Color lithograph Langage des Fleurs (Language of Flowers) by Alphonse Mucha (1900)
Floriography (language of flowers) is a means of cryptological communication through the use or arrangement of flowers. Meaning has been attributed to flowers for thousands of years, and some form of floriography has been practiced in traditional cultures throughout Europe, Asia, and Africa.
Interest in floriography soared in Victorian England, North America and France[1] during the 19th century. Gifts of blooms, plants, and specific floral arrangements were used to send a coded message to the recipient, allowing the sender to express feelings of romance and courtship which could not be spoken aloud in Victorian society.[2][3] Armed with floral dictionaries, Victorians often exchanged small "talking bouquets" or "word poesy,” called nosegays or tussie-mussies, which could be worn or carried as a fashion accessory.[3]:25,40–44 The word "nosegay" was used because the flowers would smell nice and the word "gay" meant ornament. These accessories were originally worn to mask the scent of the streets and body odor, and were often composed of fragrant herbs and flowers such as lavender, lemon balm and roses.[4] During the 16th century, the purpose of the tussie-mussies changed. They were commonly gifted to a love interest. The meaning of flowers was determined by their cultural meanings along with legends and myths. In England and America, courses such as botany, painting flowers, and floral arranging became popular in education, especially for young women.[5] Tussie-mussies are still used in modern-day as corsages and boutonnieres.[6]
Illustration from Floral Poetry and the Language of Flowers (1877)
According to Jayne Alcock, grounds and gardens supervisor at the Walled Gardens of Cannington, the renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople[7] and an obsession it held with tulips during the first half of the 18th century. In the 14th century, the Turkish tradition sélam had an influence on the language of flowers. Sélam was a game of gifting flowers and objects to send a message, the interpretation of the message revealed through rhymes.[8] During the Victorian age, the use of flowers as a means of covert communication coincided with a growing interest in botany. The floriography craze was introduced to Europe by the Englishwoman Mary Wortley Montagu (1689–1762), who brought it to England in 1717, and Aubry de La Mottraye (1674–1743), who introduced it to the Swedish court in 1727. Joseph Hammer-Purgstall's Dictionnaire du language des fleurs (1809) appears to be the first published list associating flowers with symbolic definitions, while the first dictionary of floriography appears in 1819 when Louise Cortambert, writing under pen name Madame Charlotte de la Tour, wrote Le langage des Fleurs.
Robert Tyas was a popular British flower writer, publisher, and clergyman, who lived from 1811 to 1879; his book, The Sentiment of Flowers; or, Language of Flora, first published in 1836 and reprinted by various publishing houses at least through 1880, was billed as an English version of Charlotte de la Tour's book.[9]
In the United States the first appearance of the language of flowers in print was in the writings of Constantine Samuel Rafinesque, a French-American naturalist, who wrote on-going features under the title "The School of Flora", from 1827 through 1828, in the weekly Saturday Evening Post and monthly Casket; or Flowers of Literature, Wit, and Sentiment. These pieces contained the botanic, English and French names of the plant, a description of the plant, an explanation of its Latin names, and the flower's emblematic meaning, therefore readers could select flowers appropriately to send a message.[5] However, the first books on floriography were Elizabeth Wirt's Flora's Dictionary and Dorothea Dix's The Garland of Flora, both of which were published in 1829, though Wirt's book had been issued in an unauthorized edition in 1828.
During its peak in the United States, the language of flowers attracted the attention of popular writers and editors. Sarah Josepha Hale, longtime editor of the Ladies' Magazine and co-editor of Godey's Lady's Book, edited Flora's Interpreter in 1832; it continued in print through the 1860s. Catharine H. Waterman Esling wrote a long poem titled "The Language of Flowers", which first appeared in 1839 in her own language of flowers book, Flora's Lexicon; it continued in print through the 1860s. Lucy Hooper, an editor, novelist, poet, and playwright, included several of her flower poems in The Lady's Book of Flowers and Poetry, first published in 1841. Frances Sargent Osgood, a poet and friend of Edgar Allan Poe, first published The Poetry of Flowers and Flowers of Poetry in 1841, and it continued in print through the 1860s.
