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"Prostrate, lignotuberous shrub, 0.15-0.4 m high. Fl. yellow-brown, Dec or Jan to Feb. White or grey sand over laterite, sandy loam." florabase.dpaw.wa.gov.au/browse/profile/32211
2 Feb 2019 Plants returning after burn.
Threatened flora
Most sweet Jesus, Redeemer of the human race, look down upon us humbly prostrate before Thine altar. We are Thine, and Thine we wish to be; but, to be more surely united with Thee, behold each one of us freely consecrates himself today to Thy most Sacred Heart.
Many indeed have never known Thee; many too, despising Thy precepts, have rejected Thee. Have mercy on them all, most merciful Jesus, and draw them to Thy sacred Heart.
Be Thou King, O Lord, not only of the faithful who have never forsaken Thee, but also of the prodigal children who have abandoned Thee; grant that they may quickly return to Thy Father's house lest they die of wretchedness and hunger.
Be Thou King of those who are deceived by erroneous opinions, or whom discord keeps aloof, and call them back to the harbor of truth and unity of faith, so that there may be but one flock and one Shepherd.
Be Thou King of all those who are still involved in the darkness of idolatry or of Islamism, and refuse not to draw them into the light and kingdom of God. Turn Thine eyes of mercy towards the children of the race, once Thy chosen people: of old they called down upon themselves the Blood of the Saviour; may it now descend upon them a laver of redemption and of life.
Grant, O Lord, to Thy Church assurance of freedom and immunity from harm; give peace and order to all nations, and make the earth resound from pole to pole with one cry: "Praise be to the divine Heart that wrought our salvation; to it be glory and honor for ever." Amen.
Veronica persica 005 18
Veronica persica is a flowering plant in the family Plantaginaceae. It is native to Eurasia.
It's an annual or winter annual herb that reproduces from seed.
The short-stalked leaves are broadly ovate with coarsely serrated margins. The plant has weak stems that form a dense, prostrate groundcover. The tips of stems often grow upright.
The flowers are roughly one centimetre and are sky-blue with dark stripes and white centers.They are solitary on long, slender, hairy stalks in the leaf axils (from Wikipedia).
Anemone is a genus of flowering plants in the buttercup family Ranunculaceae. Plants of the genus are commonly called windflowers. They are native to the temperate and subtropical regions of all continents except Australia, New Zealand and Antarctica. The genus is closely related to several other genera including Anemonoides, Anemonastrum, Hepatica, and Pulsatilla. Some botanists include these genera within Anemone.
Description
An illustration of an anemone
Anemone are perennials that have basal leaves with long leaf-stems that can be upright or prostrate. Leaves are simple or compound with lobed, parted, or undivided leaf blades. The leaf margins are toothed or entire.
Flowers with 4–27 sepals are produced singly, in cymes of 2–9 flowers, or in umbels, above a cluster of leaf- or sepal-like bracts. Sepals may be any color. The pistils have one ovule. The flowers have nectaries, but petals are missing in the majority of species.
The fruits are ovoid to obovoid shaped achenes that are collected together in a tight cluster, ending variously lengthened stalks; though many species have sessile clusters terminating the stems. The achenes are beaked and some species have feathery hairs attached to them.
Taxonomy
Anemone was named by Carl Linnaeus in 1753 and is situated in the tribe Anemoneae, subfamily Ranunculoideae, and the family Ranunculaceae. As considered in the broader sense (sensu lato) the genus is sometimes considered to include a number of other genera, such as Anemonoides, Anemonastrum, Hepatica, Pulsatilla, Knowltonia, Barneoudia, and Oreithales. Several of these were included as separate genera within Anemoneae by Wang et al., a tribe with six genera in total.
Early molecular analyses divided the genus into two subgenera (Anemonidium and Anemone), with seven sections, and 12 informal subsections. Ziman and colleagues (2008) treated the genus Anemone as 5 subgenera, 23 sections, 4 subsections, 23 series and about 118 species. A further reclassification by Hoot and colleagues (2012) estimated 200 species.
Hoot et al. found many of the previously defined subdivisions, based on morphological characteristics were polyphyletic or paraphyletic. In contrast two clearly defined monophyletic clades emerged corresponding to the above two subgenera. Anemonidium demonstrated four subclades, corresponding to sections. The larger subgenus Anemone showed a similar pattern.
Hoot et al. proposed the following two subgenera and several sections be retained, with a number of subsections and series:
Anemone subg. Anemonidium (Spach) Juz.
A. subg. Anemonidium sect. Hepatica Spreng.
A. subg. Anemonidium sect. Keiskea Tamura
A. subg. Anemonidium sect. Anemonidium Spach
A. subg. Anemonidium sect. Omalocarpus DC.
Anemone subg. Anemone L.
A. subg. Anemone sect. Pulsatilloides DC.
A. subg. Anemone sect. Pulsatilla (Mill.) DC.
A. subg. Anemone sect. Rivularidium Jancz.
A. subg. Anemone sect. Anemone L.
Species
As of April 2020 Kew's Plants of the World Online lists 63 species in the genus Anemone:
Anemone afghanica Podlech
Anemone alaschanica (Schipcz.) Borodina
Anemone angustiloba H.Eichler
Anemone baissunensis Juz. ex M.M.Sharipova
Anemone begoniifolia H.Lév. & Vaniot
Anemone berlandieri Pritz.
Anemone biflora DC.
Anemone brachystema W.T.Wang
Anemone brevistyla C.C.Chang ex W.T.Wang
Anemone bucharica (Regel) Finet & Gagnep.
Anemone canadensis L.
Anemone caroliniana Walter
Anemone cathayensis Kitag. ex Tamura
Anemone coronaria L.
Anemone cylindrica A.Gray
Anemone debilis Fisch. ex Turcz.
Anemone decapetala Ard.
Anemone drummondii S.Watson
Anemone edwardsiana Tharp
Anemone flexuosissima Rech.f.
Anemone fulingensis W.T.Wang & Z.Y.Liu
Anemone fuscopurpurea H.Hara
Anemone glazioviana Urb.
Anemone hemsleyi Britton
Anemone hokouensis C.Y.Wu ex W.T.Wang
Anemone hortensis L.
Anemone howellii Jeffrey & W.W.Sm.
Anemone imperialis Kadota
Anemone koraiensis Nakai
Anemone lacerata (Y.L.Xu) Luferov
Anemone laceratoincisa W.T.Wang
Anemone liangshanica W.T.Wang
Anemone lithophila Rydb.
Anemone lutienensis W.T.Wang
Anemone milinensis W.T.Wang
Anemone motuoensis W.T.Wang
Anemone multifida Poir.
Anemone nutantiflora W.T.Wang & L.Q.Li
Anemone ochotensis (Fisch. ex Pritz.) Fisch.
Anemone okennonii Keener & B.E.Dutton
Anemone orthocarpa Hand.-Mazz.
Anemone palmata L.
Anemone parviflora Michx.
Anemone pavoniana Boiss.
Anemone pendulisepala Y.N.Lee
Anemone petiolulosa Juz.
Anemone poilanei Gagnep.
Anemone raui Goel & U.C.Bhattach.
Anemone robusta W.T.Wang
Anemone robustostylosa R.H.Miao
Anemone scabriuscula W.T.Wang
Anemone seravschanica Kom.
Anemone somaliensis Hepper
Anemone sumatrana de Vriese
Anemone taipaiensis W.T.Wang
Anemone tamarae Kharkev.
Anemone thomsonii Oliv.
Anemone tibetica W.T.Wang
Anemone triternata Vahl
Anemone truncata (H.F.Comber) Luferov
Anemone tschernaewii Regel
Anemone tuberosa Rydb.
Anemone virginiana L.
