My Studio Neighbors

As far back as botanical history avails us these forms have been the same, each true to its particular species of flower, each with an underlying purpose which has a distinct and often simple reference to its form; and yet, incredible as it now seems to us, the botanist of the past has been content with the simple technical description of the feature, without the slightest conception of its meaning, dismissing it, perhaps, with passing comment upon its "eccentricity" or "curious shape." Indeed, prior to Darwin's time it might be said that the flower was as a voice in the wilderness. In 1735, it is true, faint premonitions of its present message began to be heard through their first though faltering interpreter, Christian Conrad Sprengel, a German botanist and school-master, who upon one occasion, while looking into the chalice of the wild geranium, received an inspiration which led him to consecrate his life thence-forth to the solution of the floral hieroglyphics. Sprengel, it may be said, was the first to exalt the flower from the mere status of a botanical specimen. This philosophic observer was far in advance of his age, and to his long and arduous researches--a basis built upon successively by Andrew Knight, Koehlreuter, Herbert, Darwin, Lubbock, Mueller, and others--we owe our present divination of the flowers. In order to fully appreciate this present contrast, it is well to briefly trace the progress, step by step, from the consideration of the mere anatomical and physiological specimen of the earlier botanists to the conscious blossom of to-day, with its embodied hopes, aspirations, and welcome companionships.