A Botanical Stroll through the Prado

Great mullein (Verbascum thapsus)

This landscape depicts a natural setting in present-day Belgium. Many of the plant species shown, almost like characters in the painting, have a marked symbolic significance. One very clear example is the grapevine (Vitis vinifera) climbing the apple tree (Malus domestica) in the foreground: the blood of Christ washing away original sin. On the left, there is a great mullein. Its flowering stem was set alight in ceremonies, including funerals, alluding – as here – to Jesus’ death and to the light he brings to the world.

Yellow iris (Iris pseudacorus)

The yellow iris is a species that grows near water, for example on the banks of rivers, streams or ponds. In this landscape, two clumps of yellow iris are visible beside Jesus. Because of its sword-shaped leaves, its presence in paintings is sometimes associated with the suffering that pierces the heart of the Virgin Mary. As a symbol of the Incarnation of Christ, it is sometimes found in Annunciation scenes. Its Greek name, Iris, in use since ancient times, means ‘rainbow’, a reference to the different colours of its flowers.

Wild strawberry (Fragaria vesca)

A wealth of plant species can be found in this painting, not only on the meadow-like terrace where the musician angels are playing, but also in the carved decorations on capitals, bases and other architectural elements, as well as in the gold tracery and floral motifs adorning the fabrics. The meadow contains around twenty different species, of which the most abundant is the strawberry, some of whose symbolic associations date back to classical antiquity, when it epitomised paradise. Its red fruits also represent the blood shed by Christ in his martyrdom, while its trefoil leaves symbolise the Holy Trinity.

Bearded iris (Iris × germanica)

These two panels belong to a dismembered triptych. The central panel was lost, but the two outer paintings are still linked by botany. In the right-hand panel, Saint Barbara sits patiently reading beside a delicate iris stem in a small pewter vase. Its open flower displays the yellow “beard” so characteristic of this plant. In the left-hand panel, against the crenellated garden wall, there is a tiny clump of irises with four flowers, from which the iris adorning Saint Barbara’s room must have been cut.

Daisy (Bellis perennis)

The daisy is one of the most common plants in artistic representations of all kinds. It appeared, for example, on the Ishtar gate in Babylon, and was used as an ornamental motif in ancient Rome. Today, because it reproduces easily, it can be seen in lawns and meadows all over the world. Its petals are white, though sometimes with a reddish tinge. In this panel by Juan de Flandes, in fact, the daises just at the foot of the cross were painted red, while the rest were left white. The flower symbolises both resurrection and purity.

Apothecary’s rose (Rosa gallica var. officinalis)

The rose is the queen of flowers at the Prado, appearing in hundreds of works of art in the museum’s collection. From ancient Egypt to the present day, roses have been cultivated for their beauty and fragrance. In this portrait, Mary Tudor holds an apothecary’s rose, the symbol of her noble lineage, the House of Lancaster. This is the most commonly-depicted red rose variety, partly because it is among the most widely grown on account of its countless medicinal properties. Its scent is at once strong and sweet.

Snake’s head (Fritillaria meleagris)

Botanical themes are addressed in art using very different materials. In this tabletop, plant species are represented in meticulously-worked semi-precious stones. Four carefully-arranged lapis lazuli vases contain a wide variety of bulb species. These plants have underground storage structures, from which they emerge for just a few months; afterwards, they spend the dry or cold periods buried in their bulbs or corms. One of the most surprising is the snake’s head, a veritable floral fantasy.

Wild saffron (Crocus sp.)

Nothing lasts forever, even in the plant world. Here, a withered tree has been infested by a fungus. Several carpophores – popularly known as mushrooms – are growing out of the trunk. Hanging from the branches is another curious organism, mid-way between the world of fungi and that of algae: a lichen called Methuselah’s beard (Dolichousnea longissima). Below, the tip of a broken lance points to a solitary wild saffron flower; the life cycle of this bulb species symbolises the cycle of life, death and resurrection, alluded to by the crucifix visible in the upper part of the painting.