Anemone xingyiensis Q.Yuan & Q.E.Yang
Etymology
According to the Oxford English Dictionary, Greek ἀνεμώνη (anemōnē) means 'daughter of the wind', from ἄνεμος (ánemos, 'wind') + feminine patronymic suffix -ώνη (-ṓnē, so 'daughter of'). The Metamorphoses of Ovid tells that the plant was created by the goddess Aphrodite when she sprinkled nectar on the blood of her dead lover Adonis, and Ovid describes the etymology as referring to the frailty of the petals that can be easily blown away by the wind. "Anemone" may also refer to Nea'man, the Phoenician name for Adonis, referring to an earlier Syrian myth of the god of vegetation, also tusked by a boar. The common name windflower is used for the entire genus.
Ecology
Diseases and pests
Main article: List of anemone diseases
Anemone species are sometimes targeted by cutworms, the larvae of noctuid moths such as angle shades and heart and dart.
Cultivation
Pink anemone
Some of the species are grown in gardens. Their popularity varies by species and region. In addition to certain straight species being available, hybrids and cultivars are available for certain species. Certain species, such as Anemone coronaria, are typically only available in hybrid form while others, such as Anemonoides blanda are nearly always sold in straight species form.
Cultivated anemones are nearly always one of the following colors: bluish violet, white, pink, red, and hues in a range between violet and pink. There are no truly blue anemones, despite the frequent use of the label "blue" in marketing to describe blue-violet flowers (flowers that are more violet than blue). Color labelling inaccuracy in marketing is found in treatments of numerous other genera, especially as it concerns the color blue — although some popular garden flowers from the same family are actually blue, such as some selections from Delphinium. One species of anemone, Anemone ranunculoides, is unusual for its yellow flowers. In horticultural terms there are three main groups:
spring-flowering species found in woodland and alpine meadows, often tuberous or rhizomatous; e.g. Anemonoides nemorosa, Anemonoides blanda
spring- and summer-flowering species from hot dry areas, with tuberous roots, e.g. Anemone coronaria
summer- and autumn-flowering species with fibrous roots, which thrive in moist dappled shade; e.g. Eriocapitella hupehensis
The spring-flowering autumn-planted ephemeral species Anemonoides blanda is grown in large-scale commercial cultivation and can be purchased in bulk quantities. It is most commonly-available with a bluish violet flower (usually erroneously called "Blue Shades" despite its flower being more purple than blue) that varies from intense to pale, depending upon the individual plant and possibly soil conditions. A white-flowered form is the second-most common type. The least common of the commonly-cultivated forms is a pale pink. The violet, and especially pink, forms sometimes possess petals that fade to white near the flower center. The genus contains quite a number of other spring-flowering species. A. hortensis and the hybrid A. fulgens have less-divided leaves than some others and have rose-purple or scarlet flowers.
Among the most well-known anemones is A. coronaria, often called the poppy anemone. It is a tuberous-rooted plant with parsley-like divided leaves and large poppy-like blossoms on stalks of from 15–20 cm high. It can be planted in the fall in zones 7 or 8 without extra protection or in spring in cooler zones. If planted in fall it will flower in the spring and if planted in the spring it will flower in late summer. The flowers are typically scarlet, crimson, bluish purple, reddish purple, or white. There are also double-flowered varieties, in which the stamens in the centre are replaced by a tuft of narrow petals. It has been used as a garden plant, in hybrid form in particular, for a long time in some parts of the world. Double forms are named varieties. Hybrids of the de Caen and St. Brigid groups are the most prevalent on the market. In Israel, large numbers of red-flowering non-hybrid A. coronaria can be seen growing in certain natural areas.
Eriocapitella hupehensis, and its white cultivar 'Honorine Joubert', the latter especially, are well-known autumn-flowering selections. They grow well in well-drained but moisture-retentive soil and reach 60–100 cm in height, blooming continually for several weeks. E. hupehensis, E. vitifolia, and their hybrids and are particularly attractive to honeybees. A number of low-growing species, such as the native British Anemonoides nemorosa and Anemonoides apennina, have woodlands and other shady places as their habitat. Hepatica species typically also grow in shade.
Garden-cultivated anemones generally grow best in a loamy well-drained evenly-moist fertile soil, although the ephemeral A. blanda does not require as much moisture during the summer when it is dormant (unlike the related Eranthis species that can suffer if they become too dry even while dormant). Some prairie species that are rarely cultivated, such as Anemone cylindrica, grow well in drier warmer conditions and poor soil. A. coronaria has been described by some professional sources as preferring acidic soil and by others as preferring alkaline soil. Hardy species may be planted in October in many zones. Unlike a hardier species such as A. blanda, A. coronaria is described as hardy only as low as climate zone 7 by some sources and by others hardy only as low as zone 8. Various strategies, such as the use of protection, can be tried to plant them outdoors in fall in zone 6 but results may vary. As with other plants, some species can be readily raised from seed while some hybrids may be sterile. A. blanda typically blooms in mid spring. The larger anemone species typically grow well in partial shade, or in full sun provided they are shielded from the hottest sun in southern areas. A well-drained soil, enriched with compost, is typically utilized.
If cut flowers are desired, it is best to harvest the flowers early in the morning while it is still cold outside while the bloom is still closed. To open your flowers place in room temperature water out of direct sun. A. coronaria blooms can be purchased from some florists, between November and June depending upon availability.
Anemones in culture
"Anemone" has several different meanings depending on the culture and context in which the flower is being used.
Several of the Western meanings of anemone flowers pertain to the Greek mythology of the origin of the anemone flower featuring Adonis and Aphrodite. The goddess Aphrodite kept the mortal man Adonis as a lover; when Adonis was gored by a wild boar, Aphrodite's tears at his death mixed with his blood and gave rise to the anemone. In other versions, the boar was sent by other jealous Greek gods to murder Adonis. These origin stories reflect the classical dual meanings of the arrival of spring breezes and the death of a loved one.
In the Victorian language of flowers, the anemone represented a forsaken love of any kind, while European peasants carried them to ward off pests and disease as well as bad luck.
In other cultures, the meanings differ. In Chinese and Egyptian cultures, the flower of anemone was considered a symbol of illness due to its coloring. The anemone can be a symbol of bad luck in Eastern cultures. The Japanese anemone may be associated with ill tidings.
The flowers are featured in Robe violette et Anémones, a 1937 painting by Henri Matisse
Yes, I know, fauns aren't supposed to be female. But I must admit, running around like this makes me feel light and free!
Entry for Masterminds theme 'freedom'
On Freedom * Kahlil Gibran*
At the city gate and by your fireside I have seen you prostrate yourself and worship your own freedom,
Even as slaves humble themselves before a tyrant and praise him though he slays them.
Ay, in the grove of the temple and in the shadow of the citadel I have seen the freest among you wear their freedom as a yoke and a handcuff.
And my heart bled within me; for you can only be free when even the desire of seeking freedom becomes a harness to you, and when you cease to speak of freedom as a goal and a fulfilment.
You shall be free indeed when your days are not without a care nor your nights without a want and a grief,
But rather when these things girdle your life and yet you rise above them naked and unbound.
And how shall you rise beyond your days and nights unless you break the chains which you at the dawn of your understanding have fastened around your noon hour?
In truth that which you call freedom is the strongest of these chains, though its links glitter in the sun and dazzle your eyes.
And what is it but fragments of your own self you would discard that you may become free?
If it is an unjust law you would abolish, that law was written with your own hand upon your own forehead.
You cannot erase it by burning your law books nor by washing the foreheads of your judges, though you pour the sea upon them.
And if it is a despot you would dethrone, see first that his throne erected within you is destroyed.
For how can a tyrant rule the free and the proud, but for a tyranny in their own freedom and a shame in their own pride?
And if it is a care you would cast off, that care has been chosen by you rather than imposed upon you.
And if it is a fear you would dispel, the seat of that fear is in your heart and not in the hand of the feared.
