From the seed and florist business of Joseph Doyle to the world-renowned success of the Daisy Hill Nurseries, Newry has had a rich history in the flower industry. This week Newry and Mourne Museum will look back on the history of floriography, the language of flowers.
While the practice of floriography can be traced back to several time periods and cultures, it was seeing the use of flowers as a code during her visit to Turkey that prompted aristocrat and writer Lady Mary Wortley Montagu to introduce the concept to English society in the early 1700s. In one of her famous Turkish Embassy letters, published after her death in 1763, she writes: “There is no colour, no flower, no weed, no fruit, herb, pebble, or feather, that has not a verse belonging to it; and you may quarrel, reproach, or send letters of passion, friendship, or civility, or even of news, without ever inking your fingers.”
Other countries would also take interest in the subject with several books being published on the topic. Joseph Hammer-Purgstall, was considered the first to publish a list of flowers and their corresponding meanings in 1809. Other noted works include the book Le langage des Fleurs written by Louise Cortambert, writing under the pen name Madame Charlotte de la Tour.
Interest in the subject grew during the Victorian period with the publication of The Sentiment of Flowers; or Language of Flora by writer and clergyman Robert Tyas in 1836. The book was similar to Cortambert’s work although the book states it is not a mere translation of the text and that “a discretion has been exercised in the rejection or alteration of those passages which were not suited for English taste.” This reinforces the idea that while Tyas refers to flowers as “the alphabet of the angels” their symbolism can be open to different interpretations. For example, according to Tyas’ book, yew trees were considered sad and gloomy whereas older cultures would associate the tree with rebirth. Newry’s name came from the translation of Iúr Cinn Trá, (the yew tree at the head of the strand) wherein the yew trees planted were seen as a symbol of growing faith.
One way in which the coded messages were sent during the Victorian era was via small bouquets known as tussie-mussies or nosegays. While they existed during medieval times as a method of combating foul odours and promoting healthy well-being, they evolved into a fashion statement and a romantic form of communication. Aside from the physical form, flowers were used in art to further emphasis the themes of the piece. Noted works include the 1850s painting of Ophelia by John Everett Millais which uses daisies, violets and willows to portray innocence, faithfulness and forsaken love. The museum collection holds a watercolour interpretation of Mabel Bagenal and Hugh O’Neill painted by Philip Armstrong depicting the love affair between the two with the use of a red rose, the symbol of romance. Other examples of floriography in the collection include the use of shamrocks to symbolise good luck and Irish identity on glasses commemorating Northern Ireland participating in the FIFA World Cup in Spain in 1982 and Christmas cards featuring poinsettias as an expression of generosity, goodwill and holiday spirit
