Journal Number 90
March 2004

HISTORICAL REPRINT

Botanical Drawings: 2
This is the second part from Walter Hood Fitch's articles first published in the Gardeners' Chronicle, 1869.

Stems. - In the straight stem there is always some degree of curve, therefore, the ruler should never be used; it is the last resort of those unable to make "straight strokes'' and is only worthy of schoolboys. It is more difficult to draw parallel lines, and the best practice is to sketch grasses or long-leaved plants. Leafy stems or branches should be first faintly outlined their whole length, of their proper thickness, so that the drawing may occupy a well-balanced position on the paper. Then mark whence the leaves spring. It is also desirable to note the shape of the stem, whether square, round, winged, etc.

The slight sketch below will show the advantage of proceeding thus cautiously, and will enable every
leaf petiole to have its proper point of attachment, whether visible or not.

Leaves. - If the leaves are more or less erect in relation to the stem, sketch the lower ones forst,
as a guide for those above, as in the left-hand cut in the following sketch (Fig. B.).

If reflexed, commence with the upper leaves, for the same reason. If done thus systematically,
there will be a great saving of time and indiarubber.

Opposite leaves are best shown slightly askew, but if the stem is branched, the leaves on some of
the branches should be more or less foreshortened, for the sake of variety.

Outline large leaves faintly before sketching them decidedly, and that should be done with one stroke
of the pencil, and not with repeated touches, unless the leaves are woolly, when an indefinite outline is advisable. It is better to put in the midrib first, and it should always have some degree of curve, however stiff the leaves may be - leaves are very seldom so rigid as to have none; then mark whence the veins spring.

In serrated leaves it is safer to put in the serrated outline before doing the veins; and, in cases where
the latter terminate in the points of the serratures, commence the veins at the points, and they are
sure to terminate properly.

In lobed leaves, after faintly indicating the lobes, put in the ribs and veins first, and the outline of the
lobes, particularly if they be toothed, will be found much easier. In digitate leaves, indicate the petiole
and midribs first, the relative position of the leaflets can be kept with greater certainty.

In pinnate leaves, when large, after faintly sketching the rachis and the points whence the leaflets spring, put in the midribs just, and define the leaflets last; if the pinnate leaf is small, this is unnecessary.

                               Figure B:   Leaf Growth
 

            Figure C:   Serrated, pinnate and lobed leaves

Leaves in Perspective. - Leaves have been subjected to more bad treatment than perhaps any other portion of the vegetable kingdom; they have been represented, or rather misrepresented, in all kinds of impossible positions. Numerous are the tortures to which they have been subjected: dislocated or broken ribs, curious twists, painful to behold - even their wretched veins have not escaped; and all these errors in perspective arise from inattention to the simple fact, that in a curved leaf, showing the under side, the midrib should be continuous, and the veins should spring from the midrib.

The simple way to avoid perpetrating such vagaries, is to treat a leaf as if it were skeletonised, and I would recommend skeletonised leaves as admirable subjects to illustrate their own perspective.
A little study of them in this state would be beneficial to those who are wont to take unwarrantable
liberties with them when rejoicing in their summer garment of green, which veils their curious anatomy.

In representing leaves in perspective, then, the first faint outline will be found of the greatest service,
and in making it, the leaves should be treated as if they were skeletonised, i.e. continue the outline
through the curved portion of the leaf. Here I may impress upon the ready the importance of noting
the angle formed by the veins with the midrib, their respective distances apart, their faintness or prominence.

It is also useful in drawing for scientific purposes, to represent a leaf cut across, to show the thickness; but that is chiefly desirable when it is leathery or succulent. The cuts in Figure D below will illustrate these remarks.

                Figure D:   Leaves in perspective
 

Flowers. - Flowers are often considered the most difficult parts of the plant to sketch; but such,
I think, is not really the case, their perspective being more evident and less varied than that of leaves whose positions are almost infinite.

The most common error perpetrated is that of not placing the flower correctly on its stalk or peduncle, but with its neck dislocated as it were, thus imparting to the sufferer an air of conscious comicality.

To avoid this infliction, in making the first sketch prolong the stalk or axis through the flower to the
centre, whence the petals or divisions may radiate correctly beyond a doubt. Another common fault
is to represent them all pointing in one direction; sometimes this may occur in Nature, but it is not artistic to copy it in every case.

For scientific purposes it is desirable that positions should be as varied as possible, so that at least a front side and back of a flower be exhibited. A third error I may also allude to, and it is one very common in drawings made from dried specimens for scientific purposes - I have often seen otherwise correct and beautiful plates marred by it - viz., the representing all or most of the flowers in a panicle or mass, with one particular division of the corolla directed towards the spectator; such uniformity is too mechanical to be natural.

As good a flower as any to commence with is a Primrose, and for a mass of flowers the Polyanthus
or Oxlip, as in these cases they are presented to the eye in various positions.

                                   Figure E:   Tubular Flowers
 

For the front view a faint circle should be pencilled, the centre and corolla indicated, and then sketched in as firmly as is desirable. If the drawing is to be coloured, the outline and veins, if any, should be strong enough not to be quite obliterated by dark colour.

In a side view the tube should be properly adjusted to correspond with the throat or eye; the simplest way to do so is to carry the outline of the tube faintly through to the centre of the flower, as in the foregoing cut. In a position showing the tube foreshortened, or in a back view, the same method should be adopted as shown in the above illustration.

Tubular flowers are often sadly treated by draughtsmen; take, for instance, the common Daffodil, in which, if lines were drawn round each centre, they ought to be in the same plane. The next sketch will better explain my meaning.

       Figure F:   The Daffodil

It is one of the most difficult flowers to sketch correctly in its natural position, and the best way to
test correctness is to turn the paper, so that the flower be erect, when the bad drawing, if any, will
be obvious.