Verily all things move within your being in constant half embrace, the desired and the dreaded, the repugnant and the cherished, the pursued and that which you would escape.
These things move within you as lights and shadows in pairs that cling.
And when the shadow fades and is no more, the light that lingers becomes a shadow to another light.
And thus your freedom when it loses its fetters becomes itself the fetter of a greater freedom.
Dryas octopetala (common names include mountain avens, eightpetal mountain-avens, white dryas, and white dryad) is an Arctic–alpine flowering plant in the family Rosaceae. It is a small prostrate evergreen subshrub forming large colonies. The specific epithet octopetala derives from the Greek octo (eight) and petalon (petal), referring to the eight petals of the flower, an unusual number in the Rosaceae, where five is the normal number. However, flowers with up to 16 petals also occur naturally.
Commentary.
We might go to the Seychelles.
We might go to Cape Town.
We might go to Italy’s Amalfi Coast.
We might go to Barbados beaches.
We might go to Copacabana in Rio.
We might go to Halong Bay in Vietnam.
All of these are surely superb, magnificent and marvellous.
But little old Plockton at sunrise takes some beating.
The eastern sunrise reflected off of this sheltered bay.
Tree-lined islands with prostrate Grey Seals.
Stepped mountains rising above a castle.
Thin yacht masts like threaded needles.
Receding layers of slate-grey mountain slopes,
silhouetted against the eastern orb.
A main street festooned with Cabbage Palms and Pampas Grass,
interspersed by two or three beer gardens by the shore.
The etched black, grey and gold lines of a gently rippling loch,
part of a natural harbour covering over thirty square miles.
The deafening silence of dawn at 06:30, as late as September.
How can a little fishing village steal the prize from many locations
that are much more popular, but no more perfect?
How did David beat Goliath…….?
But he did!
{view large on black by hitting "L" please!}
I should have been studying more instead of doing this photo, but I've had this concept in mind for a long while and wanted to finally do it. Although I'm not totally happy with the more technical aspects of it (but being a perfectionist I never am, haha), it actually turned out very close to what I had in mind which makes me happy. =)
I think this concept came back into my head today because of the phone call I got in class from the hospital, saying that I have a CT scan booked for the 19th. That's pretty dang fast, which is great, but... hmm. Yeah. Basically, it's a brain scan to check out some weird stuff that's been going on with headaches and vision problems, etc, which is quickly looking like it might be the straw that broke the camel's back.
I won't ramble on about it all here, but the concept of this photo is how sick I can get with being sick (yep, those are really all my pills that I take every day, though there's sometimes more). I'm a pretty positive person, which does wonders, but I miss being able to play sports and, you know, even wake up in the morning without numerous dislocated joints.
Wait, what?
Yep, it's called Ehlers-Danlos Syndrome, or EDS, which is a connective tissue disorder (not enough collegen, which is the glue that holds your body together, so instead of my ligaments being like rubber bands, they're like those favourite pair of sweats with the super stretched out waistband). Right now it still says HMS (hypermobility syndrome) on my records, but I'm in the process right now of it being properly changed to EDS (hard to explain, sorry). It's way too complicated to type it all out, but the main characteristics are frequent and easy dislocations, stretchy, delicate skin, easy bruising, etc.
I won't bore you to death with too much detail here, but if you want to learn more, you can do so here: www.ednf.org/index.php?option=com_content&task=view&a...
On top of EDS, I also have asthma, ADHD, hypothyroidism, numerous other sub-conditions that go with those, and a couple other things. I also might have a few other things that are being investigated currently.
Now, I'm sorry if this seems like a vent, because that's not what I meant this to be. I AM OKAY! =) My point of this photo is to help raise awareness for EDS and other chronic illnesses, and, most importantly, emphasize the message that everyone has their own battles to deal with in life, and you never know what those might be for a person unless they open up to you. There's such a stigma around health problems, and I want to work towards helping break it. For example, when people find out about my health, they either don't believe me or freak out and are scared to even breathe on me. Both can get really hard to deal with.
This website pretty much sums up the first part: www.butyoudontlooksick.com/
Anyways, I doubt most people even read this far, but thank-you if you did. =) I'm normally pretty shy about sharing about my health issues, but I'm trying to be more open about them now in hopes of raising awareness and also reaching out to others who have chronic illnesses.
If you are reading this and are also going through some tough stuff, whether physical or mental health, or any other difficult circumstances, YOU ARE NOT ALONE! Don't be afraid to reach out to your friends and family. People care, even if they don't always know how to show it. Just give them a chance, and don't be embarrassed or ashamed.
~~~~~~~~~~~~~~~~~
Please check out my Facebook page! Though it may be unrealistic, my goal is to try to get at least 300 likes by the end of this year. More would be fantastic, but I'll try to make it at least semi-obtainable. ;)
Designed by Agustin Saez, the beautiful pulpit was executed in Philippine hardwood by master sculptor, Isabelo Tampingco.
Photo from
Interesting Manila.
More about the Church of San Ignacio:
The Philippine Jesuits
On the 6th of February 1945, the Jesuit church of San Ignacio, in Intramuros was put to the torch. There was so much wood in the church that it took all of four days for the conflagration to consume the buffet of tropical hardwoods – narra, tindalo, magcono, molave – cut from the mountain fastness of Surigao and transported to Manila seven decades previous. And, as if this were not humiliation enough, for a church hailed in its time as a masterpiece of art and architecture, on 23 February, bombs and mortars pummeled the smoldering structure, sending it prostrate to the ground.
Now a ruined and empty shell, stripped of its marble and brick, standing derelict along Arsobispado Street in Intramuros, it is hard to believe that this church was hailed by its architect, Felix Roxas as the Jesuits “sueno dorado,” – their golden dream, the fulfillment of many years of planning and work, and bargaining with patrons, the principal patron being Pedro Payo, O.P., Archbishop of Manila. He donated the land for the church by carving out a piece from his own private garden.
A structure 42.40 by 20.00 meters in size, the San Ignacio was a mere chapel by colonial standards where churches measured on the average 80 by 40 meters. Some like Sarrat church in Ilocos to more than 100 meters in length. Despite its small size, the best architects and artists of Manila poured their talent into this church.
Felix Roxas, the church’s principal architect, was a Filipino trained in Europe who spent part of his young career in India and England. There he must have picked up his affection for Revivalist architecture, the vogue of the era. When earthquake ruined the neoclassical Dominican church in 1863, Roxas designed for the friars a new church in the neo-Gothic idiom. With the commission for the Jesuits he opted for a church classical and Renaissance in temper to allude to the times when the Society of Jesus was founded. He planned the church as a single nave flanked by wide aisles, above them run galleries to accommodate a more churchgoers. Roxas did not live to see the church completed. The Jesuit brother, Francisco Riera, took charge of construction and saw the church to completion. Riera was so enamored with the San Ignacio’s design, practical as it was beautiful, that when his superior sent him to assists the Jesuits in Mindanao, he based his own designs for the churches at Tagoloan, Jasaan and Balingasag on the San Ignacio.
Agustin Saez designed the altars and the pulpit. Saez was at one time director of the Academía de Dibujo y Pintura, the art academy sponsored by the crown, and instructor in painting and drawing at the Ateneo Municipaál de Manila. The Philippines’ national hero, José Rizal studied under him at the Ateneo. For the altars, Saez worked with the classical idiom using Corinthian columns, arches, vases and statues of angels as basic design elements. Saez employed Francisco Rodoreda, a Spaniard to complete the carving of the marble altars imported from Italy. For the main altar, Leonardo Da Vinci’s Last Supper was interpreted in white Carara.