Meanings
The significance assigned to specific flowers in Western culture varied – nearly every flower had multiple associations, listed in the hundreds of floral dictionaries – but a consensus of meaning for common blooms has emerged. Often, definitions derive from the appearance or behavior of the plant itself. For example, the mimosa, or sensitive plant, represents chastity. This is because the leaves of the mimosa close at night, or when touched. Likewise, the deep red rose and its thorns have been used to symbolize both the blood of Christ and the intensity of romantic love, while the rose's five petals are thought to illustrate the five crucifixion wounds of Christ. Pink roses imply a lesser affection, white roses suggest virtue and chastity, and yellow roses stand for friendship or devotion. The black rose (in nature, a very dark shade of red, purple, or maroon, or may be dyed)[10] may be associated with death and darkness due to the traditional (Western) connotations of the shade.[11]
"A woman also had to be pretty precise about where she wore flowers. Say, for instance, a suitor had sent her a tussie-mussie (a.k.a. nosegay). If she pinned it to the 'cleavage of bosom', that would be bad news for him, since that signified friendship. Ah, but if she pinned it over her heart, 'That was an unambiguous declaration of love'."[12] Details such as positioning of flowers and their buds were very important and carried different messages.[13]
The action of giving flowers served as a silent answer to a question. If flowers were presented with the right hand it would indicate the answer to the question was "yes", if the flowers were given with the left hand it meant "no". Important details such as which side the bow was tied determined if the message applied to the person presenting the flowers or the person receiving them.[14]
Later authors inspired by this tradition created lists that associate a birthday flower with each day of the year.[15]
I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine: There sleeps Titania sometime of the night, Lull'd in these flowers with dances and delight;
– A Midsummer Night’s Dream, Act 2, Scene 1
Shakespeare used the word "flower" more than 100 times in his plays and sonnets.[16] In Hamlet, Ophelia mentions the symbolic meanings of flowers and herbs as she hands them to other characters in Act 4, Scene 5: pansies, rosemary, fennel, lilies, columbine, rue and daisy. She regrets she has no violets, she says, "... but they wither'd all when my father died".[17] In The Winter's Tale, the princess Perdita wishes that she had violets, daffodils, and primroses to make garlands for her friends. In A Midsummer Night's Dream, Oberon talks to his messenger Puck amidst a scene of wild flowers.[18]
Flowers are often used as a symbol of femininity. John Steinbeck's short story "The Chrysanthemums" centers around the yellow florets, which are often associated with optimism and lost love. When the protagonist, Elisa, finds her beloved chrysanthemums tossed on the ground, her hobby and womanhood have been ruined; this suffices the themes of lost appreciation and femininity in Steinbeck's work.[20]
Hajime Isayama frequently used various types of flowers for symbolism and foreshadowing in his manga series Attack on Titan, which also includes Hanakotoba (花言葉), the Japanese form of floriography.[21][22]
In art
Several Anglican churches in England have paintings, sculpture, or stained glass windows of the lily crucifix, depicting Christ crucified on or holding a lily. One example is a window at The Clopton Chantry Chapel Church in Long Melford, Suffolk, England, UK.
The Victorian Pre-Raphaelites, a group of 19th-century painters and poets who aimed to revive the purer art of the late medieval period, captured classic notions of beauty romantically. These artists are known for their idealistic portrayal of women, emphasis on nature and morality, and use of literature and mythology. Flowers laden with symbolism figure prominently in much of their work. John Everett Millais, a founder of the Pre-Raphaelite brotherhood, used oils to create pieces filled with naturalistic elements and rich in floriography. His painting Ophelia (1852) depicts Shakespeare's drowned stargazer floating amid the flowers she describes in Act IV, Scene V of Hamlet. The Edwardian artist John Singer Sargent spent much time painting outdoors in the English countryside, frequently utilizing floral symbolism. Sargent's first major success came in 1887, with Carnation, Lily, Lily, Rose, a large piece painted on site in the plein air manner, of two young girls lighting lanterns in an English garden.
Contemporary artist Whitney Lynn created a site-specific project for the San Diego International Airport[23] employing floriography, utilizing flowers' ability to communicate messages that otherwise would be restricted or difficult to speak aloud.[24] Lynn previously created a work, Memorial Bouquet,[25] utilizing floral symbolism for the San Francisco Arts Commission Gallery. Based on Dutch Golden Age still-life painting, the flowers in the arrangement represent countries that have been sites of US military operations and conflicts.
