Cattleya pumila

Twelve ways of seeing

• measured cast red
• upright 1.49 : 1
• published 1854
• Plate 474

Not a catalogue entry but a way of looking: how to stand, what to notice, how the line was cut, when it flowers, where it came from, who made it — and then the poems and the classics that taught China to see the same flower. Read the twelve in order and the plate opens.

1. 01

   First Look

   夫象物必在于形似，形似须全其骨气。

   —— 唐·张彦远《历代名画记》

   Likeness is the threshold; bone-and-breath is the point.

   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.

2. 02

   Name and Thing

   The binomial is Cattleya pumila: the first word is the genus it belongs among, the second the epithet that sets it apart. The genus name Cattleya: Cattleya honours William Cattley, who first flowered the plant in England. The Chinese name 蕾丽兰亚族 is a modern rendering of the Latin, not an old garden name.

3. 03

   Form and Colour

   Measured on this plate: flower colour covers 15.0% of the sheet, foliage 17.9%, the cast red. 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. Filed under green — a moss green, a colour that comes mostly from leaf and stem. A single plant, laid out with nothing hidden.

4. 04

   Composition

   Tall and narrow, the plant rising in one movement with generous margins — the upright format of most floras. (about 1.49 : 1) No details are appended: a plate for looking, not for keying out. The plant fills 39% of the sheet, centred near the centre — the herbarium way, drawn to be read whole. Blank paper is not unfinished work: it is where the eye rests.

5. 05

   Line and Colour

   In the later nineteenth century chromolithography took over: colour printed rather than painted, line demoted. There is evidence on the back too: the plate mark pressed into the paper, the slight relief of the pigment, lines worn shallow in a later printing.

6. 06

   Season

   Varies by genus: temperate terrestrials flower in spring and summer, tropical epiphytes almost year-round. The year 1854 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. The best time to read such a plate is its flowering season: three minutes under the tree explains what no text can.

7. 07

   Provenance

   Worldwide, richest on tropical mountains. Chinese cymbidiums come from the hills of the south; the orchids drawn for European portfolios came largely from the cloud forests of Central America and Southeast Asia. The volume was made in 1854-1896, when most of this knowledge came from living plants under glass.

8. 08

   The Book and the Hand

   “L'Illustration horticole” was drawn by Charles Antoine Lemaire and published 1854-1896. This plate is Plate 474. The image is public domain; the hand-colouring is still one person's hand.

9. 09

   Poetic Resonance

   兰叶春葳蕤，桂华秋皎洁。

   —— 唐·张九龄《感遇》

   Orchid leaves luxuriate in spring; cassia flowers are bright and pure in autumn.

   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.

10. 10

    The Written Tradition

    芝兰生于深林，不以无人而不芳；君子修道立德，不为穷困而改节。

    —— 《孔子家语·在厄》

    The orchid grows deep in the forest and is fragrant though no one comes; so the gentleman cultivates virtue and does not alter it in hardship.

    Confucius, finding an orchid flowering alone in a valley, is said to have composed the 'Lament for the Orchid'; in the Li Sao, orchids are worn as a girdle of virtue. You need not parse every word: take the line, and the flower acquires a second face.

11. 11

    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.

12. 12

    What to Take Away

    Carry three rules away: whole before detail; line before colour; picture before book. The flower of that year is dust, yet its image on paper has outlived every living cousin.