The same irrelevance of comparison seems to run through all the colours.

Flowers of a full, bright-blue colour are often described as of a "brilliant amethystine blue." Why amethystine? The amethyst, as we generally see it, is a stone of a washy purple colour, and though there are amethysts of a fine purple, they are not so often seen as the paler ones, and I have never seen one even faintly approaching a really blue colour. What, therefore, is the sense of likening a flower, such as a Delphinium, which is really of a splendid pure-blue colour, to the duller and totally different colour of a third-rate gem?

Another example of the same slip-slop is the term flame-coloured, and it is often preceded by the word "gorgeous." This contradictory mixture of terms is generally used to mean bright scarlet. When I look at a flame, whether of fire or candle, I see that the colour is a rather pale yellow, with a reddish tinge about its upper forks, and side wings often of a bluish white--no scarlet anywhere. The nearest approach to red is in the coals, not in the flame. In the case of the candle, the point of the wick is faintly red when compared with the flame, but about the flame there is no red whatever. A distant bonfire looks red at night, but I take it that the apparent redness is from seeing the flames through damp atmosphere, just as the harvest-moon looks red when it rises.

And the strange thing is that in all these cases the likeness to the unlike, and much less bright, colour is given with an air of conferring the highest compliment on the flower in question. It is as if, wishing to praise some flower of a beautiful blue, one called it a brilliant slate-roof blue. This sounds absurd, because it is unfamiliar, but the unsuitability of the comparison is scarcely greater than in the examples just quoted.

It seems most reasonable in describing the colour of flowers to look out for substances whose normal colour shows but little variation--such, for example, as sulphur. The colour of sulphur is nearly always the same.

Citron, lemon, and canary are useful colour-names, indicating different strengths of pure pale yellow, inclining towards a tinge of the palest green. Gentian-blue is a useful word, bringing to mind the piercingly powerful hue of the Gentianella. So also is turquoise-blue, for the stone has little variety of shade, and the colour is always of the same type. Forget-me-not blue is also a good word, meaning the colour of the native water Forget-me-not. Sky-blue is a little vague, though it has come by the "crystallising" force of usage to stand for a blue rather pale than full, and not far from that of the Forget-me-not; indeed, I seem to remember written pa.s.sages in which the colours of flower and firmament were used reciprocally, the one in describing the other.

Cobalt is a word sometimes used, but more often misused, for only water-colour painters know just what it represents, and it is of little use, as it so rarely occurs among flowers.

Crimson is a word to beware of; it covers such a wide extent of ground, and is used so carelessly in plant-catalogues, that one cannot know whether it stands for a rich blood colour or for a malignant magenta.

For the latter cla.s.s of colour the term amaranth, so generally used in French plant-lists, is extremely useful, both as a definition and a warning. Salmon is an excellent colour-word, copper is also useful, the two covering a limited range of beautiful colouring of the utmost value.

Blood-red is also accurately descriptive. Terra-cotta is useful but indefinite, as it may mean anything between brick-red and buff.

Red-lead, if it would be accepted as a colour-word, would be useful, denoting the shades of colour between the strongest orange and the palest scarlet, frequent in the lightest of the Oriental Poppies. Amber is a misleading word, for who is to know when it means the transparent amber, whose colour approaches that of resin, or the pale, almost opaque, dull-yellow kind. And what is meant by coral-red? It is the red of the old-fashioned dull-scarlet coral, or of the pink kind more recently in favour.

The terms bronze and smoke may well be used in their place, as in describing or attempting to describe the wonderful colouring of such flowers as Spanish Iris, and the varieties of Iris of the _squalens_ section. But often in describing a flower a reference to texture much helps and strengthens the colour-word. I have often described the modest little _Iris tuberosa_ as a flower made of green satin and black velvet.

The green portion is only slightly green, but is entirely green satin, and the black of the velvet is barely black, but is quite black-velvet-like. The texture of the flower of _Ornithogalum nutans_ is silver satin, neither very silvery nor very satin-like, and yet so nearly suggesting the texture of both that the words may well be used in speaking of it. Indeed, texture plays so important a part in the appearance of colour-surface, that one can hardly think of colour without also thinking of texture. A piece of black satin and a piece of black velvet may be woven of the same batch of material, but when the satin is finished and the velvet cut, the appearance is often so dissimilar that they may look quite different in colour. A working painter is never happy if you give him an oil-colour pattern to match in distemper; he must have it of the same texture, or he will not undertake to get it like.

