Choix des plus belles fleurs pl 045 (1827)
Lilim candidum|Choix des plus belles fleurs pl 045 (1827)
Choix des plus belles fleurs pl 045 (1827)
About this plate
Choix des plus belles fleurs pl 045 (1827) is plate 45, from Choix des plus belles fleurs, drawn by Pierre Joseph Redouté. This public-domain plate is reproduced at high resolution, free to view and download. Publication: Paris, Chez l’auteur, 1827.
Ten ways of seeing
- measured cast yellow-green
- upright 1.41 : 1
- published 1827
- Plate 45
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 the darkest small patch: the whole tonal order is measured from there.
Name and Thing
No reliable binomial survives, so the printed title must serve. Neither name nor binomial survives: the printed title must do.
Form and Colour
Measured on this plate: flower colour covers 2.1% of the sheet, foliage 4.4%, the cast yellow-green. No other plate shares exactly this measure. A botanical plate: one plant lifted from field or glasshouse and set at the centre of the sheet, root, stem, leaf, flower and fruit in turn, made legible, citable, transmissible.No colour group is recorded. Three things fix the habit: leaf arrangement, tepal count, and how the flower is borne.
Composition
Tall and narrow, the plant rising in one movement with generous margins — the upright format of most floras. (about 1.41 : 1) No details are appended: a plate for looking, not for keying out. The plant covers only 15% of the sheet, centred above centre; the emptiness is where the eye rests. Old plates set the plant slightly off centre, with unequal margins — that small imbalance is what keeps it alive.
Line and Colour
The first half of the nineteenth century moved from copper to steel to lithography; stipple could render the softest transition. Decide first whether it was printed or painted; only then discuss whether it is beautiful. If you mean to copy it: take its skeleton, its margins and the order of its colours; the burin's hatching is the language of copper — suggest it with pencil density, do not imitate it stroke for stroke.
Poetic Resonance
朝饮木兰之坠露兮，夕餐秋菊之落英。
—— 战国·屈原《离骚》
At dawn I drink the dew fallen from magnolia; at dusk I dine on the fallen petals of autumn chrysanthemum.
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the corolla becomes its resting point.
Symbolism
The symbolism of such a plate lies not in flower lore but in record: the belief that a plant deserves to be drawn accurately — the plainest ethic of the scientific age. In a flora it is a species first and a symbol second; the order is worth keeping.
Season and Place
the rest of the year it is only a mass of leaves. Various: local hillside or a plant brought from overseas. The nineteenth-century botanic garden and glasshouse were their first address away from home. The year 1827 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. The volume was made in 1827, when most of this knowledge came from living plants under glass.
The Book and the Hand
“Choix des plus belles fleurs” was drawn by Pierre Joseph Redouté and published 1827. This plate is Plate 45. The image is public domain; the hand-colouring is still one person's hand.
What to Take Away
Next time you stand before a flowering plant, give it three minutes: leaf arrangement, direction of the flower, the darkest patch. Two centuries on, the plant may still flower in some garden; the one on this sheet stopped in the season of 1827.
