Maranta Baraquinii

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.

1. 01

   The Name

   The plate is titled “Maranta Baraquinii”, numbered Plate 242. Its binomial is Maranta baraquinii: the genus places it among its kin, the epithet records a place, a shape or a person. No established Chinese name exists for this plate, so it is cited by its binomial alone.

2. 02

   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. Filed under yellow — a honey-yellow. The colour is built in washes: a pale ground first, then deepening at the petal base and in shadow. Three things fix the habit: leaf arrangement, tepal count, and how the flower is borne.

3. 03

   Line and Colour

   In the later nineteenth century chromolithography took over: colour printed rather than painted, line demoted. Images grew more accurate and less personal. 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.

4. 04

   Composition

   Broad and horizontal, opening sideways — the format for groups, perched birds, or a whole plant with its roots. (about 0.67 : 1). No details are appended: this is a plate for looking, not for keying out.

5. 05

   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 1854 on the plate is the year of publication, not of flowering — the gathering came a year or two earlier.

6. 06

   Provenance

   Various: local hillside or a plant brought from overseas. The nineteenth-century botanic garden and glasshouse were their first address away from home. The volume was made in 1854-1896, when most of this knowledge came from living plants under glass rather than from the wild.

7. 07

   The Book

   “L'Illustration horticole” was drawn by Charles Antoine Lemaire and published 1854-1896. This plate is Plate 242. The image is in the public domain; the hand-colouring on the paper is still one person's hand, two centuries ago.

8. 08

   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. This plate leans yellow, which in flower language adds one more degree of feeling. Flower language was added later; the flower knows nothing of it, and that innocence is part of its power.

9. 09

   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 yellow the corolla becomes its resting point.

10. 10

    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 1854, at the moment the two traditions began to see each other.

11. 11

    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.

12. 12

    Afterword

    The flower of 1854 is dust, yet its image on paper has outlived every living cousin.