As designed by Saez, the pulpit depicted the Descent of the Spirit and Christ’s Great Commission, separated by allegories of Faith, Hope and Charity. To execute this masterpiece in tropical hardwood, the services of the best sculptor in Manila, Isabelo Tampingco and his atelier were employed. Tampingco came from a mestizo Chinese family, had worked on the interior of the Santo Domingo and was a consistent winner of awards in the Philippines and in Spain, where his works were displayed in regional and international expositions. Tampingco worked with his father-in-law, Crispulo Hocson, and the Filipino master carver, Manuel Flores and some 30 artisans. Flores carved the image of San Ignacio, whose eyes are raised to the heavens, following the words of Pedro de Ribadeneyra “aquel Padre que siempre mira al cielo.” Flores also carved the statue of the Sacred Heart and Hocson, the statue of the Immaculate Conception.
But it was the ceiling and the woodwork decorating the church that made it the toast of Manila. Tampingco, following Renaissance design, built an artesonado or coffered ceiling. The ceiling was neatly divided into squares of equal dimensions in which acanthus leaves were enclosed by braid and strap work. At the church crossing, Tampingco depicted a host of Jesuit saints and over the sanctuary, the Holy Spirit in a burst of glory.
The church took eleven years to build and was inaugurated on 31 July 1889, after a weeklong ceremony that must have made staid Manilenos ooh and ah. At night, the Jesuits illumined the church with “luz electrica,” and commissioned the painter, Felix Martínez to paint transparent paintings of Jesuit saints. These were mounted on the windows of the choir loft and illuminated from within. Felix Martinez, known for his genre works and murals, also painted the interior of the San Sebastian church in Quiapo.
After the great fire that destroyed part of Intramuros and the old Ateneo on 13 August 1932, the Jesuits thought of transferring San Ignacio to Ermita. But because this would damage the church, they decided against it. In 1939, two years short of the Second World War, a rector was appointed to the church, making it a quasi parish, to the delight of Manilenos who liked the church for weddings.
The church is no more. Only memories remain of it: a handful of pictures and some architectural plans, including Roxas’s initial design. But for Filipinos of a previous generation, the San Ignacio was a vibrant repository of, by now, legendary and halcyon years. On his way to his execution on 31 December 1896, José Rizal espied the twin towers of the San Ignacio near his alma mater, the Ateneo Municipal. He remarked how he spent the happiest moments of his youth there.
San Ignacio, the website of the Philippine Jesuits has chosen the San Ignacio church as its identifying graphic to speak of the continuity of the Philippine province of today and of yesterday. That continuity has been characterized by a singular affection for the Philippines, an affection that fosters the best the Filipino can be.
Eschscholzia californica, the California poppy, golden poppy, California sunlight or cup of gold, is a species of flowering plant in the family Papaveraceae, native to the United States and Mexico. It is cultivated as an ornamental plant flowering in summer (spring in southern Australia), with showy cup-shaped flowers in brilliant shades of red, orange and yellow (occasionally pink and white). It is also used as food or a garnish. It became the official state flower of California in 1903.
Description
California poppy is a perennial or annual plant growing to 5–12 in (13–30 cm) tall with alternately branching glaucous blue-green foliage. The leaves are alternately divided into round, lobed segments. The flowers are solitary on long stems, silky-textured, with four petals, each petal 2 to 6 cm (0.79 to 2.36 in) long and broad; flower color ranges through yellow, orange and red. Flowering occurs from February to September in the northern hemisphere. The petals close at night (or in cold, windy weather) and open again the following morning, although they may remain closed in cloudy weather. The fruit is a slender, dehiscent capsule 3 to 9 cm (1.2 to 3.5 in) long, which splits in two, sometimes explosively with an audible snap, to release numerous small 1.5–1.8 mm (0.059–0.071 in) wide black or dark brown seeds. It survives mild winters in its native range, dying completely in colder climates.
Habitat
Its native habitat includes California and extends to Oregon, Washington, Nevada, Arizona, New Mexico, Sonora and northwest Baja California. The Antelope Valley California Poppy Reserve is located in northern Los Angeles County. At the peak of the blooming season, orange flowers seem to cover all 1,745 acres (706 ha) of the reserve. Other prominent locations of California poppy meadows include Bear Valley (Colusa County) and Point Buchon (San Luis Obispo County).
Taxonomy
Eschscholzia californica was the first named species of the genus Eschscholzia, named by the German botanist Adelbert von Chamisso after the Baltic German botanist Johann Friedrich von Eschscholtz, his friend and colleague on Otto von Kotzebue's scientific expedition to California and the greater Pacific circa 1810 aboard the Russian ship Rurik.
California poppy is highly variable, with over 90 synonyms. Some botanists accept two subspecies—one with four varieties (e.g., Leger & Rice 2003)—though others do not recognize them as distinct (e.g., Jepson 1993):
E. californica subsp. californica, native to California, Baja California, and Oregon, widely planted as an ornamental, and an invasive elsewhere (see below).
E. californica subsp. californica var. californica, which is found along the coast from the San Francisco Peninsula north. They are perennial and somewhat prostrate, with yellow flowers.
E. californica subsp. californica var. maritima (E. L. Greene) Jeps., which is found along the coast from Monterey south to San Miguel Island. They are perennial, long-lived, glaucous, short in stature, and have extremely prostrate growth and yellow flowers.
E. californica subsp. californica var. crocea (Benth.) Jeps., which grows in non-arid inland regions. They are perennial, taller, and have orange flowers.
E. California subsp. californica var. peninsularis (E. L. Greene) Munz, which is an annual or facultative annual growing in arid inland environments.
E. californica subsp. mexicana (E. L. Greene) and Curtis Clark, the Mexican gold poppy, which is found in the Sonoran Desert. Some authorities refer to it as E. Mexicana. These variations in features among Eschscholzia species have led to inconsistencies in species descriptions and identifications. This variation, both within and between species, triggered a surge in Eschscholzia species descriptions, reaching 112 taxa in the early part of the last century. Currently, there are 189 taxonomic descriptions at the species level and below, with 159 type specimens scattered across global herbaria. The shift in recognizing poppy species, known as the "Greene Revolution", initiated a significant reduction in recognized species. Willis Lynn Jepson played a pivotal role by considering the majority of described taxa as mere environmental variations. In his book A Flora of California, published in 1922, he consolidated many of the taxa into Eschscholtzia californica and reduced the total number of taxa within the greater Eschscholtzia genus from around 120 to 12.
Botanical research has held significant implications towards the classification of Eschscholzia. Despite some unresolved aspects in the phylogenies, it is evident that taxonomic are necessary within the genus, particularly in three areas: supporting two subspecies of E. californica, endorsing two subspecies of E. lemmonii, and recognizing two potential new taxa. Currently, 8 taxa are officially recognized.
It belongs to the subfamily Eschscholzioideae, sister group to the subfamily Papaveroideae (which includes Papaver somniferum, the opium poppy).
Pollen
As poppies are not wind-pollinated, their pollen poses no allergy risk via inhalation.
A UK study of meadow flowers including commercial mixes and common plants such as ragwort and dandelion ranked the California poppy highly in pollen production, although it did not produce a significant amount of nectar. On a per-flower basis it ranked second, with a rate of 8.3 ± 1.1μl. The corn poppy, Papaver rhoeas, topped the list for per-flower pollen production with its rate of 13.3 ± 2.8μl. When measuring the entire capitulum the top two species were the ox-eye daisy, Leucanthemum vulgare, with 15.9 ± 2μl, and Cosmos bipinnatus, which had a rate nearly equivalent to that of the corn poppy.
Historical and cultural significance
In the late 1700s, Spanish settlers affectionately called the poppy "copa de oro" (gold cup). By 1816, Russian explorers officially named the flower Eschscholzia californica. Since California's statehood in 1850, local residents have embraced it as the California poppy or golden poppy.