What a wonderful range of colouring there is in black alone to a trained colour-eye! There is the dull brown-black of soot, and the velvety brown-black of the bean-flower's blotch; to my own eye, I have never found anything so entirely black in a natural product as the patch on the lower petals of _Iris iberica_. Is it not Ruskin who says of Velasquez, that there is more colour in his black than in many another painter's whole palette? The blotch of the bean-flower appears black at first, till you look at it close in the sunlight, and then you see its rich velvety texture, so nearly like some of the brown-velvet markings on b.u.t.terflies' wings. And the same kind of rich colour and texture occurs again on some of the tough flat half-round funguses, marked with shaded rings, that grow out of old posts, and that I always enjoy as lessons of lovely colour-harmony of grey and brown and black.

Much to be regretted is the disuse of the old word murrey, now only employed in heraldry. It stands for a dull red-purple, such as appears in the flower of the Virginian Allspice, and in the native Hound's-tongue, and often in seedling Auriculas. A fine strong-growing border Auricula was given to me by my valued friend the Curator of the Trinity College Botanic Garden, Dublin, to which he had given the excellently descriptive name, "Old Murrey."

Sage-green is a good colour-word, for, winter or summer, the sage-leaves change but little. Olive-green is not so clear, though it has come by use to stand for a brownish green, like the gla.s.s of a wine-bottle held up to the light, but perhaps bottle-green is the better word. And it is not clear what part or condition of the olive is meant, for the ripe fruit is nearly black, and the tree in general, and the leaf in detail, are of a cool-grey colour. Perhaps the colour-word is taken from the colour of the unripe fruit pickled in brine, as we see them on the table. Gra.s.s-green any one may understand, but I am always puzzled by apple-green. Apples are of so many different greens, to say nothing of red and yellow; and as for pea-green, I have no idea what it means.

I notice in plant-lists the most reckless and indiscriminate use of the words purple, violet, mauve, lilac, and lavender, and as they are all related, I think they should be used with the greater caution. I should say that mauve and lilac cover the same ground; the word mauve came into use within my recollection. It is French for mallow, and the flower of the wild plant may stand as the type of what the word means. Lavender stands for a colder or bluer range of pale purples, with an inclination to grey; it is a useful word, because the whole colour of the flower spike varies so little. Violet stands for the dark garden violet, and I always think of the grand colour of _Iris reticulata_ as an example of a rich violet-purple. But purple equally stands for this, and for many shades redder.

Snow-white is very vague. There is nearly always so much blue about the colour of snow, from its crystalline surface and partial transparency, and the texture is so unlike that of any kind of flower, that the comparison is scarcely permissible. I take it that the use of "snow-white" is, like that of "golden-yellow," more symbolical than descriptive, meaning any white that gives an impression of purity.

Nearly all white flowers are yellowish-white, and the comparatively few that are bluish-white, such, for example, as _Omphalodes verna_, are of a texture so different from snow that one cannot compare them at all. I should say that most white flowers are near the colour of chalk; for although the word chalky-white has been used in rather a contemptuous way, the colour is really a very beautiful warm white, but by no means an intense white. The flower that always looks to me the whitest is that of _Iberis sempervirens_. The white is dead and hard, like a piece of glazed stoneware, quite without play or variation, and hence uninteresting.

CHAPTER XIX

THE SCENTS OF THE GARDEN

The sweet scents of a garden are by no means the least of its many delights. Even January brings _Chimonanthus fragrans_, one of the sweetest and strongest scented of the year's blooms--little half-transparent yellowish bells on an otherwise naked-looking wall shrub. They have no stalks, but if they are floated in a shallow dish of water, they last well for several days, and give off a powerful fragrance in a room.

