A monograph of Odontoglossum Pl.23 (1874)
A monograph of Odontoglossum Pl.23 (1874)
A monograph of Odontoglossum Pl.23 (1874)
Ten ways of seeing
- measured cast amber
- upright 1.46 : 1
First Look
江馆清秋，晨起看竹，烟光日影露气，皆浮动于疏枝密叶之间。
—— 清·郑板桥《题画竹》
On an autumn morning at the river lodge I looked at the bamboo: mist, sunlight, dew, all drifting among the sparse and dense leaves.
The sheet is vertical: the eye climbs and settles in the upper half. Let the plant stand before you look for detail. Then step in close: watch where colour meets line, and whether the line ever breaks. Third, find where the green is deepest: the whole tonal order is measured from that patch.
Name and Thing
Only the genus Odontoglossum is given; species-level names came later. No established Chinese name exists, so it is cited by its binomial alone.
Form and Colour
Measured on this plate: flower colour covers 2.2% of the sheet, foliage 19.6%, the cast amber with a second note of yellow-green. No other plate shares exactly this measure. Orchids carry pseudobulbs or fleshy roots; six tepals, one modified into a lip that serves as a landing stage, and a column uniting stamens and pistil — a structure unique to the family. a moss green. A single plant, laid out with nothing hidden.
Composition
The sheet is tall. No details are appended: a plate for looking, not for keying out. The plant covers only 24% of the sheet, centred near the centre; the emptiness is where the eye rests.
Line and Colour
In the later nineteenth century chromolithography took over: colour printed rather than painted, line demoted. Craft leaves franker evidence than inscriptions. If you mean to copy it: block in the broad shapes and colours first, detail last; lithographic softness comes from thin washes — two or three pale layers will get you close.
Poetic Resonance
未有有其心而无其政，如渍种之必苗，𦶟兰之必香。
—— 《呻吟语·广喻第十七》
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the green the corolla becomes its resting point.
Symbolism
In China the orchid is the gentleman who blooms unseen; in Victorian Europe it was luxury and obsession, a single new species worth a fortune. In a flora it is a species first and a symbol second; the order is worth keeping.
Season and Place
Varies by genus: temperate terrestrials flower in spring and summer, tropical epiphytes almost year-round. the orchids drawn for European portfolios came largely from the cloud forests of Central America and Southeast Asia. The year 1874 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. The bud and the ripe fruit on one branch tell the season; the name in the title often tells the journey.
The Book and the Hand
“A monograph of Odontoglossum” carries only James Bateman's name. A plate is collective work: drawer, engraver and colourist were different hands, and the unnamed ones decided how good it looks.
What to Take Away
Appreciation is not knowledge but habit — one more look each time. A flora exists to be consulted; look long enough and you forget to consult — someone in 1874 gave a whole day to a single flower.
About this plate
A monograph of Odontoglossum Pl.23 (1874) is plate 23, from A monograph of Odontoglossum, drawn by James Bateman. This public-domain plate is reproduced at high resolution, free to view and download. Publication: London, L. Reeve & Co, 1874.