Several years later, Chamisso introduced the wildflower through a detailed description and life-sized color painting in Horae Physicae Berolinenses (1820). This marked the entry of the poppy into European taxonomic systems as Eschscholzia californica. The living flower made its European debut in 1826, courtesy of Scottish botanist David Douglas, who collected various plant seeds, including Eschscholzia californica, for the Royal Horticultural Society of England. While evidence indicates that the golden poppy started appearing in British gardens over the subsequent fifty years, it had not yet become strongly associated with ideas of California identity and statehood. An 1883 Scottish report, recounting a visit to California and an encounter with the golden wildflowers, reflects the early attitudes forming around the poppy.
By the 1890s, Eschscholtzia californica had transformed from merely the California or golden poppy to the designated state poppy– a shift from a botanical specimen with regional ties to a symbol and agent of the settler state.
Connection to indigenous tribes
The California poppy has been historically used as traditional medicine and cosmetics by some indigenous people in California, particularly those native to the regions where the plant is found. The indigenous peoples of California, in particular, have historical and cultural associations with the California poppy (e.g., Tongva Gabrielino, Cahuilla, Costanoan, Luiseno, and Pomo). These connections involve traditional uses of the plant, cultural significance, and even folklore. While indigenous communities have nurtured the land for generations, establishing ecological conditions conducive to wildflower growth, colonial settlers and their governing structures found the native flower's status as a genuine and intrinsic product of the land appealing.
Tongva (Garbrielino tribe)
In the 19th century, the California poppy held a dual identity, both as a botanical native and as a symbolic representation of California. It was crafted to embody the essence of a "true" Californian, celebrated and used predominantly by the white Californian community. The Native Daughters and Sons of the Golden West played a pivotal role in establishing the California poppy as a cultural icon.
In contrast, the Tongva peoples of the San Gabriel Valley region recognized the California poppy by the term, Mekachaa. Such indigenous communities interpret the Mekechaa as a plant relative, and actively resisted attempts to appropriate its existence through artistic community projects. In Waa'aka', the final plant created by the Tongva's god of creation, Wiyot, was the Island poppy, described as "golden as the sun, bringing beauty to the world."
Uses
California poppy leaves are used as food or garnish, while the seeds are used in cooking. There are no clinical trials showing it can effectively treat psychiatric disorders in humans.
Chemical compounds
E. californica contains californidine (N+(CH3)2), allocryptopine, eschscholtzine N-CH3 (californidine), and other similar (Papaveraceae) alkaloids.
The Opium wars
The California poppy belongs to the Papaveraceae family, which also includes the Papaver somniferum (opium poppy) and Papaver rhoeas (common poppy). The poppy family carried significant cultural associations during the turn of the century, and these associations were particularly noteworthy in California. The connection between the California poppy and the opium poppy invoked memories of the mid-century Anglo Chinese war, also known as the Opium War. This occurred during a period when California's Chinese communities were rapidly expanding due to immigration and U.S. labor policies tied to railroad construction. Despite being manipulated in campaigns to shape a white settler vision of California, the California poppy, unlike its opium counterpart, lacks the toxic potency associated with narcotics violence, and efforts to derive opium-like substances from it proved unsuccessful.
Preparation
The California poppy has been used through two methods: fresh petals to create a syrup, and dried petals added to water to make an infusion or boiled for tea.
Cultivation
E. californica is drought-tolerant, self-seeding, and easy to cultivate. It is best grown as an annual, in full sun, and well-draining sandy or loam soil. Horticulturalists have produced numerous cultivars with a range of colors and blossom and stem forms. These typically do not breed true on reseeding. Seeds are often sold as mixtures. The following cultivars have gained the Royal Horticultural Society's Award of Garden Merit:-
'Apricot chiffon' (yellow flushed with pink and orange)
'Dali' (red)
'Rose chiffon' (pink and white)
Invasive potential
Because of its beauty and ease of growing, the California poppy was introduced into several regions with similar Mediterranean climates. It is commercially sold and widely naturalized in Australia, including Tasmania, and was introduced to South Africa, Chile, New Zealand, and Argentina. In both Chile and California, there are marked differences between California poppies grown in low and high altitudes. Coastal or low-altitude specimens produce fewer flowers and seeds, experienced longer flowering times, and had shorter stems. It is recognized as a potentially invasive species within the United States, although no indications of ill effects have been reported for this plant where it has been introduced outside of California. The golden poppy has been displaced in large areas of its original habitat, such as Southern California, by more invasive exotic species, such as mustard or annual grasses.
State flower of California
During the 1890s Sarah Plummer Lemmon advocated for the adoption of the golden poppy as the state flower of California, eventually writing the bill passed by the California Legislature and signed by Governor George Pardee in 1903. In this era, the state aimed to construct an external identity grounded in the natural wealth of the region, enticing newcomers and businesses with promises of celebration and prosperity. Publicly, products synonymous with the color gold, such as oranges, wheat, actual gold, and the iconic golden poppy, were strategically employed as influential elements in the endeavor to shape and promote the state.
The designation of the California poppy as the state flower was influenced by a convergence of cultural, social, and political factors aimed at defining and affirming the identity of the colonial state. Asserting claims of indignity, territorial dominance, and communal identity, white settlers strategically orchestrated a deliberate movement to construct a cultural identity centered around the golden poppy.
In the aftermath of the 1906 San Francisco earthquake and fire, the California poppy became a central design motif and symbol influencing various decorative objects. Such decorative objects featured California scenes and prominently showcased the California poppy symbolizing the imagined, pastoral and prosperous California that artists sought to create.
A particular example is a wooden box painted by Lucia Mathews in 1929, this box serves as a visual representation of the symbiotic relationship between the poppy and California, reinforcing the state's identity through design.[15] As the official state flower of California, Eschscholzia californica is pictured on welcome signs along highways entering California and on official Scenic Route signs.
In March 2019, a "super bloom" of California poppies in the city of Lake Elsinore, California, drew nationwide attention. So-called super blooms occur after a period of heavy rainfall and often draw large crowds. The most popular sightseeing spot, Walker Canyon, was overwhelmed by more than 100,000 visitors in the span of a few days, causing city officials to temporarily shut down surrounding roads.
Banksia stenoprion is a prostrate shrub endemic to the south-west of Western Australia. It has short, underground stems, pinnatisect leaves with triangular lobes. The flowers are golden, mauve or purple flowers in heads of up to ninety.
Most of these type of Banksia flowers are neat and tidy keeping their stamens within the flower. This time we noticed that the stamens were falling out between the upright styles.
Photo: Jean
In the accounts of the Blessed Virgin Mary appearing in the lives of the early brethren she is always accompanied by St. Catherine of Alexandria and St. Cecilia. Bl. Cecilia, one of the first nuns of the Order who left us some wonderful recollections about St Dominic recounts how St Dominic say three beautiful ladies walking through the dormitory of the friars, and he asked the one sprinkling them with holy water who she was. Our Lady replied: "'I am she whom you greet every evening, and when you say "Turn then our Advocate," I prostrate myself before my Son for the preservation of this Order.' St Dominic then inquired who her companions might be, where unto she made answer: 'One of them is Cecilia and the other Catherine.'"
For this reason St Catherine of Alexandria, whose feast is on 25 November, is one of the protectresses of the Order.
This stained glass window illustrates the story above. It is in the chapel of the Dominican House of Studies in Washington DC.
Latin name: "Campanula rotundifolia"
Irish name: Méaracán gorm
(Often called "Bluebell" in Scotland)
"Campanula rotundifolia" is a perennial species of flowering plant, a slender, prostrate to erect herb, spreading by seed and rhizomes. The basal leaves are long-stalked, rounded to heart-shaped, usually slightly toothed. Leaves on the flowering stems are long and narrow and the upper ones are unstemmed.