During some of the warm days that nearly always come towards the end of February, if one knows where to look in some sunny, sheltered corner of a hazel copse, there will be sure to be some Primroses, and the first scent of the year's first Primrose is no small pleasure. The garden Primroses soon follow, and, meanwhile, in all open winter weather there have been Czar Violets and _Iris stylosa_, with its delicate scent, faintly violet-like, but with a dash of tulip. _Iris reticulata_ is also sweet, with a still stronger perfume of the violet character. But of all Irises I know, the sweetest to smell is a later blooming one, _I.

graminea_. Its small purple flowers are almost hidden among the thick ma.s.s of gra.s.sy foliage which rises high above the bloom; but they are worth looking for, for the sake of the sweet and rather penetrating scent, which is exactly like that of a perfectly-ripened plum.

All the scented flowers of the Primrose tribe are delightful--Primrose, Polyanthus, Auricula, Cowslip. The actual sweetness is most apparent in the Cowslip; in the Auricula it has a pungency, and at the same time a kind of veiled mystery, that accords with the clouded and curiously-blended colourings of many of the flowers.

Sweetbriar is one of the strongest of the year's early scents, and closely following is the woodland incense of the Larch, both freely given off and far-wafted, as is also that of the hardy Daphnes. The first quarter of the year also brings the bloom of most of the deciduous Magnolias, all with a fragrance nearly allied to that of the large one that blooms late in summer, but not so strong and heavy.

The sweetness of a sun-baked bank of Wallflower belongs to April.

Daffodils, lovely as they are, must be cla.s.sed among flowers of rather rank smell, and yet it is welcome, for it means spring-time, with its own charm and its glad promise of the wealth of summer bloom that is soon to come. The scent of the Jonquil, Poeticus, and Polyanthus sections are best, Jonquil perhaps best of all, for it is without the rather coa.r.s.e scent of the Trumpets and Nonsuch, and also escapes the penetrating lusciousness of _poeticus_ and _tazetta_, which in the south of Europe is exaggerated in the case of _tazetta_ into something distinctly unpleasant.

What a delicate refinement there is in the scent of the wild Wood-Violet; it is never overdone. It seems to me to be quite the best of all the violet-scents, just because of its temperate quality. It gives exactly enough, and never that perhaps-just-a-trifle-too-much that may often be noticed about a bunch of frame-Violets, and that also in the south is intensified to a degree that is distinctly undesirable. For just as colour may be strengthened to a painful glare, and sound may be magnified to a torture, so even a sweet scent may pa.s.s its appointed bounds and become an overpoweringly evil smell. Even in England several of the Lilies, whose smell is delicious in open-air wafts, cannot be borne in a room. In the south of Europe a Tuberose cannot be brought indoors, and even at home I remember one warm wet August how a plant of Balm of Gilead (_Cedronella triphylla_) had its always powerful but usually agreeably aromatic smell so much exaggerated that it smelt exactly like coal-gas! A brother in Jamaica writes of the large white Jasmine: "It does not do to bring it indoors here; the scent is too strong. One day I thought there was a dead rat under the floor (a thing which did happen once), and behold, it was a gla.s.sful of fresh white Jasmine that was the offender!"

While on this less pleasant part of the subject, I cannot help thinking of the horrible smell of the Dragon Arum; and yet how fitting an accompaniment it is to the plant, for if ever there was a plant that looked wicked and repellent, it is this; and yet, like Medusa, it has its own kind of fearful beauty. In this family the smell seems to accompany the appearance, and to diminish in unpleasantness as the flower increases in amiability; for in our native wild Arum the smell, though not exactly nice, is quite innocuous, and in the beautiful white Arum or _Calla_ of our greenhouses there is as little scent as a flower can well have, especially one of such large dimensions. In Fungi the bad smell is nearly always an indication of poisonous nature, so that it would seem to be given as a warning. But it has always been a matter of wonder to me why the root of the harmless and friendly Laurustinus should have been given a particularly odious smell--a smell I would rather not attempt to describe. On moist warmish days in mid-seasons I have sometimes had a whiff of the same unpleasantness from the bushes themselves; others of the same tribe have it in a much lesser degree.

