Transcriber’s Note: Italic text is enclosed in _underscores_. Boldface text is enclosed in =equals signs.= Small-caps text is shown in all-caps. [Illustration: _Lorenzo da Sanseverino_ _Photo Hanfstängl_ THE VIRGIN IN A STRAWBERRY-DECORATED MANTLE Below are the Gourd and Apple, symbols of Resurrection and Death (National Gallery) _Frontispiece_] ] THE FLORAL SYMBOLISM OF THE GREAT MASTERS BY ELIZABETH HAIG [Illustration] LONDON: KEGAN PAUL, TRENCH, TRÜBNER & CO., LTD. BROADWAY HOUSE, 68–74 CARTER LANE, E.C. 1913 [Illustration: _The Divine Heart (19th Century--German)_] PREFACE This little book has been written for the pleasure of those amateurs who are more interested in the idea which inspires a picture than in the picture’s workmanship. Naturally, the more accomplished the artist, the more clearly and attractively is he able to set forth his meaning; but with art criticism this book has nothing to do, and the attributions are, for the most part, simply those of the official catalogues of the respective galleries. To explain completely even so small a branch of Christian symbolism as that of flowers, an exhaustive knowledge is required of the development of Christian theology, and of the varying force with which different doctrines appealed at different times to the public mind. But still, these notes may be of some interest to those who care to trace in the work sanctioned by the Church and reverenced by the people the history of Western idealism, and who are sometimes puzzled by the conventions employed by the Masters to illustrate the Divine Mysteries. CONTENTS CHAP. PAGE I. EMBLEMS AND SYMBOLS 9 II. THE FLOWER SYMBOLISTS 23 III. THE LILY 41 IV. THE IRIS 62 V. THE ROSE 71 VI. THE CARNATION 83 VII. GARLANDS OF ROSES 88 VIII. THE COLUMBINE 104 IX. THE OLIVE 112 X. THORNS 126 XI. THE PALM 134 XII. THE ACANTHUS 146 XIII. THE FLEUR-DE-LYS 148