The language of flowers in nineteenth-century American painting

Magazine Antiques, Oct, 1999 by Judith Walsh

Flowers are among the universal symbols used in art. Their fragility, color, odor, habit of growth, or use in healing have all suggested symbolic meanings for writers and artists. First codified in the emblem books of the Renaissance, floral symbolism in the Western tradition most often refers to religious tenets. During the Victorian era a new, systematic floral vocabulary known as the "language of flowers" was developed in Europe and the Americas.(1) It was popularized through scores of small decorative books that listed the sentiments represented by specific flowers. Judging by the passionate nature of the vocabulary and the explicit instructions found in some books, the language of flowers was construed as a coded language of love. It reached the zenith of its popularity on both sides of the Atlantic between 1840 and 1870.

Here I shall outline the history of the genre known as the language of flowers and demonstrate that there was a particular set of meanings accepted in nineteenth-century America. In next month's issue of ANTIQUES I shall discuss the language of flowers and other floral symbolism found in the paintings of Winslow Homer (1836-1910).

The first books on the language of flowers appeared in France in the early nineteenth century. Mme. G.'s Bouquet du Sentiment ou Allegorie des Plantes et des Couleurs of 1816 is a fine example of this type. The tiny, hand-bound book has a decorated red leather spine and oil-painted floral covers. It lists flowers and trees, several to a diminutive page, with a short description of the sentimental meaning assigned by the author. It also contains many fine, hand-colored etchings of floral pieces and landscapes with trees [ILLUSTRATION FOR PLATE III OMITTED]. The book was probably given as a token of affection on New Year's Day.

The most influential of these early books was Le Langage des Fleurs, by Charlotte de La Tour, first published in Paris in 1819.(2) Translations and imitations were soon available all over Europe and throughout the Americas in Spanish, German, Italian, Dutch, and English. Louis Aime Martin's Langage et Embleme des Fleurs of 1835 [ILLUSTRATION FOR PLATE IV OMITTED] is one such imitation. These books might include poetry or the rudiments of botany, and almost all were illustrated.

Curiously characterized as both secret and universal, the practical application of the language of flowers was to create a bouquet that would convey a passionate message to the recipient, who would decode it by consulting the books and then respond, perhaps in kind. The lexicons compiled sentiments and thoughts that describe the "feminine" attitudes toward love and courtship and promoted Victorian ideals of womanhood by identifying women with flowers. Given to commemorate holidays or personal events, they held a public place in nineteenth-century drawing rooms along with other sentimental flower books.(3)

The language of flowers was a rather simple idea that became complex because so many authors contributed to the genre. Books were published by the score under various imprints at a time when copyright law was either inadequate or nonexistent. Each of the published lists was somewhat idiosyncratic, although all echoed La Tours example. The meanings assigned to individual flowers might be changed from book to book to suit the author's culture, to satisfy their perceived need for variety, or to expand the vocabulary as a marketing device.(4) Predictably, in the United States the sentiments have a more puritanical tone than those published in France or Great Britain.(5)

Floras Dictionary, by "A Lady" [Elizabeth Washington Gamble Wirt], first published in Baltimore in 1829 and reprinted steadily well into the 1860s, is typical of the American books [ILLUSTRATION FOR PLATE VI OMITTED]. In her preface the author felt compelled to defend the practice of sending a message in flowers:

One may be worse employed than in conversing with flowers. They are innocent companions, at least; and, in those hours in which the most industrious look for relaxation and amusement, it will be happy for us if we find no society more noxious, than that of these pure and beautiful parts of creation.(6)

After allaying the fear that such a gentle pleasure might be faintly immoral, Wirt offers encouragement to those who wish to engage in a socially accomplished courtship:

Compared with modern manners, either in Europe or America, what is there that can vie, in picturesque beauty, with the Persian youth, gracefully presenting a rose to his Mistress? What language can convey a compliment so delicate and exquisite? And if a communication of a still more interesting nature be intended, how much more refined, poetic and affecting is the mute eloquence of the eastern lover than those awkward and embarrassing declarations which are in use in other countries! How much easier is it to present a flower, than to make a speech!(7)

The vocabularies, although aimed at women, were apparently to be used by men as they addressed women. One can imagine both parties in a love affair to be relieved at the thought that tiresome "declarations" were no longer necessary.