Floriography in the 21st century has been reduced but has been displayed in different ways. For example, tattoos of flowers and plants may carry symbolism and significance which relate to their historical meaning.[26] The same can be said for jewelry designed and worn based on what the flowers represent. Floriography can still be found in traditional ways through bouquets, a common example of this would be the common practice of gifting red roses on Valentine's Day to represent love and romance and wearing poppies for remembrance.[27] The gifting of flowers is not always personal, businesses and organizations may send floral arrangements to communicate professionalism and success. While the traditional use of floriography may have changed, the symbolism of flowers continues to provide a connection between humans and nature.
Lilium is a genus of herbaceous flowering plants growing from bulbs, all with large and often prominent flowers. They are the true lilies. Lilies are a group of flowering plants which are important in culture and literature in much of the world. Most species are native to the Northern Hemisphere and their range is temperate climates and extends into the subtropics. Many other plants have "lily" in their common names, but do not belong to the same genus and are therefore not true lilies.
Lily of the valley, sometimes written lily-of-the-valley, is a woodland flowering plant with sweetly scented, pendent, bell-shaped white flowers borne in sprays in spring. It is native throughout the cool temperate Northern Hemisphere in Asia and Europe. Convallaria majalis var. montana, also known as the American lily of the valley, is native to North America.
Alstroemeria, commonly called the Peruvian lily or lily of the Incas, is a genus of flowering plants in the family Alstroemeriaceae. They are all native to South America, although some have become naturalized in the United States, Mexico, Australia, New Zealand, Madeira and the Canary Islands. Almost all of the species are restricted to one of two distinct centers of diversity; one in central Chile, the other in eastern Brazil. Species of Alstroemeria from Chile are winter-growing plants, while those of Brazil are summer growing. All are long-lived perennials except A. graminea, a diminutive annual from the Atacama Desert of Chile.
Floristry is the production, commerce, and trade in flowers. It encompasses flower care and handling, floral design and arrangement, merchandising, production, display and flower delivery. Wholesale florists sell bulk flowers and related supplies to professionals in the trade. Retail florists offer fresh flowers and related products and services to consumers. The first flower shop in the United States opened prior to 1851.
Nymphaea is a genus of hardy and tender aquatic plants in the family Nymphaeaceae. The genus has a cosmopolitan distribution. Many species are cultivated as ornamental plants, and many cultivars have been bred. Some taxa occur as introduced species where they are not native, and some are weeds. Plants of the genus are known commonly as water lilies, or waterlilies in the United Kingdom. The genus name is from the Greek νυμφαία, nymphaia and the Latin nymphaea, which mean "water lily" and were inspired by the nymphs of Greek and Latin mythology.
Campanula rotundifolia, the harebell, Scottish bluebell, or bluebell of Scotland, is a species of flowering plant in the bellflower family Campanulaceae. This herbaceous perennial is found throughout the temperate regions of the northern hemisphere. In Scotland, it is often known simply as bluebell. It is the floral emblem of Sweden where it is known as small bluebell. It produces its violet-blue, bell-shaped flowers in late summer and autumn.
Lilium candidum, the Madonna lily or white lily, is a plant in the true lily family. It is native to the Balkans and Middle East, and naturalized in other parts of Europe, including France, Italy, and Ukraine, and in North Africa, the Canary Islands, Mexico, and other regions. It has been cultivated since antiquity, for at least 3,000 years, and has great symbolic value since then for many cultures. It is susceptible to several virus diseases common to lilies, and especially to Botrytis fungus. One technique to avoid problems with viruses is to grow plants from seed instead of bulblets.
Dianthus barbatus, the sweet William, is a species of flowering plant in the family Caryophyllaceae, native to southern Europe and parts of Asia. It has become a popular ornamental garden plant. It is a herbaceous biennial or short-lived perennial plant growing to 13–92 cm tall, with flowers in a dense cluster of up to 30 at the top of the stems. Each flower is 2–3 cm diameter with five petals displaying serrated edges. Wild plants produce red flowers with a white base, but colours in cultivars range from white, pink, red, and purple to variegated patterns. The exact origin of its English common name is unknown but first appears in 1596 in botanist John Gerard's garden catalogue. The flowers are edible and may have medicinal properties. Sweet William attracts bees, birds, and butterflies.
