seems to have allowed her works to bear a temporary improvement only, in order to create industrious habits in man, her most noble and finished work. The primitive Pink is simple red or white, and scented; by floriculture its petals have been enlarged and multiplied, and its colours infinitely varied, until it has obtained all the colours from the darkest purple to the purest white, with all the hues of red from the rich crimson to the pale rose, and with which the yellow is frequently blended. In some of these flowers we see the eye of the pheasant painted, others are beautifully marbled, striped, or figured. In some varieties we see two opposite colours abruptly diversified, whilst, in others, they seem not only to meet in happy contrast, but to mingle and soften off in shades. Thomson speaks of it as the gay spotted Pink; but under all its diversities it preserves its delicious spicy fragrance, which never leaves it, however incessantly it inclines to quit its artificial adornment to take its own simple attire. 66 Although our forefathers might not have carried refinement so far as to have laid down rules for the government of our admiration towards flowers, yet we find Professor Martyn wrong when he states that the Pink had not attracted any notice amongst our ancestors; and that it is only within the last half of the eighteenth century, that Pinks were much improved and varied, so as to be greatly valued amongst florists. We have already shown that they were cultivated in the reign of Elizabeth; and Parkinson enumerates many fine varieties that were favourites in the time of his unhappy master Charles I. The White Pink is one of the flowers which Milton calls for in his monody on Lycidus, and London and Wise, so celebrated for having laid out the gardens of Blenheim, and improving those of Kensington, gives more pages on the cultivation of the Pink than on that of any other plant contained in their Retired Gardener of 1706. Madame de Genlis tells us, that it was the good king Rene, of Anjou, the Henry IV., of Provence, who first enriched the gardens of France with the Pink, and to this day it remains a favourite flower in the neighbourhood of Toulouse, although it is much less frequent in the vicinity of Paris than formerly. It is a flower that has attracted the particular notice of princes. The great Condé, whilst prisoner in the Bastile, amused himself in the cultivation of Pinks. We have connected with the Pink an anecdote, which shows how far the mind may be led away and debased by the arts of flattery. The young Duke of Burgundy, grandson of Louis XV., being fond of cultivating these flowers, a flatterer persuaded him, by substituting other pots of Pinks for those of the Prince, that the Pinks which he planted, came and flourished in one night. Thus persuaded, the youthful Prince believed that nature obeyed his will. One night, not being able to sleep, he expressed a wish to get up, but was told that it was then the middle of the night: "Well," replied he, "I will have it be day." It has been observed that the Pink has lost its powerful attractions for the nobility of this country, and is degenerated into a mechanic's 222 ORNAMENTAL GARDEN POTS. flower, because its cultivation is so carefully and successfully attended to in manufacturing districts, and more particularly at Paisley. But this is erroneous as far as it relates to good taste, as we have frequently noticed with what delight these flowers have been regarded by the most refined classes of society, when they have met with them in village gardens; for their own florists having of late years been so much engaged in the culture of rare plants, known ones have too frequently been negleeted. How forcibly does the sight of the Pink carry our imagination back to the well-known cottages of our infant days, and how often does the picture present itself showing where "A path with Pinks and Daisies trimm'd, Led from the homely entrance gate; Bespoke the tenant's low estate." It is in such situations that flowers have the power of delighting the English traveller, because, in most other parts of the world, he finds his fellow-creatures too often debarred from these innocent luxuries, that endear his home to the English cottager, and render his limited bounds a sufficient substitute for a proud domain; with what pride and satisfaction do we see him regard his plants on the morning of a fine sabbath-day, surrounded by his neatly-clad family. These are scenes that are the particular boast of England, but like the Pink they require a careful attention to prevent their degeneration. ORNAMENTAL GARDEN POTS. No IF we may judge by the prevailing taste of the present day, we are midway in what may be termed the transition state from the plain matter-of-fact principles which have hitherto principally guided us, both in business and decoration, to that period when the highest efforts of artistic skill shall be brought to bear, not only on purely decorative objects, but