11. You see, for one thing, at once, how strong the fleur-de-lys leaf is, and that it is just twice as strong as a blade of grass, for it is the substance of the staff, with its sides flattened together, while the grass blade is a staff cut
open and flattened out. And you see that as a grass blade necessarily flaps down, the fleur-de-lys leaf as necessarily curves up, owing to that inevitable bend in its back. And you see, with its keen edge, and long curve, and sharp point, how like a sword it is. The botanists would for once have given a really good and right name to the plants which have this kind of leaf, 'Ensatæ,' from the Latin 'ensis,' a sword; if only sata had been properly formed from sis. We can't let the rude Latin stand, but you may remember that the fleur-de-lys, which is the flower of chivalry, has a sword for its leaf, and a lily for its heart.
12. In case you cannot gather a fleur-de-lys leaf, I have drawn for you, in Plate VI., a cluster of such leaves, which are as pretty as any, and so small that, missing the points of a few, I can draw them of their actual size. You see the pretty alternate interlacing at the bottom, and if you can draw at all, and will try to outline their curves, you will find what subtle lines they are. I did not know this name for the strong-edged grass leaves when I wrote the pieces about shield and sword leaves in 'Modern Painters'; I wish I had chanced in those passages on some other similitude, but I can't alter them now, and my trustful pupils may avoid all confusion of thought by putting gladius for ensis, and translating it by the word 'scymitar,' which is also more accurate in expressing the curvature blade. So we will call the ensatæ, instead, 'gladiolæ,' translating, 'scymitar-grasses.' And having
now got at some clear idea of the distinction between outlaid and inlaid growth in the stem, the reader will find the elementary analysis of forms resulting from outlaid growth in 'Modern Painters'; and I mean to republish it in the sequel of this book, but must go on to other matters here. The growth of the inlaid stem we will follow as far as we need, for English plants, in examining the glasses.
Florence, 11th September, 1874.
As I correct this chapter for press, I find it is too imperfect to be let go without a word or two more. In the first place, I have not enough, in distinguishing the nature of the living yearly shoot, with its cluster of fresh leafage, from that of the accumulated mass of perennial trees, taken notice of the similar power even of the annual shoot, to obtain some manner of immortality for itself, or at least of usefulness, after death. A Tuscan woman stopped me on the path up to Fiesole last night, to beg me to buy her plaited straw. I wonder how long straw lasts, if one takes care of it? A Leghorn bonnet, (if now such things are,) carefully put away,—even properly taken care of when it is worn,—how long will it last, young ladies?
I have just been reading the fifth chapter of II. Esdras, and am fain to say, with less discomfort than otherwise I might have felt, (the example being set me by the archangel Uriel,) "I am not sent to tell thee, for I do not know." How old is the oldest straw known? the oldest
linen? the oldest hemp? We have mummy wheat,—cloth of papyrus, which is a kind of straw. The paper reeds by the brooks, the flax-flower in the field, leave such imperishable frame behind them. And Ponte-della-Paglia, in Venice; and Straw Street, of Paris, remembered in Heaven,—there is no occasion to change their names, as one may have to change 'Waterloo Bridge,' or the 'Rue de l'Impératrice.' Poor Empress! Had she but known that her true dominion was in the straw streets of her fields; not in the stone streets of her cities!
But think how wonderful this imperishableness of the stem of many plants is, even in their annual work: how much more in their perennial work! The noble stability between death and life, of a piece of perfect wood? It cannot grow, but will not decay; keeps record of its years of life, but surrenders them to become a constantly serviceable thing: which may be sailed in, on the sea, built with, on the land, carved by Donatello, painted on by Fra Angelico. And it is not the wood's fault, but the fault of Florence in not taking proper care of it, that the panel of Sandro Botticelli's loveliest picture has cracked, (not with heat, I believe, but blighting frost), a quarter of an inch wide through the Madonna's face.
But what is this strange state of undecaying wood? What sort of latent life has it, which it only finally parts with when it rots?