Considering every flower under the type of a cup, the first part of the petal is that in which it expands from the bottom to the rim; the second part, that in which it terminates itself on reaching the rim. Thus let the three circles, A B C, Fig 6., represent the undivided cups of the three great geometrical orders of flowers--trefoil, quatrefoil and cinquefoil. [Illustration: FIG. 6.] Draw in the first an equilateral triangle, in the second a square, in the third a pentagon; draw the dark lines from centres to angles; (D E F): then (_a_) the third part of D; (_b_) the fourth part of E, (_c_) the fifth part of F, are the normal outline forms of the petals of the three {75} families; the relations between the developing angle and limiting curve being varied according to the depth of cup, and the degree of connection between the petals. Thus a rose folds them over one another, in the bud; a convolvulus twists them,--the one expanding into a flat cinquefoil of separate petals, and the other into a deep-welled cinquefoil of connected ones. I find an excellent illustration in Veronica Polita, one of the most perfectly graceful of field plants because of the light alternate flower stalks, each with its leaf at the base; the flower itself a quatrefoil, of which the largest and least petals are uppermost. Pull one off its calyx (draw, if you can, the outline of the striped blue upper petal with the jagged edge of pale gold below), and then examine the relative shapes of the lateral, and least upper {76} petal. Their under surface is very curious, as if covered with white paint; the blue stripes above, in the direction of their growth, deepening the more delicate colour with exquisite insistence. A lilac blossom will give you a pretty example of the expansion of the petals of a quatrefoil above the edge of the cup or tube; but I must get back to our poppy at present. 15. What outline its petals really have, however, is little shown in their crumpled fluttering; but that very crumpling arises from a fine floral character which we do not enough value in them. We usually think of the poppy as a coarse flower; but it is the most transparent and delicate of all the blossoms of the field. The rest--nearly all of them--depend on the _texture_ of their surfaces for colour. But the poppy is painted _glass_; it never glows so brightly as when the sun shines through it. Wherever it is seen--against the light or with the light--always, it is a flame, and warms the wind like a blown ruby. In these two qualities, the accurately balanced form, and the perfectly infused colour of the petals, you have, as I said, the central being of the flower. All the other parts of it are necessary, but we must follow them out in order.