File:Art-studies from nature, as applied to design - for the use of architects, designers, and manufacturers (1872) (14777757184).jpg

Identifier: artstudiesfromna00hulm (find matches)
Title: Art-studies from nature, as applied to design : for the use of architects, designers, and manufacturers
Year: 1872 (1870s)
Authors: Hulme, F. Edward (Frederick Edward), 1841-1909 Glaisher, James, 1809-1903 Mackie, Samuel Joseph Hunt, Robert, 1807-1887
Subjects: Decoration and ornament Nature (Aesthetics)
Publisher: London, Virtue & co.
Contributing Library: Sterling and Francine Clark Art Institute Library
Digitizing Sponsor: Sterling and Francine Clark Art Institute Library

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g July and August. The White or Wood Anemone (Anemone nemorosa), or, as it isoften termed in old botanical works, the Wind-flower. This oldername refers to the same fact alluded to in its generic name,Anemone, the fragility and delicacy of the flowers, and their ex-posure to the bleak and boisterous winds that sweep through thealmost leafless woods in early spring, or, as others believe, froman old fancy that the flowers will not open until buffeted by thegales of March, anemone being derived from the Greek word,anemos, the wind. The second name, nemorosa, signifies woody,and bears obvious reference to the localities most favourable to THE ADAPTABILITY OF OUR NATIVE PLANTS. 11 the growth of the anemone. The plant may be found in flowerduring the months of March, April, and May, the blossoms beingpure white, with a bright yellow centre, and the outer surface ofthe sepals of a delicate purple tinge. It abounds in moist woodsthroughout the country, generally in such profusion as to cover
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Anemone. large tracts of ground with a snowy whiteness ; and the plantbeing perennial, we shall, when it is once established in any spot,find it regularly recurring as each spring-time comes round. Themanner of growth of the anemone is very distinct and character-istic, and not being subject to any variation, cannot well be 12 ART-STUDIES FROM NA TURE. modified in the employment of the plant in ornamental art with-out destroying its individuality, as from the single stem thrownup from the ground three equal-sized leaves, identical in form,are produced from a point about six inches from the soil, and thestalk is then continued for about the same distance again beforebearing at its summit its single flower; each and every plant,therefore, consists of a central stem, a terminal flower, and aboutmidway up the stem a group of three leaves. This rigid law,though extremely beautiful in itself, and admirably adapted fortreatment for some ornamental purposes, may, perhaps, somewhatrestrict itsartstudiesfromna00hulm

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