Floral design or flower arrangement is the art of using plant material and flowers to create an eye-catching and balanced composition or display. Evidence of refined floral design is found as far back as the culture of ancient Egypt. Floral designs, called arrangements, incorporate the five elements and seven principles of floral design.
A nosegay, posy, or tussie-mussie is a small flower bouquet, typically given as a gift. They have existed in some form since at least medieval times, when they were carried or worn around the head or bodice. Doilies are traditionally used to bind the stems in these arrangements. Alternatively, "posy holders", available in a variety of shapes and materials, enable the wearing of these arrangements "at the waist, in the hair, or secured with a brooch".
A flower bouquet is a collection of flowers in a creative arrangement. Flower bouquets can be arranged for the decor of homes or public buildings or may be handheld. Several popular shapes and styles classify handheld bouquets, including nosegay, crescent, and cascading bouquets. Flower bouquets are often given for special occasions such as birthdays, anniversaries or funerals. They are also used extensively in weddings and at the Olympic Medal Ceremonies. Bouquets arranged in vases or planters for home decor can be placed in traditional or modern styles. According to the culture, symbolism may be attached to the types of flowers used.
Various folk cultures and traditions assign symbolic meaning to the rose, though these are seldom understood in-depth. Examples of deeper meanings lie within the language of flowers, and how a rose may have a different meaning in arrangements. Examples of common meanings of different coloured roses are: true love (red), mystery (blue), innocence or purity (white), death (black), friendship (yellow), and passion (orange).
A Shakespeare garden is a themed garden that cultivates some or all of the 175 plants mentioned in the works of William Shakespeare. In English-speaking countries, particularly the United States, these are often public gardens associated with parks, universities, and Shakespeare festivals. Shakespeare gardens are sites of cultural, educational, and romantic interest and can be locations for outdoor weddings.
The history of flower arrangement dates back to ancient Egyptian times.
Cut flowers are flowers and flower buds that have been cut from the plant bearing it. It is removed from the plant for decorative use. Cut greens are leaves with or without stems added to the cut flowers for contrast and design purposes. These displays improve the quality of the human environment.
Flower preservation has existed since early history, although deliberate flower preservation is a more recent phenomenon. In the Middle East, the bones of pre-historic man were discovered with delicate wild flowers probably as a tribute to a passing loved one. Evidence of deliberate use of specific flowers is indicated by the pollen grains that were present. Brightly colored and vivid flowers were also found in Egyptian tombs. These flowers were approximated to be 4,000 years old. In the sixteenth century medicinal nosegays began to give way to ornamental ones. Flowers essentially started to be used for decorative purposes such as jewels, fans and gloves. During the Elizabethan Age the once familiar ruff was replaced by soft lacy collars, and bosom flowers also became popular.
National symbols are the sacred attributes for Ukrainian people. In Ukrainian graphics there exist a number of symbols and images from national songs, legends. Such symbols and imagery are used in national customs and rituals. They are reproduced in embroidery on national costumes, ritual cloth—rushnyks, painted on crockery, in forged products, in carving, in bas-relief house decoration, in hearth painting, pottery, engraving and also in Ukrainian traditional Easter eggs—pysanky.
In art, symbolic language is the use of characters or images to represent concepts and imagery to communicate meaning by displaying an accessible concept, the signifier, to represent a signified concept.
1 2 Adamich Laufer, Geraldine. Tussie Mussies The Victorian Art of Expressing Yourself in the Language of Flowers. Workman Publishing Company, Inc. ISBN1563051060.
↑ Reprints published by Robert Tyas, London, 1841; Houlston and Stoneman, London, 1844; George Routledge and Sons, London, 1869; George Routledge and Sons, London, 1875; George Routledge And Sons, London, 1880.
The Victorian Language of Flowers - Occasional Papers volume 10, Occasional Papers of the RHS Lindley Library, volume 10, April 2013. Gives a full overview of the topic and a comparison of the meanings of flowers from a selection of language of flowers books in the RHS Lindley Libraries.
Scans of 19th-century books on the language of flowers:
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