In Ireland the Harebell usually flowers from July to September. The inflorescence is a panicle or raceme, with 1 – many flowers borne on very slender pedicels. The flowers usually have five (occasionally 4, 6 or 7) pale to mid violet-blue petals fused together into a bell shape, about 12–30 mm (0.5–1.2 in) long and five long, pointed green sepals behind them. Plants with pale pink or white flowers may also occur. The petal lobes are triangular and curve outwards. The seeds are produced in a capsule about 3–4 mm (0.1–0.2 in) diameter and are released by pores at the base of the capsule. Seedlings are minute, but established plants can compete with tall grass.
"Prostrate, lignotuberous shrub, 0.15-0.4 m high. Fl. yellow-brown, Dec or Jan to Feb. White or grey sand over laterite, sandy loam." florabase.dpaw.wa.gov.au/browse/profile/32211
2 Feb 2019 Plants returning after burn.
Threatened flora
Many thanks for your visits, faves and comments. Cheers.
...from a walk in the Bribie Island National Park. Honeyeaters love this habitat.
Banksia is a genus of around 170 species in the plant family Proteaceae. These Australian wildflowers and popular garden plants are easily recognised by their characteristic flower spikes and fruiting "cones" and heads. When it comes to size, banksias range from prostrate woody shrubs to trees up to 30 metres tall. They are generally found in a wide variety of landscapes; sclerophyll forest, (occasionally) rainforest, shrubland, and some more arid landscapes, though not in Australia's deserts.
Heavy producers of nectar, banksias are a vital part of the food chain in the Australian bush. They are an important food source for all sorts of nectarivorous animals, including birds, bats, rats, possums, stingless bees and a host of invertebrates. Furthermore, they are of economic importance to Australia's nursery and cut flower industries. However these plants are threatened by a number of processes including land clearing, frequent burning and disease, and a number of species are rare and endangered.
Banksias grow as trees or woody shrubs. Trees of the largest species, B. integrifolia (Coast Banksia) and B. seminuda (River Banksia), often grow over 15 metres tall, some even grow to standing 30 metres tall.[1] Banksia species that grow as shrubs are usually erect, but there are several species that are prostrate, with branches that grow on or below the soil.
The leaves of Banksia vary greatly between species. Sizes vary from the narrow, 1½ centimetre long needle-like leaves of B. ericifolia (Heath-leaved Banksia), to the very large leaves of B. grandis (Bull Banksia), which may be up to 45 centimetres long. The leaves of most species have serrated edges, but a few, such as B. integrifolia, do not. Leaves are usually arranged along the branches in irregular spirals, but in some species they are crowded together in whorls. Many species have differing juvenile and adult leaves (e.g., Banksia integrifolia has large serrated juvenile leaves).
The character most commonly associated with Banksia is the flower spike, an elongated inflorescence consisting of a woody axis covered in tightly-packed pairs of flowers attached at right angles. A single flower spike generally contains hundreds or even thousands of flowers; the most recorded is around 6000 on inflorescences of B. grandis. Not all Banksia have an elongate flower spike, however: the members of the small Isostylis complex have long been recognised as Banksias in which the flower spike has been reduced to a head; and recently the large genus Dryandra has been found to have arisen from within the ranks of Banksia, and sunk into it as B. ser. Dryandra. Thus fewer than half of the currently accepted Banksia taxa possess the elongated flower spike long considered characteristic of the genus.
Banksia flowers are usually a shade of yellow, but orange, red, pink and even violet flowers also occur. The colour of the flowers is determined by the colour of the perianth parts and often the style. The style is much longer than the perianth, and is initially trapped by the upper perianth parts. These are gradually released over a period of days, either from top to bottom or from bottom to top. When the styles and perianth parts are different colours, the visual effect is of a colour change sweeping along the spike. This can be most spectacular in B. prionotes (Acorn Banksia) and related species, as the white inflorescence in bud becomes a brilliant orange. In most cases, the individual flowers are tall, thin saccate (sack-shaped) in shape.
As the flower spikes or heads age, the flower parts dry up and may turn shades of orange, tan or dark brown colour, before fading to grey over a period of years. In some species, old flower parts are lost, revealing the axis; in others, the old flower parts may persist for many years, giving the fruiting structure a hairy appearance. Old flower spikes are commonly referred to as "cones", although they are not technically cones according to the botanical definition of the term: cones only occur in conifers and cycads.
Despite the large number of flowers per inflorescence, only a few of them ever develop fruit, and in some species a flower spike will set no fruit at all. The fruit of Banksia is a woody follicle embedded in the axis of the inflorescence. In many species, the resulting structure is a massive woody structure commonly called a cone. Each follicle consists of two horizontal valves that tightly enclose the seeds. The follicle opens to release the seed by splitting along the suture, and in some species each valve splits too. In some species the follicles open as soon as the seed is mature, but in most species most follicles open only after stimulated to do so by bushfire. Each follicle usually contains one or two small seeds, each with a wedge-shaped papery wing that causes it to spin as it falls to the ground.
All but one of the living Banksia species are endemic to Australia. The exception is B. dentata (Tropical Banksia), which occurs throughout northern Australia, and on islands to the north including New Guinea and the Aru Islands. An extinct species, B. novae-zelandiae, was found in New Zealand. The other species occur in two distinct geographical regions: southwest Western Australia and eastern Australia. Southwest Western Australia is the main centre of biodiversity; over 90% of all Banksia species occur only there, from Exmouth in the north, south and east to beyond Esperance on the south coast. Eastern Australia has far fewer species, but these include some of best known and most widely distributed species, including B. integrifolia (Coast Banksia) and B. spinulosa (Hairpin Banksia). Here they occur from the Eyre Peninsula in South Australia right around the east coast up to Cape York in Queensland.
The vast majority of Banksia are found in sandy or gravelly soils, though some populations of B. marginata (Silver Banksia) and B. spinulosa do occur on heavier, more clay-like, soils. B. seminuda is exceptional for its preference for rich loams along watercourses.
Grass Trees Xanthorrhoea is a genus of about 30 species of flowering plants endemic to Australia and a member of family Asphodelaceae, being the only member of subfamily Xanthorrhoeoideae. The Xanthorrhoeoideae are monocots, part of order Asparagales. Wikipedia
Scientific name: Xanthorrhoea
Higher classification: Asphodeloideae
Rank: Genus
(Source: Wikipedia)
© Chris Burns 2016
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All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
I've posted others of this couple, but today I found a couple I'd forgotten about. I found this photo at Metrolina, I believe.
"Prostrate, lignotuberous shrub, 0.15-0.4 m high. Fl. yellow-brown, Dec or Jan to Feb. White or grey sand over laterite, sandy loam." florabase.dpaw.wa.gov.au/browse/profile/32211
2 Feb 2019 Plants returning after burn.
Threatened flora
The Albert Memorial in Hyde Park is one of the great sculptural achievements of the Victorian era, and for sheer scale, opulence and number of individual statues and sculpted figures is unequalled. On the four outer corners are groups depicting the continents.
Asia, by John Henry Foley, has the central figure as a semi-draped Indian girl, in a superb pose, on a seated elephant, flanked by a vaguely Chinese Oriental, an Assyrian, another turbaned Arabic figure, excellently Biblical, and (not visible above), an equally Biblical reclining figure, some spice merchant perhaps.
Foley apparently aimed at a 'general feeling of repose'. Queen Victoria thought his and the Africa groups the best, and Foley's execution was admired (although Lady Eastlake had some reservations about his drapery), but the wider response was less generally favourable than the committee probably anticipated.
The Times thought his details 'full of incongruity and barbarity' and The Saturday Review thought that the composition had not been sufficiently studied from all points. His elephant was objected to, chiefly because it seemed to be about to rise, to the discomfiture of the figures reposing on or against it.
The official history tells us that 'the prostrate animal is intended to typify the subjection of brute force to human intelligence'. Sometimes the explanation of allegory is unwise, and it is damping to learn that the poetic image of Asia unveiling herself 'is an allusion to the important display of the products of Asia, which was made at the Great Exhibition of 1851'. In Foley's first sketch-model Asia was draped. It is not known when Foley substituted a partly nude figure.