There is a curious smell about the yellow roots of Berberis, not exactly nasty, and a strong odour, not really offensive, but that I personally dislike, about the root of _Chrysanthemum maximum_. On the other hand, I always enjoy digging up, dividing, and replanting the _Asarums_, both the common European and the American kinds; their roots have a pleasant and most interesting smell, a good deal like mild pepper and ginger mixed, but more strongly aromatic. The same cla.s.s of smell, but much fainter, and always reminding me of very good and delicate pepper, I enjoy in the flowers of the perennial Lupines. The only other hardy flowers I can think of whose smell is distinctly offensive are _Lilium pyrenaic.u.m_, smelling like a mangy dog, and some of the _Schizanthus_, that are redolent of dirty hen-house.

There is a cla.s.s of scent that, though it can neither be called sweet nor aromatic, is decidedly pleasing and interesting. Such is that of Bracken and other Fern-fronds, Ivy-leaves, Box-bushes, Vine-blossom, Elder-flowers, and Fig-leaves. There are the sweet scents that are wholly delightful--most of the Roses, Honeysuckle, Primrose, Cowslip, Mignonette, Pink, Carnation, Heliotrope, Lily of the Valley, and a host of others; then there is a cla.s.s of scent that is intensely powerful, and gives an impression almost of intemperance or voluptuousness, such as Magnolia, Tuberose, Gardenia, Stephanotis, and Jasmine; it is strange that these all have white flowers of thick leathery texture. In strongest contrast to these are the sweet, wholesome, wind-wafted scents of clover-field, of bean-field, and of new-mown hay, and the soft honey-scent of sun-baked heather, and of a b.u.t.tercup meadow in April.

Still more delicious is the wind-swept sweetness of a wood of Larch or of Scotch Fir, and the delicate perfume of young-leaved Birch, or the heavier scent of the flowering Lime. Out on the moorlands, besides the sweet heather-scent, is that of flowering Broom and Gorse and of the Bracken, so like the first smell of the sea as you come near it after a long absence.

How curiously scents of flowers and leaves fall into cla.s.ses--often one comes upon related smells running into one another in not necessarily related plants. There is a kind of scent that I sometimes meet with, about clumps of Brambles, a little like the waft of a Fir wood; it occurs again (quite naturally) in the first taste of blackberry jam, and then turns up again in Sweet Sultan. It is allied to the smell of the dying Strawberry leaves.

The smell of the Primrose occurs again in a much stronger and ranker form in the root-stock, and the same thing happens with the Violets and Pansies; in Violets the plant-smell is pleasant, though without the high perfume of the flower; but the smell of an overgrown bed of Pansy-plants is rank to offensiveness.

Perhaps the most delightful of all flower scents are those whose tender and delicate quality makes one wish for just a little more. Such a scent is that of Apple-blossom, and of some small Pansies, and of the wild Rose and the Honeysuckle. Among Roses alone the variety and degree of sweet scent seems almost infinite. To me the sweetest of all is the Provence, the old Cabbage Rose of our gardens. When something approaching this appears, as it frequently does, among the hybrid perpetuals, I always greet it as the real sweet Rose smell. One expects every Rose to be fragrant, and it is a disappointment to find that such a beautiful flower as Baroness Rothschild is wanting in the sweet scent that would be the fitting complement of its incomparable form, and to perceive in so handsome a Rose as Malmaison a heavy smell of decidedly bad quality. But such cases are not frequent.

There is much variety in the scent of the Tea-Roses, the actual tea flavour being strongest in the Dijon cla.s.s. Some have a powerful scent that is very near that of a ripe Nectarine; of this the best example I know is the old rose Goubault. The half-double red Gloire de Rosamene has a delightful scent of a kind that is rare among Roses. It has a good deal of the quality of that mysterious and delicious smell given off by the dying strawberry leaves, aromatic, pungent, and delicately refined, searching and powerful, and yet subtle and elusive--the best sweet smell of all the year. One cannot have it for the seeking; it comes as it will--a scent that is sad as a forecast of the inevitable certainty of the flower-year's waning, and yet sweet with the promise of its timely new birth.