Old man’s beard (Clematis vitalba)

This Garden of Eden features the four tree species regarded as possible candidates for the Tree of the Knowledge of Good and Evil in the Christian tradition. The most widely-represented in that context is the apple tree (Malus domestica). Here, however, it is accompanied by the fig (Ficus carica), the bitter orange (Citrus × aurantium) and a pomegranate tree (Punica granatum) in blossom. The creeper encircling the waists of Eve and Adam is old man’s beard, with which beggars would rub their skins, causing sores which might bring them more alms.

Citron (Citrus medica)

Plant collecting is by no means a recent hobby. Citrus trees – a family that includes orange, lemon and grapefruit, among others – sparked the enthusiasm of leading families such as the Medici, in Tuscany (Italy). This dynasty created a major collection of citrus trees between the 16th and 18th centuries. The trees were grown in the open air in large terracotta pots, so that they could be transported and sheltered during the cold months in glasshouses known as limonaie. In this portrait, García de Medici holds a citron blossom, alluding to this family tradition.

White lily (Lilium candidum)

Plants – even those not producing fruit, fibres or wood – have been cultivated since time immemorial. A range of containers, such as pots or window-boxes, have long been used to bring the beauty of flowers to our very doorsteps. In this scene, which is more traditional than religious, an angel uses a pulley to draw a bucket of water from the well, in order to water the plants. Nearby is a vase full of white lilies, one of the five flowers most frequently depicted in the Museo del Prado, symbolising Mary’s purity and virginity.

Date palm (Phoenix dactylifera)

A date palm serves to separate these two scenes from Genesis. This species is a constant in the history of art, having been used since classical antiquity to enhance the surroundings of sanctuaries. The palm tree, a symbol of paradise, is commonly found in depictions of the Garden of Eden, like this one. Here, the tree is represented schematically, with compound leaves and red bunches of dates emerging from an unreal articulated trunk or stipe. On the right, Adam and Eve cover their nakedness with fig leaves (Ficus carica).

Common grapevine (Vitis vinifera)

Botany is not always apparent in works of art. It is often hidden. No one would say that there were any plants in this painting, and yet there are a few waiting to be discovered. The archangel’s golden girdle is made of intertwined thistle leaves (Cirsium sp.), a symbol of Christ’s Passion. Similarly, the shield with which he protects himself has an ornamental border of grapevine leaves and bunches of grapes, an allusion to the blood shed by Christ in his martyrdom.

Carnation (Dianthus caryophyllus)

The central female figure is holding a carnation, here intended to symbolise betrothal or emotional commitment. In many wedding portraits, particularly in northern Europe, the bride and groom are shown holding carnations. To the right of the woman’s face is a white rose of York (Rosa × alba ‘Semi-plena’), with numerous white petals and yellow stamens. This variety has a sweet, intense scent, as do the white and pink common stock (Matthiola incana), depicted here with their four characteristic petals, for example in several of the bouquets adorning the drapery.

Sweet violet (Viola odorata)

The sweet violet, whose edible flower has a fascinating scent, is a small, modest plant. Even so, it has been widely depicted in art for centuries. This may be due in part to its association with Aphrodite, the Greek goddess of love. In the bacchanal shown here, one of the women wears violets over her ear and in her cleavage, perhaps intended as a nod to Violante, the artist’s partner. The child is also crowned with a garland of violet leaves and flowers, regarded by the ancient Greeks as a remedy for hangovers.

Greater burdock (Arctium cf. lappa)

An enormous stone pine (Pinus pinea), identifiable by its large umbrella-shaped crown, rises up on the right of this painting. It helps to make the landscape seem larger and the figures smaller. It is one of the plants that must have appealed to Claude Lorrain in Rome, where he spent much of his life, and it still provides one of the city’s most recognisable botanical silhouettes. In the foreground, Lorrain has included another very singular plant: the greater burdock, a species whose huge herbaceous leaves are particularly striking.

Guelder rose (Viburnum opulus var. roseum)

In the large central vase, the artist has created a floral symphony remarkable for the interplay of colours. Within the composition, each flower is matched by a counterpart identical or similar in colour: there are two blue bearded irises (Iris × germanica), two red and two yellow tulips (Tulipa cv.), two mauve anemones (Anemone hortensis) at the centre of the bouquet, and so on … Below them, our attention is drawn by the almost perfectly-spherical inflorescences of two guelder roses, a plant much appreciated by Baroque painters and also by present-day gardeners.