BokehWednesday
Banksia, commonly known as Australian honeysuckles, are a genus of around 170 species in the plant family Proteaceae. These Australian wildflowers and popular garden plants are easily recognised by their characteristic flower spikes and fruiting "cones" and heads. Banksias range in size from prostrate woody shrubs to trees up to 30 metres tall. They are found in a wide variety of landscapes; sclerophyll forest, (occasionally) rainforest, shrubland, and some more arid landscapes, though not in Australia's deserts.
Heavy producers of nectar, banksias are a vital part of the food chain in the Australian bush. They are an important food source for all sorts of nectarivorous animals, including birds, bats, rats, possums, stingless bees and a host of invertebrates. Furthermore, they are of economic importance to Australia's nursery and cut flower industries. However these plants are threatened by a number of processes including land clearing, frequent burning and disease, and a number of species are rare and endangered.
stupa,མཆོད་རྟེན། , Prostrating, ཕྱག་འཚལ་བཞིན་པ། , buddhist,སངས་རྒྱས་ཆོས་ལུགས་པ།
If you can not see Tibetan writing and you want to; Go to this site : www.flickr.com/groups/tibetanenvironment/
Anemone is a genus of flowering plants in the buttercup family Ranunculaceae. Plants of the genus are commonly called windflowers. They are native to the temperate and subtropical regions of all continents except Australia, New Zealand and Antarctica. The genus is closely related to several other genera including Anemonoides, Anemonastrum, Hepatica, and Pulsatilla. Some botanists include these genera within Anemone.
Description
An illustration of an anemone
Anemone are perennials that have basal leaves with long leaf-stems that can be upright or prostrate. Leaves are simple or compound with lobed, parted, or undivided leaf blades. The leaf margins are toothed or entire.
Flowers with 4–27 sepals are produced singly, in cymes of 2–9 flowers, or in umbels, above a cluster of leaf- or sepal-like bracts. Sepals may be any color. The pistils have one ovule. The flowers have nectaries, but petals are missing in the majority of species.
The fruits are ovoid to obovoid shaped achenes that are collected together in a tight cluster, ending variously lengthened stalks; though many species have sessile clusters terminating the stems. The achenes are beaked and some species have feathery hairs attached to them.
Taxonomy
Anemone was named by Carl Linnaeus in 1753 and is situated in the tribe Anemoneae, subfamily Ranunculoideae, and the family Ranunculaceae. As considered in the broader sense (sensu lato) the genus is sometimes considered to include a number of other genera, such as Anemonoides, Anemonastrum, Hepatica, Pulsatilla, Knowltonia, Barneoudia, and Oreithales. Several of these were included as separate genera within Anemoneae by Wang et al., a tribe with six genera in total.
Early molecular analyses divided the genus into two subgenera (Anemonidium and Anemone), with seven sections, and 12 informal subsections. Ziman and colleagues (2008) treated the genus Anemone as 5 subgenera, 23 sections, 4 subsections, 23 series and about 118 species. A further reclassification by Hoot and colleagues (2012) estimated 200 species.
Hoot et al. found many of the previously defined subdivisions, based on morphological characteristics were polyphyletic or paraphyletic. In contrast two clearly defined monophyletic clades emerged corresponding to the above two subgenera. Anemonidium demonstrated four subclades, corresponding to sections. The larger subgenus Anemone showed a similar pattern.
Hoot et al. proposed the following two subgenera and several sections be retained, with a number of subsections and series:
Anemone subg. Anemonidium (Spach) Juz.
A. subg. Anemonidium sect. Hepatica Spreng.
A. subg. Anemonidium sect. Keiskea Tamura
A. subg. Anemonidium sect. Anemonidium Spach
A. subg. Anemonidium sect. Omalocarpus DC.
Anemone subg. Anemone L.
A. subg. Anemone sect. Pulsatilloides DC.
A. subg. Anemone sect. Pulsatilla (Mill.) DC.
A. subg. Anemone sect. Rivularidium Jancz.
A. subg. Anemone sect. Anemone L.
Species
As of April 2020 Kew's Plants of the World Online lists 63 species in the genus Anemone:
Anemone afghanica Podlech
Anemone alaschanica (Schipcz.) Borodina
Anemone angustiloba H.Eichler
Anemone baissunensis Juz. ex M.M.Sharipova
Anemone begoniifolia H.Lév. & Vaniot
Anemone berlandieri Pritz.
Anemone biflora DC.
Anemone brachystema W.T.Wang
Anemone brevistyla C.C.Chang ex W.T.Wang
Anemone bucharica (Regel) Finet & Gagnep.
Anemone canadensis L.
Anemone caroliniana Walter
Anemone cathayensis Kitag. ex Tamura
Anemone coronaria L.
Anemone cylindrica A.Gray
Anemone debilis Fisch. ex Turcz.
Anemone decapetala Ard.
Anemone drummondii S.Watson
Anemone edwardsiana Tharp
Anemone flexuosissima Rech.f.
Anemone fulingensis W.T.Wang & Z.Y.Liu
Anemone fuscopurpurea H.Hara
Anemone glazioviana Urb.
Anemone hemsleyi Britton
Anemone hokouensis C.Y.Wu ex W.T.Wang
Anemone hortensis L.
Anemone howellii Jeffrey & W.W.Sm.
Anemone imperialis Kadota
Anemone koraiensis Nakai
Anemone lacerata (Y.L.Xu) Luferov
Anemone laceratoincisa W.T.Wang
Anemone liangshanica W.T.Wang
Anemone lithophila Rydb.
Anemone lutienensis W.T.Wang
Anemone milinensis W.T.Wang
Anemone motuoensis W.T.Wang
Anemone multifida Poir.
Anemone nutantiflora W.T.Wang & L.Q.Li
Anemone ochotensis (Fisch. ex Pritz.) Fisch.
Anemone okennonii Keener & B.E.Dutton
Anemone orthocarpa Hand.-Mazz.
Anemone palmata L.
Anemone parviflora Michx.
Anemone pavoniana Boiss.
Anemone pendulisepala Y.N.Lee
Anemone petiolulosa Juz.
Anemone poilanei Gagnep.
Anemone raui Goel & U.C.Bhattach.
Anemone robusta W.T.Wang
Anemone robustostylosa R.H.Miao
Anemone scabriuscula W.T.Wang
Anemone seravschanica Kom.
Anemone somaliensis Hepper
Anemone sumatrana de Vriese
Anemone taipaiensis W.T.Wang
Anemone tamarae Kharkev.
Anemone thomsonii Oliv.
Anemone tibetica W.T.Wang
Anemone triternata Vahl
Anemone truncata (H.F.Comber) Luferov
Anemone tschernaewii Regel
Anemone tuberosa Rydb.
Anemone virginiana L.
Anemone xingyiensis Q.Yuan & Q.E.Yang
Etymology
According to the Oxford English Dictionary, Greek ἀνεμώνη (anemōnē) means 'daughter of the wind', from ἄνεμος (ánemos, 'wind') + feminine patronymic suffix -ώνη (-ṓnē, so 'daughter of'). The Metamorphoses of Ovid tells that the plant was created by the goddess Aphrodite when she sprinkled nectar on the blood of her dead lover Adonis, and Ovid describes the etymology as referring to the frailty of the petals that can be easily blown away by the wind. "Anemone" may also refer to Nea'man, the Phoenician name for Adonis, referring to an earlier Syrian myth of the god of vegetation, also tusked by a boar. The common name windflower is used for the entire genus.
Ecology
Diseases and pests
Main article: List of anemone diseases
Anemone species are sometimes targeted by cutworms, the larvae of noctuid moths such as angle shades and heart and dart.