Sometimes I have met with a scent of somewhat the same mysterious and aromatic kind when pa.s.sing near a bank clothed with the great St. John's Wort. As this also occurs in early autumn, I suppose it to be occasioned by the decay of some of the leaves. And there is a small yellow-flowered Potentilla that has a scent of the same character, but always freely and willingly given off--a humble-looking little plant, well worth growing for its sweetness, that much to my regret I have lost.

I observe that when a Rose exists in both single and double form the scent is increased in the double beyond the proportion that one would expect. _Rosa lucida_ in the ordinary single state has only a very slight scent; in the lovely double form it is very sweet, and has acquired somewhat of the Moss-rose smell. The wild Burnet-rose (_R.

spinosissima_) has very little smell; but the Scotch Briars, its garden relatives, have quite a powerful fragrance, a pale flesh-pink kind, whose flowers are very round and globe-like, being the sweetest of all.

But of all the sweet scents of bush or flower, the ones that give me the greatest pleasure are those of the aromatic cla.s.s, where they seem to have a wholesome resinous or balsamic base, with a delicate perfume added. When I pick and crush in my hand a twig of Bay, or brush against a bush of Rosemary, or tread upon a tuft of Thyme, or pa.s.s through incense-laden brakes of Cistus, I feel that here is all that is best and purest and most refined, and nearest to poetry, in the range of faculty of the sense of smell.

The scents of all these sweet shrubs, many of them at home in dry and rocky places in far-away lower lat.i.tudes, recall in a way far more distinct than can be done by a mere mental effort of recollection, rambles of years ago in many a lovely southern land--in the islands of the Greek Archipelago, beautiful in form, and from a distance looking bare and arid, and yet with a scattered growth of lowly, sweet-smelling bush and herb, so that as you move among them every plant seems full of sweet sap or aromatic gum, and as you tread the perfumed carpet the whole air is scented; then of dusky groves of tall Cypress and Myrtle, forming mysterious shadowy woodland temples that unceasingly offer up an incense of their own surpa.s.sing fragrance, and of cooler hollows in the same lands and in the nearer Orient, where the Oleander grows like the willow of the north, and where the Sweet Bay throws up great tree-like suckers of surprising strength and vigour. It is only when one has seen it grow like this that one can appreciate the full force of the old Bible simile. Then to find oneself standing (while still on earth) in a grove of giant Myrtles fifteen feet high is like having a little c.h.i.n.k of the door of heaven opened, as if to show a momentary glimpse of what good things may be beyond!

Among the sweet shrubs from the nearer of these southern regions, one of the best for English gardens is _Cistus laurifolius_. Its wholesome, aromatic sweetness is freely given off, even in winter. In this, as in its near relative, _C. ladaniferus_, the scent seems to come from the gummy surface, and not from the body of the leaf. _Caryopteris Mastacanthus_, the Mastic plant, from China, one of the few shrubs that flower in autumn, has strongly-scented woolly leaves, something like turpentine, but more refined. _Ledum pal.u.s.tre_ has a delightful scent when its leaves are bruised. The wild Bog-myrtle, so common in Scotland, has almost the sweetness of the true Myrtle, as has also the broad-leaved North American kind, and the Candleberry Gale (_Comptonia asplenifolia_) from the same country. The myrtle-leaved Rhododendron is a dwarf shrub of neat habit, whose bruised leaves have also a myrtle-like smell, though it is less strong than in the Gales. I wonder why the leaves of nearly all the hardy aromatic shrubs are of a hard, dry texture; the exceptions are so few that it seems to be a law.

If my copse were some acres larger I should like nothing better than to make a good-sized clearing, laying out to the sun, and to plant it with these aromatic bushes and herbs. The main planting should be of Cistus and Rosemary and Lavender, and for the shadier edges the Myrtle-leaved Rhododendron, and _Ledum pal.u.s.tre_, and the three Bog-myrtles. Then again in the sun would be Hyssop and Catmint, and Lavender-cotton and Southernwood, with others of the scented Artemisias, and Sage and Marjoram. All the ground would be carpeted with Thyme and Basil and others of the dwarfer sweet-herbs. There would be no regular paths, but it would be so planted that in most parts one would have to brush up against the sweet bushes, and sometimes push through them, as one does on the thinner-clothed of the mountain slopes of southern Italy.