also on more common articles. That such a period has arrived in the history of all nations who have been celebrated for refinement and civilization, there is abundant testimony to prove. one can for a moment behold the restored treasures of the ancient Egyptians, the relics of Etrurian pottery-ware, or the matchless sculpture of the Greeks and early Romans, without being forcibly convinced how highly the decorative art was prized by them, and of the high degree of refinement requisite to design, execute, and appreciate objects, which generally speaking we, as a nation, are only beginning to understand and value. I need scarcely refer to the mediæval ages for corroborative proof. The decoration of tapestry, the embellishment of missals, and the carving with which the most trifling articles were enriched, all bespeak an appreciation of the ornamental and decorative styles, in an age not otherwise remarkable for the refinements of civilized life. At the present time, in our own country, and more or less in others, the attempt at restoring the true decorative style, both on objects justly considered within the pale of the fine arts, ORNAMENTAL GARDEN POTS. 223 and on those more common utensils pertaining to our daily wants, which have hitherto been considered unworthy of such distinction, is daily pushing itself into notice. We may hail this as unmistakeable evidence that an appreciation of the beautiful and decorative in art is fast pervading society at large. I have been led into making the above remarks, on reflecting what might be done by way of improving the appearance of that most useful, common, and certainly, at present, most unornamental piece of pottery, "the garden-pot.' Gardeners have hitherto been content with it in its plain unpretending form and it may fairly be questioned whether any utensil employed either in gardening or agriculture has passed through the hands of many generations with its primitive form so little altered as this has. It is true, Mr. Forsyth some years ago recommended to have them glazed, or varnished; for which piece of advice he was unanimously voted an innovator, and I believe the plan was never put into practice. Some modification in its form, too, has been brought into notice, in the shape of the "West Kent Garden Pot;" but these, in so far as ornament is concerned, are not a whit before the original patterns. Again, lately, a substitute has been invented for our old friends in the shape of "slate tubs." Now I had always an inkling that these latter would be a great improvement, as regards appearance at least, to the common garden-pot; but after seeing a stage of plants growing in the "miniature orange-tubs," I was so struck with their prim, formal appearance, producing impressions so unfavourable to my pre conceived ideas of beauty, that I determined in my own mind they would never succeed, where taste was called in question. Perhaps some readers may not be aware how far the decorative art may be carried into effect on the common flower-pot, and the wide field it opens for design in their embellishment; several attempts have been made, one of which has come under my notice, and as they have stood with comparative safety for twelve years to my knowledge, I am enabled to speak as to their durability. The pots I am now describing were, I believe, made at Sherborne, and are of a large size. They are (to all appearance) made of the common pottery clay, in moulds. The rims of the pots at top and bottom are embossed with foliage and flowers, and festoons of the same, in high relief, are carried round the sides. There is likewise an elaborate border towards the bottom, in the same style. The foliage, &c., has all the sharpness of outline so valued in sculptured relievo. Altogether, they are the most decorative article I ever saw made for plants. Now, it has often struck me while admiring the magnificent plants which annually crowd the tables of the metropolitan exhibitions, how much pots of this description would enhance the beauty of the plants exhibited. It must be admitted, that the value of all objects is increased by comparison, as they approach a certain point, or degree of excellence. The plants themselves are many of them matchless specimens of the gardener's skill. Nature and art cannot go much farther in cultivation. The pots, on the contrary, are neither better, nor perhaps worse, than they were fifty years back; try to embellish them, and make them worthy, as works of art, to be viewed with satisfaction, in connexion with the choice treasures they contain. The reader must not suppose that pots thus decorated are recommended to be universally used; such would be a misapplica tion of taste; but for plants to bloom in, for the conservatory, and for plants intended during the summer to ornament the flower-garden, or parterre, such pots would harmonize with the surrounding objects and scenery, and by their warmth and colour, form pleasing objects of themselves, independent of their proper uses.