392 
THE GARDENING WORLD. 
February 22, 1890. 
FLO^idi/QWf^. 
--t-- 
The Rev. G. Jeans on the Philosophy of 
Florists’ Flowers.—V. 
“Form, considered absolutely, possesses a double 
origin of beauty; its two branches being, as in so many 
instances, in apparent contrast with each other. The 
two branches are Unity and Variety. And these 
should be always combined, the rather because the 
combinations they admit of are unlimited. Nor is it 
necessary that either branch should be considered more 
essential than the other, but in proportion as in any 
flower or variety the value of one is increased, the 
other may recede and give way, without being entirely 
obliterated ; as in flowers of the disc or the cupped 
form, unity is the leading property ; in the composite 
forms, as the Fuchsia or the Ixia, variety takes the 
lead. 
“ By Unity is meant the singleness of idea presented 
to the mind, whereby the impression becomes definite 
and clear, not being distracted by contending claims, 
nor divided among many : as a cup formed of petals in 
contradistinction to six equal and separate petals, 
without the combining and controlling idea of a cup. 
When applied to an outline, it means the appearance 
when that outline is one and unbroken, as in the 
circular form of a Petunia. 
“Its contrary is produced— 
“In idea, when a flower consists of a plurality of 
like and equal parts not uniting to form one idea, 
and especially if those parts are circular, as in the 
Veronica. 
“ In outline (1), by the occurrence of an interval, 
either by a breach of continuity in the substance, as in 
the flower of the Arum , causing an effect like the loss 
of a guard-leaf in a Carnation, or by a separation 
between the parts which compose it, as in the petals 
of the Night-scented Stock. To this may be referred 
the broken edging in a Picotee, and broken lacing in a 
Pink ; (2), or by an abrupt change, either of kind, 
from a straight line to a curve, or from a curve to a 
straight line, as in the Pea-blossom ; or of direction, as 
when two straight lines terminate in a point, as in the 
pointed petals of the Narcissus. 
1 ‘ By Variety, when combined with unity (for 
simply considered, it needs no explanation), is meant 
the comprising many ideas under one—that the unity 
is not a dry unit. 
‘ ; When applied to an outline, it means the appearance 
when the line is flowing and continuous, yet constantly 
changing ; such is a curve, as in the circular blossom 
of the Convolvulus, or a succession of segments of 
curves, themselves arranged in a curve in the same 
plane, as in the circle composed of lobes in the Phlox 
or the Verbena ; or in the more complicated outline 
composed of curves and lines in different planes, as in 
the Fuchsia. 
“When applied to the contents of an outline, it 
again explains itself, and is fulfilled when all is not 
same or self, but varied -with diverse forms and 
colours. 
“Now with regard to the influence which these two 
sources of beauty exercise upon our judgments. First 
with[respect to Unity. If an external outline be broken, 
one or more of these three effects will be produced : 
either it will convey an idea of imperfection, that 
something is defective, and needs to be filled up, as in 
the native Pansy, or much more in an inferior culti¬ 
vated variety, in which the improvement is begun, but 
only to the extent of making the defect more glaring 
by shewing how it may be removed. 
“Or, if the parts are equal and similar, as in the 
Iris, the flower will not be a whole, to produce one 
leading idea in which the others it may suggest are 
contained, but will be broken into parts, and its effec¬ 
tiveness diminished to that of a flower of the size of one 
of its parts. 
“ Or the general appearance will be marred by the 
impression of roughness and harshness, causing to the 
eye a sensation analogous to that communicated to the 
hand by its passing over a rough, uneven surface. 
This is exemplified in many flowers, even in the Lily, 
and still more in the ragged edge of some Pinks and 
Carnations ; because in them the defect is in such close 
juxtaposition with the means of its cure—a curve in 
the outline of the petal ; and this curve already exists 
at the base of the serrated point. It always gives an 
idea of harshness. 
“It is not, however, always that these defects can 
be expected or wished to be removed by cultivation. 
In the Gladiolus, Iris, Ixia, and others they are of the 
essence of the form, and the flower would quite alter 
its character were they removed. The alteration, if 
effected, would very possibly be no improvement, and 
at least would be a complete transformation of the 
original. When this is the case the flower must be 
content to take a lower rank with such as are incapable 
of the highest assemblage of excellences, but will not 
be the less esteemed for the qualities it does possess. 
Nor is it desirable that all should be of one class. 