Among the many wonders of the vegetable world are the flowers that hang their heads and seem to sleep in the daytime, and that awaken as the sun goes down, and live their waking life at night. And those that are most familiar in our gardens have powerful perfumes, except the Evening Primrose (_Oenothera_), which has only a milder sweetness. It is vain to try and smell the night-given scent in the daytime; it is either withheld altogether, or some other smell, quite different, and not always pleasant, is there instead. I have tried hard in daytime to get a whiff of the night sweetness of _Nicotiana affinis_, but can only get hold of something that smells like a horse! Some of the best of the night-scents are those given by the Stocks and Rockets. They are sweet in the hand in the daytime, but the best of the sweet scent seems to be like a thin film on the surface. It does not do to smell them too vigorously, for, especially in Stocks and Wallflowers, there is a strong, rank, cabbage-like under-smell. But in the sweetness given off so freely in the summer evening there is none of this; then they only give their very best.

But of all the family, the finest fragrance comes from the small annual Night-scented Stock (_Matthiola bicornis_), a plant that in daytime is almost ugly; for the leaves are of a dull-grey colour, and the flowers are small and also dull-coloured, and they are closed and droop and look unhappy. But when the sun has set the modest little plant seems to come to life; the grey foliage is almost beautiful in its harmonious relation to the half-light; the flowers stand up and expand, and in the early twilight show tender colouring of faint pink and lilac, and pour out upon the still night-air a lavish gift of sweetest fragrance; and the modest little plant that in strong sunlight looked unworthy of a place in the garden, now rises to its appointed rank and reigns supreme as its prime delight.

CHAPTER XX

THE WORSHIP OF FALSE G.o.dS

Several times during these notes I have spoken in a disparaging manner of the show-table; and I have not done so lightly, but with all the care and thought and power of observation that my limited capacity is worth; and, broadly, I have come to this: that shows, such as those at the fortnightly meetings of the Royal Horticultural Society, and their more important one in the early summer, whose object is to bring together beautiful flowers of all kinds, to a place where they may be seen, are of the utmost value; and that any shows anywhere for a like purpose, and especially where there are no money prizes, are also sure to be helpful.

And the test question I put to myself at any show is this, Does this really help the best interests of horticulture? And as far as I can see that it does this, I think the show right and helpful; and whenever it does not, I think it harmful and misleading.

The love of gardening has so greatly grown and spread within the last few years, that the need of really good and beautiful garden flowers is already far in advance of the demand for the so-called "florists"

flowers, by which I mean those that find favour in the exclusive shows of Societies for the growing and exhibition of such flowers as Tulips, Carnations, Dahlias, and Chrysanthemums. In support of this I should like to know what proportion of demand there is, in Dahlias, for instance, between the show kinds, whose aim and object is the show-table, and the decorative kinds, that are indisputably better for garden use. Looking at the catalogue of a leading Dahlia nursery, I find that the decorative kinds fill ten pages, while the show kinds, including Pompones, fill only three. Is not this some indication of what is wanted in gardens?

I am of opinion that the show-table is unworthily used when its object is to be an end in itself, and that it should be only a means to a better end, and that when it exhibits what has become merely a "fancy,"

it loses sight of its honourable position as a trustworthy exponent of horticulture, and has degenerated to a baser use. When, as in Chrysanthemum shows, the flowers on the board are of _no use anywhere but on that board_, and for the purpose of gaining a money prize, I hold that the show-table has a debased aim, and a debasing influence. Beauty, in all the best sense, is put aside in favour of set rules and measurements, and the production of a thing that is of no use or value; and individuals of a race of plants capable of producing the highest and most delightful forms of beauty, and of brightening our homes, and even gardens, during the dim days of early winter, are teased and tortured and fatted and bloated into ugly and useless monstrosities for no purpose but to gain money. And when private gardeners go to these shows and see how the prizes are awarded, and how all the glory is accorded to the first-prize bloated monster, can we wonder that the effect on their minds is confusing, if not absolutely harmful?