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Floral emblems (1825) (14754900692)
Summary
Identifier: floralemblems00phil (find matches)
Title: Floral emblems
Year: 1825 (1820s)
Authors: Phillips, Henry, 1775-1838
Subjects: Flower language Flowers in literature Emblems
Publisher: London, Saunders and Otley
Contributing Library: The LuEsther T Mertz Library, the New York Botanical Garden
Digitizing Sponsor: The LuEsther T Mertz Library, the New York Botanical Garden
Text Appearing Before Image:
er face ; a thousand innocent shames. Shakspeare. FLORAL EMBLEMS. 81 BOASTER. Hydrangea.—Hydrangea Hortensis, * No more delays, vain boaster ! but begin;I prophesy beforehand I shall win :ril teach you how to brag another time. T)ryden, This Chinese Guelder rose is presented asthe emblem of a boaster, because its magni-ficent flowers are never succeeded by fiTiit,thus resembling- the vaunting words of a brag-gadocio, which are not followed by suitableresults. Who knows himself a braggart.Let him fear this ; for it will come to pass.That every braggart shall be found an ass. Sliakspeare, 82 FLORAL EMBLEMS. BOLDNESS. Pine. Yon verdant pines, that midst the winter smile.Offspring of Scotia or Virginias soil/^ Delille. These hardy offsprings of bleak and snowymountains are made symbolical of boldnessfrom the resistance they make to the rigourof the storms. True boldness (according to Locke) is thepower to speak or do what we intend, beforeothers, without fear or disorder. Tloxal imWeias
Text Appearing After Image:
TcnrtA a-n^.3^tiizti/ united /^ t7zi _B^?z^s ir-7-x .Tit^txA-Aca</// Sa£ZM.^^^f^seluW^^.,f^d^ff?UiiieiS^/S2,i^ FLORAL EMBLEMS. 83 BOND OF LOVE , Honeysuckle or Woodbine.—Lonicera, So doth the woodbine, the sweet honeysuckleGently entwine. This happy emblem reminds us that sweet-ness of disposition is a firmer tie than daz-zling beauty. Copious of flowers, the woodbine, pale and wan,But well compensating her sickly looksWith never cloying odours, early and late. Cowper. bulkiness. Water Melon.—Melo Citrullus. This fruit, which flourishes and swells to agreat size in the sands of Egypt, is madesymbolical of bulkiness. The murmuring Israelites exclaimed, ^ Weremember the fish which we did eat in Egyptfreely ; the cucumbers and the melons. g2 84 FLORAL EMBLEMS. CALM REPOSE. BucKBEAN.—Menyanthes. Every pilotCan steer the ship in calms ; but he performsThe skilful part, can manage it in storms. De)iham. This aquatic plant, avoiding the rapidstreams, seeks recesses where the unruff
This large AI-assisted collection comprises about 60,000 images of botanical drawings and illustrations. It spans from the 14th to 19th century. As of today, we estimate the total number of botanical illustrations in our archive as 200,000 and growing. The "golden age" of botanical illustration is generally considered to be the 18th and 19th centuries, a time when there was a great deal of interest in botany and a proliferation of botanical illustrations being produced. During this period, many of the great botanical illustrators of the time, such as Maria Sybilla Merian, Pierre-Joseph Redouté, and John James Audubon, were active and produced some of the most iconic and influential botanical illustrations of all time. In addition to being used for scientific purposes, botanical illustrations were also highly prized for their beauty and were often used to decorate homes and other public spaces. Many of the most famous botanical illustrations from this period are still admired and collected today for their beauty and historical significance. All large Picryl collections were made possible with the development of neural image recognition. We made our best to reduce false-positive image recognition to under 5%.
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