Cultivation
Pink anemone
Some of the species are grown in gardens. Their popularity varies by species and region. In addition to certain straight species being available, hybrids and cultivars are available for certain species. Certain species, such as Anemone coronaria, are typically only available in hybrid form while others, such as Anemonoides blanda are nearly always sold in straight species form.
Cultivated anemones are nearly always one of the following colors: bluish violet, white, pink, red, and hues in a range between violet and pink. There are no truly blue anemones, despite the frequent use of the label "blue" in marketing to describe blue-violet flowers (flowers that are more violet than blue). Color labelling inaccuracy in marketing is found in treatments of numerous other genera, especially as it concerns the color blue — although some popular garden flowers from the same family are actually blue, such as some selections from Delphinium. One species of anemone, Anemone ranunculoides, is unusual for its yellow flowers. In horticultural terms there are three main groups:
spring-flowering species found in woodland and alpine meadows, often tuberous or rhizomatous; e.g. Anemonoides nemorosa, Anemonoides blanda
spring- and summer-flowering species from hot dry areas, with tuberous roots, e.g. Anemone coronaria
summer- and autumn-flowering species with fibrous roots, which thrive in moist dappled shade; e.g. Eriocapitella hupehensis
The spring-flowering autumn-planted ephemeral species Anemonoides blanda is grown in large-scale commercial cultivation and can be purchased in bulk quantities. It is most commonly-available with a bluish violet flower (usually erroneously called "Blue Shades" despite its flower being more purple than blue) that varies from intense to pale, depending upon the individual plant and possibly soil conditions. A white-flowered form is the second-most common type. The least common of the commonly-cultivated forms is a pale pink. The violet, and especially pink, forms sometimes possess petals that fade to white near the flower center. The genus contains quite a number of other spring-flowering species. A. hortensis and the hybrid A. fulgens have less-divided leaves than some others and have rose-purple or scarlet flowers.
Among the most well-known anemones is A. coronaria, often called the poppy anemone. It is a tuberous-rooted plant with parsley-like divided leaves and large poppy-like blossoms on stalks of from 15–20 cm high. It can be planted in the fall in zones 7 or 8 without extra protection or in spring in cooler zones. If planted in fall it will flower in the spring and if planted in the spring it will flower in late summer. The flowers are typically scarlet, crimson, bluish purple, reddish purple, or white. There are also double-flowered varieties, in which the stamens in the centre are replaced by a tuft of narrow petals. It has been used as a garden plant, in hybrid form in particular, for a long time in some parts of the world. Double forms are named varieties. Hybrids of the de Caen and St. Brigid groups are the most prevalent on the market. In Israel, large numbers of red-flowering non-hybrid A. coronaria can be seen growing in certain natural areas.
Eriocapitella hupehensis, and its white cultivar 'Honorine Joubert', the latter especially, are well-known autumn-flowering selections. They grow well in well-drained but moisture-retentive soil and reach 60–100 cm in height, blooming continually for several weeks. E. hupehensis, E. vitifolia, and their hybrids and are particularly attractive to honeybees. A number of low-growing species, such as the native British Anemonoides nemorosa and Anemonoides apennina, have woodlands and other shady places as their habitat. Hepatica species typically also grow in shade.
Garden-cultivated anemones generally grow best in a loamy well-drained evenly-moist fertile soil, although the ephemeral A. blanda does not require as much moisture during the summer when it is dormant (unlike the related Eranthis species that can suffer if they become too dry even while dormant). Some prairie species that are rarely cultivated, such as Anemone cylindrica, grow well in drier warmer conditions and poor soil. A. coronaria has been described by some professional sources as preferring acidic soil and by others as preferring alkaline soil. Hardy species may be planted in October in many zones. Unlike a hardier species such as A. blanda, A. coronaria is described as hardy only as low as climate zone 7 by some sources and by others hardy only as low as zone 8. Various strategies, such as the use of protection, can be tried to plant them outdoors in fall in zone 6 but results may vary. As with other plants, some species can be readily raised from seed while some hybrids may be sterile. A. blanda typically blooms in mid spring. The larger anemone species typically grow well in partial shade, or in full sun provided they are shielded from the hottest sun in southern areas. A well-drained soil, enriched with compost, is typically utilized.
If cut flowers are desired, it is best to harvest the flowers early in the morning while it is still cold outside while the bloom is still closed. To open your flowers place in room temperature water out of direct sun. A. coronaria blooms can be purchased from some florists, between November and June depending upon availability.
Anemones in culture
"Anemone" has several different meanings depending on the culture and context in which the flower is being used.
Several of the Western meanings of anemone flowers pertain to the Greek mythology of the origin of the anemone flower featuring Adonis and Aphrodite. The goddess Aphrodite kept the mortal man Adonis as a lover; when Adonis was gored by a wild boar, Aphrodite's tears at his death mixed with his blood and gave rise to the anemone. In other versions, the boar was sent by other jealous Greek gods to murder Adonis. These origin stories reflect the classical dual meanings of the arrival of spring breezes and the death of a loved one.
In the Victorian language of flowers, the anemone represented a forsaken love of any kind, while European peasants carried them to ward off pests and disease as well as bad luck.
In other cultures, the meanings differ. In Chinese and Egyptian cultures, the flower of anemone was considered a symbol of illness due to its coloring. The anemone can be a symbol of bad luck in Eastern cultures. The Japanese anemone may be associated with ill tidings.
The flowers are featured in Robe violette et Anémones, a 1937 painting by Henri Matisse
Lance-leaved Cassia
A variable growing shrub ie can be sprawling, prostrate or erect. Yellow flowers July to October. Sharp point on leaves.
English name: Rockspray cotoneaster
Latin name: Cotoneaster horizontalis
Polish name: irga pozioma
Rockspray cotoneaster is a coarse, prostrate, slow-growing, horizontally-spreading, deciduous shrub, which typically matures to 12-18” tall and spreads to 5-8’ wide with tiers of flattened, horizontal branches arranged in a fishbone pattern. It features five-petaled, small pink flowers in early summer, bright scarlet berries in late summer to fall and tiny, rounded, lustrous, dark green leaves (to 3/8” long) that turn reddish-purple in fall.
Rockspray cotoneaster is a valuable landscape plant which offers good foliage, flowers and fruit, and provides shelter for small birds. Mass as a woody ground cover for sunny areas in the landscape including banks or slopes where it can also provide good erosion control. Sprawl over rocks in rock gardens or along stone walls.
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There are four large prayer-flag-poles situated with the Barkhor market which surrounds the Jokhang, known respectively as Ganden Darchen in the northeast, Juyag Darchen in the west, Kelzang Darchen in the southwest (see picture), and Sharkyaring Darchen in the southeast.
The Barkhor market itself is the most active in all Tibet, and it is possible to purchase traditional Tibetan artefacts, paintings, religious implements, antiques, modern goods, books, music, clothing, spices, fresh meat and vegetables. Prices are not fixed and you will be expected to bargain.
One of hundreds of Tibetan pilgrims that pray and prostrate in front of Jokhang Monastery, Lhasa every day. These pilgrims come from all over Tibet and China.
No 25 Maze Owner - Sleeping on the job, Cape town. It is weired that he wakes up and serves you from this prostrate position
Then came forward the Persian sage and, prostrating himself before the King, presented him with a horse of the blackest ebony-wood inlaid with gold and jewels, and ready harnessed with saddle, bridle and stirrups such as befit Kings; which when Sabur saw, he marvelled with exceeding marvel and was confounded at the beauty of its form and the ingenuity of its fashion. So he asked, "What is the use of this horse of wood, and what is its virtue and what the secret of its movement?"; and the Persian answered, "O my lord, the virtue of this horse is that, if one mount him, it will carry him whither he will and fare with its rider through the air and cover the space of a year in a single day."