“Moreover, in some of this class the primary outline 
which gives the leading impression of the flower lies 
within the irregular parts, as in the Tigridia, the 
slightly concave disc of which is sufficiently distinct, 
and the protruding flaps of the alternate longer petals 
overhang its edge, and sometimes fall down from it 
like the lappets of a lady’s head-dress of the reign of 
Queen Anne. Owing to this, the flimsy substance of 
the outer portion of the longer petals is no fault. 
“ Nor is unity altogether lost in any of these flowers, 
except in such as contain a primary division of the 
corolla into two or more like and equal parts, as the 
Iris does, and many smaller flowers, as the Veronica 
instanced above, in which the parts are circular, and 
therefore complete in themselves. This quality, there¬ 
fore, is most essential to the flower as a whole, and 
should accordingly be always more or less found under 
the general outline. 
“Next let us consider the effect of Variety. This 
is even more essential to a pleasing form than unity is. 
It is, as it were, the substance, while unity is the form 
in which that substance should be presented; for 
without it the ideas suggested can be at best but 
scanty ; and it is by a succession of ideas that pleasur¬ 
able emotions are excited ; while at the same time 
variety, though ever so charming, if not included in 
one leading impression, will be desultory and uncon¬ 
nected,—there will be a break in the current of thought, 
and the result will be harsh and disagreeable. 
“ It may consist in forms, or numbers, or colours, or 
in any combinations of these. We have here princi¬ 
pally to deal with the first, with some remarks on the 
second. 
“ In the general or primary outline, variety arising 
from form can only be considered an element of beauty 
when it is easy and flowing. To explain which, it is 
necessary first to make clear the difference in the 
effects of straight lines and curves, and the characteristic 
effects of these are diametrically opposite to each other. 
“A straight line is one the direction of which is 
always the same, whence its effect is to accumulate 
force upon a point. And the impression produced by 
it will be asperity, brilliance and power. A straight 
line by itself gives no idea but that of simple pro¬ 
gression, as in the stem or bole of a plant, and in the 
subject of the present inquiry can never be of a length 
sufficient to require further notice. But there are two 
positions in combination, in which it has considerable 
power over the appearance of flowers, illustrating what 
has been said of its impression—namely, when grouped 
in clusters radiating from a centre in the form which 
painters call ‘ a glory ’; and contrariwise, when two or 
more of them terminate in a point or angle outwards. 
Both these forms are often very effective in a subor¬ 
dinate outline, though either, if prominent, would be a 
marked defect in the principal one. 
“ Lines radiating from a centre are found in many 
markings of flowers, as in the eye of a Pansy, the colour 
of an Auricula (in which they resemble the streamings 
in the arch of an aurora horealis), and the pencillings of 
the black petals of a Pelargonium. Nor is it of much 
consequence whether those lines, if they are mere lines, 
are strictly straight, or, as is more common, wavy and 
involved ; they are more forcible if straight, and more 
feeble if curved, but are for the most part subject to the 
same remarks. In all cases the ideas suggested by this 
form must be completely subordinate to that of some 
other in which it is included, or it will give an idea of 
coarseness, as in a veiny Pelargonium, or of harshness, 
as in a very narrow-striped Carnation. 
“ Straight lines running outwards to a centre, that is, 
meeting in an angular point, are not infrequent in the 
principal outline of many natural flowers, as in the 
pointed petal of the Auricula or Dahlia. In such 
cases it is invariably a fault, although in flowers 
destitute of high properties, as the Cineraria, the 
defect is lessened in the same ratio with the importance 
of the single bloom. 
“Sometimes a floral disc is made up of florets, as 
in the natural single Chrysanthemum and Cineraria, 
in which case, the outline being formed of the ends of 
the florets or petals, if any character is expected to be 
attained in the individual blossoms, the angular points 
must be got rid of as soon as possible. In the present 
state of the latter flower, the general outline being 
rather that of the entire bloom of the whole plant, the 
minute appearance 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 processes 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. The im¬ 
pression produced by it will be that of gracefulness and 
gentleness. 
“ 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 in alternately 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 represented 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 asymtotes 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 w T hen, as in the best varieties of the 
Polyanthus, the segments 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 theoretically 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, hnd 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 im¬ 
pressions 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 smoothness, 
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.” 
Erratum. —At p. 376, in the third line of the fourth 
paragraph in the second column, for “preventing” read 
“ presenting”. 
Florists in a Flurry. 
It is evident to me that if we take Mr. “ Fail-play ” as 
our guide, as florists we should very soon be landed in 
flurry, fluster, and muddle. I very much doubt whether 
