Waved-leaved Banksia
Waved-leaved Banksia
About this plate
Waved-leaved Banksia is plate 1416, from Edwards' Botanical Register, drawn by Sydenham Edwards, John Lindley. This public-domain plate is reproduced at high resolution, free to view and download. Publication: London, James Ridgway, 1829-1847.
Twelve ways of seeing
One plate, read twelve times over: its name, its colour, the burin and the brush, the shape of the sheet, the season, the soil it came from, the book it belongs to, its language of flowers, the poem it answers to, the lore behind it, how to look, and what remains.
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The Name
The plate is titled “Waved-leaved Banksia”, numbered Plate 1416. No reliable binomial survives on the plate, so it must be cited by its original title. Neither a Chinese name nor a reliable binomial survives: the plate can only be cited by its printed title, and left to speak for itself.
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Form and Colour
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 for this plate, but the palette still belongs to its season. Three things fix the habit: leaf arrangement, tepal count, and how the flower is borne.
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Line and Colour
The first half of the nineteenth century moved from copper to steel to lithography. Stipple could render the softest transition — Redouté's roses depend on it — while lithography suited broad, gentle washes. Look closely at the line and the colour: an unbroken line means engraving, colour crossing the outline by half a millimetre means hand-colouring. Craft leaves franker evidence than inscriptions.
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Composition
Slightly taller than wide, the plant set a little above centre so the eye lands on the flower. (about 1.16 : 1). No details are appended: this is a plate for looking, not for keying out.
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Season
Plates usually record flowering, the fortnight when a plant is most identifiable; the rest of the year it is only a mass of leaves. The year 1829 on the plate is the year of publication, not of flowering — the gathering came a year or two earlier.
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Provenance
Various: local hillside or a plant brought from overseas. The nineteenth-century botanic garden and glasshouse were their first address away from home. In the same volume the kin are shelved together; set several plates side by side and the differences declare themselves.
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The Book
“Edwards' Botanical Register” was drawn by Sydenham Edwards, John Lindley and published 1829-1847. This plate is Plate 1416. The image is in the public domain; the hand-colouring on the paper is still one person's hand, two centuries ago.
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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. Meanings change their tune: the same flower can say opposite things within a century.
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Poetic Resonance
天地有大美而不言，四时有明法而不议。
—— 《庄子·知北游》
Heaven and earth have great beauty and do not speak.
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.
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Classical Lore
China had the Bencao Gangmu and the Illustrated Study of Plant Names and Realities; Europe moved from herbal woodcuts to chromolithography. Both trusted pictures to finish what words could not. Chinese flower books ranked plants by character; European floras described them by form and name. This plate belongs to the second tradition, yet bears reading by the first. Printed in 1829, at the moment the two traditions began to see each other.
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How to Look
Look at the edge: where the plant is cropped tells you how it was seen — as specimen, as garden plant, or as wild thing. And read the caption and number: not part of the picture, but the door through which it entered knowledge.
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Afterword
Two centuries on, the plant may still flower in some garden; the one on this sheet stopped in the season of 1829.
