The Field Convolvulus (Convolvulus arvensis). This pretty little plant is very commonly found on grassy banks, open downs, or in our corn-fields, running up the stems of the standing corn, and flowering during June, July, and August. It is one of the enemies of the farmer, from its spreading, to the detriment of the crops, over so large an area of ground; and owing to the great depth to which the roots descend, it is exceedingly difficult to get rid of it when it has once taken possession. Its generic name, derived from the Latin convolvo, I entwine, is very descriptive of the nature of the plant, and its English name, bindweed, evidently embodies the same idea. Another of its old English names, the withwinde, very beautifully expresses its lightness and delicacy, unable to resist the force of the wind, but conquering by yielding to its power. Where the plant occurs, it will generally be very common, many square feet of ground being often covered by its long trailing stems. When any suitable object, such as a grass stem, is met with, the convolvulus, too weak to rise by itself, ceases to trail along the ground, and twines round the support thus afforded, always ascending in a spiral direction to the left, as do also the C. major of the flower-garden, the scarlet-runner bean, and many others; while others, as the hop, invariably ascend in a spiral direction from left to right. It may at first sight seem difficult to establish this, but if the reader will imagine the plant in question turning round his own body, he will at once be able to determine whether the plant in ascending would cross in front of him from right to left, or from left to right. In introducing this plant in ornament, it will be
Convolvulus.
Convolvulus.
necessary to remember, that though frequently represented as possessing tendrils, it does not in nature acquire the needed support by such means, the stalk itself being the part of the plant that entwines round other plants. The means thus employed by climbing plants are very varied; the ivy, for instance, throwing out root-like forms from the stems, which, by their grasp and penetration into the hollows of brickwork or the bark of other trees, amply suffice to support the plant; the bryony, passion-flower, and many other plants throw out true tendrils from the stem; the goose-grass clings by means of the small hook-like appendages with which the stems and under sides of the leaves are furnished; while in the pea the tendrils spring from the end of the leaf-petiole. The C. arvensis, like the silver-weed, the pimpernel, and many other equally familiar plants, seem to be cosmopolitan. De Candolle, in his “Géographie Botanique,” records its occurrence in a truly indigenous state in localities so widely differing in temperature, soil, &c., as Sweden, Siberia, China, India, Persia, Arabia, Egypt, Abyssinia, New Holland, Mauritius, the Azores, Canada, Mexico, and Chili. The only instances of the use of the plant in mediæval ornament with which we are acquainted are in wood-carving on the ends of the stalls in Wells Cathedral, and in a similar position in the Church of St. Gereon, Cologne; in each case the leaves only are represented. Illustrations of the natural growth will be seen in S. B. 166; E. B. 923; T. N. O. 97; and P. F. 93.
The Corn Blue-bottle (Centaurea Cyanus) from its delicacy of growth, and the beauty of the flower-heads, would be a valuable plant for the decoration of surfaces requiring a delicate treatment, such as muslins and lace. It is one of the characteristic flowers of the corn-field, and, in conjunction with the poppy, would be valuable in any floral grouping symbolic of autumn. The plant was at one time held to possess great remedial virtue, though its use is now abandoned. The generic name, Centaurea, refers to an old legend that the Centaur Chiron, when wounded by Hercules, recovered his strength by the use of this herb. A very characteristic name in some parts of the country is hurt-sickle, in allusion to its hard and wiry stems. An example of its use in ornamental art will be found in a sixteenth-century MS. in the Library of the British Museum. The treatment, as is usual at that period of the illuminator’s art, is very naturalistic. Drawings of the natural plant may be seen in S. B. 159; E. B. 709; F. L. vol. vi. 62; and P. F. 8.
The Corn Marigold (Chrysanthemum segetum) is, like the last, one of the characteristic and striking plants of the harvest-field, the intense scarlet of the poppy, the rich blue of the blue-bottle, and the brilliant yellow of the present flower, forming a very beautiful trio. The generic name, Chrysanthemum, alludes to this brilliancy of colour seen in several of the species, being derived from two Greek words signifying golden flower. There is considerable quaintness in the forms of the leaves, and the general growth of the plant renders it well adapted for art-treatment. We are unable to refer you to any examples of its introduction in the ornament of the past, but any of our readers desiring to remedy a neglect so unjustifiable will find reliable drawings of it in E. B. 713; F. L. vol. vi. 60; P. F. 28.
The Daffodil (Narcissus pseudo-narcissus). This beautiful flower will be found of value to the designer, both from its own inherent beauty, and also more especially in combination with the primrose, wild hyacinth, or cowslip, in any design where it is desirable to embody the idea of spring, since it is one of the most striking plants of that season of the year. The daffodil may be found in meadows and copses, and is generally abundant throughout England, though in many cases probably as an escape from the cottage-garden. In Ireland and Scotland it is never met with except under such circumstances. Where the daffodil has once established itself it grows with great freedom, and will generally be met with in profusion, though it is so local in its growth, that even if abundant in any one spot, it may frequently be sought for in vain throughout the rest of a district. The flowers, of a pure and brilliant yellow, grow singly upon the stalks, each rising directly from the root. The daffodil has a very wide area of distribution, being met with throughout the greater part of Europe, and more especially in the south-west; it is, for instance, one of the characteristic plants of the meadows and hillside pastures of Spain, together with the two-flowered narcissus (N. biflorus), a plant which, though abundant in Southern Europe, has never been naturalised in England. It may be frequently met with in cultivation, and will easily be distinguished from the daffodil from the flowers being generally in pairs upon the stem, and from their creamy white or straw colour. The generic name, Narcissus, is derived from a Greek word signifying stupor, in allusion to the heavy and powerful odour of another species, the N. poeticus.
Drawings of the daffodil will be met with in E. B. 1501, and P. F. 89. The daffodil being like the daisy and eglantine, what we may perhaps be allowed to term a poet’s flower, a further reason for intimacy with it is furnished to the designer, as he may possibly be required to make a design for a page border to some édition de luxe of Wordsworth or Herrick.