-Spencer, in Paxton's Magazine. THE POTENTILLA Is one of those plants which do not attract much attention in their original state, but which have been rendered desirable by the improvements that have been made by seeding. The best of the family was Potentilla Hopwoodiana, which was originally found in a bed of stools, and was supposed to be a self-sown seedling, a natural cross between a light and a scarlet. This flower, to be perfect, should be circular and slightly cupped, blooming abundantly, completely above the foliage, on stiff wiry branches. The colour, as in all other flowers, is purely a matter of taste, but the most in repute are the most brilliant. The culture of the Potentilla has been quite neglected, except that it is found among the collections of herbaceous plants. A collection of them in a bed, with the flowers well contrasted, makes a very showy object, and the following selection has been recommended : Atrosanguinea, deep crimson. Thomasii, rich yellow, large. Insignis, bright yellow. Russelliana, crimson scarlet. Formosa, rose. Menziesii, rich crimson. M'Nabiana, bright crimson. O'Brienii, orange red. Rubra-Aurantia, red and orange. Hopwoodiana, lemon ground with pink edges. Plantii, yellow centre, scarlet border. These are calculated to make a pretty little collection to begin with, and contrast one with the other well for colour. This plant, like many others, would grow best in good rich loam, without any other dung than had fallen to its share when it was in pasture land; and as a general rule, nothing beats this soil for flowers. Beds should be formed four feet wide, and any length the number may require. They should be planted in three rows down the bed; the rows should be nine inches from the side, and the same from row to row. There are few subjects that look more pleasing or more showy. They will do three years without replanting, but when done, the roots should be parted, so that there be a good heart and a bit of root to each. After watering them in, to settle the earth about the roots, they may ON THE CULTURE OF CHOROZEMAS. 225 be left, all but cleaning; they must be weeded from time to time, but that is all they require. It is a plant well worth growing from seed for the chance of a new variety, and if the before-mentioned varieties were placed in one bed, all the seed saved from the bed must afford the very best chance of novelty, because all the colours, being placed to grow in one bed, will be crossed by the bees, &c., and no two can be crossed without making very pretty combinations. When these flowers are shown for prizes, they ought to be shown on a single flower stem, and all the blooms and branches on it. They might be shown in stands or tubes of half-a-dozen varieties, and would make a very pleasing change in the tables of flowers. Like most herbaceous perennials which increase rapidly by the spreading of the roots, seedlings have been neglected, but it is not too late to begin. TO DESTROY SLUGS. BY CLERICUS. AT this season of the year, florists, as well as gardeners in general, have to contend with the depredations of slugs. Slices of turnip, the larger the better, placed on the ground so that the snails can creep under on one side, are excellent decoys. During the night they repair to them, feed voraciously, and usually remain concealed, so that in the morning, the slices being examined, they will be found, and can readily be destroyed. I have adopted this method for some time, and although, when I first commenced, I took them by hundreds in a morning, I have, by perseverance, almost got rid of the race from my garden. ON THE CULTURE OF CHOROZEMAS. THE Chorozema is generally considered difficult to cultivate, but it can be grown well by pursuing the following method :— -The soil should be a sandy peat, well broken with the spade, but not sifted. The best time for potting is March or April: care must be taken not to overpot the plants, or injure the roots while potting; the soil must be made very firm and compact about the roots, and the pots well drained; then they must be placed in the greenhouse, in an airy situation, and not crowded among other plants. It is also well to keep them in the greenhouse during summer, but in hot weather they should be shaded for two or three hours each day during sunshine. They require a reasonable supply of water; that is, they must not be sodden nor left to dry. They may be propagated in the following manner :-The cuttings should be taken off while the wood is young, and carefully prepared; take off the bottom leaves with a sharp knife, and make a clear cut just through the joint; the cutting pot should be drained, and then filled to within an inch of the top with the soil before mentioned; on the top of this put a layer of white sand, into which put the cuttings, making a hole for their reception with a small stick; when the pot is full, give them a little water with a fine rose, after which place a clean |