¬ 
wards the orchard-house cultivator than 
the Cherry. In the spring the pearly 
and pure white blossoms are very beautiful, 
and the rapidity with which the fruit follows 
the shedding of the flower-petals is very 
heartening and pleasant. My house, not a 
large one, but containing some choice varieties, 
was in bloom this year during the last days of 
March, and by the first week in June I had 
already gathered fine and ripe fruit, without 
any artificial heat, and in spite of the long 
spell of dull and sunless skies. The trees, laden 
with deep red and black shining fruit, are 
pictures of beauty, and I am sorry that I can¬ 
not, without injury to the trees, which are 
plunged in the earth, give them a place among 
the flowers in a London exhibition. 
Cherry culture is easy, but to have the 
fruit in perfection, fully ripe and perfect, I 
