And if I allow this flower to be the first we take up for careful study in Proserpina, on account of its simplicity of form and splendour of colour, I wish you also to remember, in connection with it, the cause of Proserpine's eternal captivity--her having tasted a pomegranate seed,--the pomegranate being in Greek mythology what the apple is in the Mosaic legend; and, in the whole {103} worship of Demeter, associated with the poppy by a multitude of ideas which are not definitely expressed, but can only be gathered out of Greek art and literature, as we learn their symbolism. The chief character on which these thoughts are founded is the fulness of seed in the poppy and pomegranate, as an image of life: then the forms of both became adopted for beads or bosses in ornamental art; the pomegranate remains more distinctly a Jewish and Christian type, from its use in the border of Aaron's robe, down to the fruit in the hand of Angelico's and Botticelli's Infant Christs; while the poppy is gradually confused by the Byzantine Greeks with grapes; and both of these with palm fruit. The palm, in the shorthand of their art, gradually becomes a symmetrical branched ornament with two pendent bosses; this is again confused with the Greek iris, (Homer's blue iris, and Pindar's water-flag,)--and the Florentines, in adopting Byzantine ornament, read it into their own Fleur-de-lys; but insert two poppyheads on each side of the entire foil, in their finest heraldry. 15. Meantime the definitely intended poppy, in late Christian Greek art of the twelfth century, modifies the form of the Acanthus leaf with its own, until the northern twelfth century workman takes the thistle-head for the poppy, and the thistle-leaf for acanthus. The true poppy-head remains in the south, but gets more and more confused with grapes, till the Renaissance carvers are content with any kind of boss full of seed, but insist on such boss {104} or bursting globe as some essential part of their ornament;--the bean-pod for the same reason (not without Pythagorean notions, and some of republican election) is used by Brunelleschi for main decoration of the lantern of Florence duomo; and, finally, the ornamentation gets so shapeless, that M. Violet-le-Duc, in his 'Dictionary of Ornament,' loses trace of its origin altogether, and fancies the later forms were derived from the spadix of the arum.