Common marigold (Calendula officinalis)

The coins carried in the folds of the saint’s robe were miraculously turned into flowers. Zurbarán chose three species very common in gardens since ancient times. These include the yellow blooms of the wallflower (Erysimum × cheiri), a member of the cabbage family that can flower for months at a time, spreading its entrancing scent. There are also a number of fragrant Provence roses (Rosa × centifolia), grown since at least the 14th century. Finally, a solitary orange marigold flower adds variety to the garden sprouting from this canvas.

Italian cypress (Cupressus sempervirens)

The cypresses rule over this classical garden, providing a perfect backdrop to the painting with the boarded-up archway. One has a crown with more open, horizontal branches: it is known in Italy as the “female” cypress (Cupressus sempervirens f. horizontalis), although in fact both sexes are present in the same individual. In contrast, their narrow, column-shaped counterparts are known as “male” cypresses (Cupressus sempervirens). In the other painting, a number of cypresses, some of them “female”, can be discerned behind the statue of Ariadne.

Common ivy (Hedera helix)

If the rose is the most widely-represented plant in the Museo del Prado, with its different species, varieties and cultivars, the single species featured in the largest number of works is ivy. This climbing plant often appears in the background, clinging to a wall or tree. Its forms also adorn classical statues, such as the head of the Roman god Bacchus. In this religious painting, where the artist has focused on the more rounded leaves of its fertile stems, the ivy with its evergreen foliage symbolises eternal life.

Greater plantain (Plantago major)

At Eve’s feet we can see two greater plantain inflorescences. Because of their slightly spear-like appearance, they have been linked to the martyrdom of Christ. For that reason, plantain is commonly found in Crucifixion scenes. It also embodied the struggle of good against evil, and therefore symbolised salvation. Additionally, because it tends to grow beside footpaths, it was adopted as a metaphor for the path leading to Christ. Since ancient times, its leaves – applied as a poultice – have been used to heal foot wounds after long walks.

Opium poppy (Papaver somniferum)

The opium poppy is linked to a number of Greek deities, among them Hypnos, Morpheus, Cybele, Demeter and Aphrodite. Its medicinal use as a sedative has led to it being used to symbolise sleep. Here the sleeping child lightly holds two poppy fruits, from which opium resin is extracted; derivates obtained from the resin are still used today to alleviate all kinds of physical pain. In ancient Rome, opium was among the ingredients of the famous theriac, an antidote against poisons and certain diseases.

French honeysuckle (Sulla coronaria)

The three Graces meet under a floral garland, consisting mainly of roses, the symbol of love. Indeed, it may be regarded as a small compendium of the varieties most widely cultivated at that time: ‘Maiden’s Blush’, with its slightly pink tinge; the white rose of York, the Provence rose and the red Rosa gallica. Hanging from the garland, a flower is outlined against the blue sky. This is the French honeysuckle, a species not commonly found in works of art, which perhaps had a special significance for Rubens.

Edible amaranth (Amaranthus tricolor)

The history of plants is full of travel. Many of the species we grow today were brought from distant lands. The flowers in this vase include the common poppy (Papaver rhoeas), an archaeophyte, i.e. a species which spread as humans colonised new regions, prior to the conquest of America. Its seeds were transported alongside those of crops such as wheat. The painting depicts other plants from far-off places: the sunflower (Helianthus annuus), native to America, and the edible amaranth, from Asia.

Spanish jasmine (Jasminum grandiflorum)

The large vase on the table contains a veritable garden of cut flowers. The upper part is crowned by an English iris (Iris latifolia), a plant native to the Pyrenees and the Cantabrian Mountains. Below this special flower, others are placed in a harmonious arrangement, in the same tones as the prince’s clothing. The Spanish jasmine he is holding is remarkable in that it has six petals, rather than the usual five. Perhaps the prince is keen to display this rare find, as was customary in cabinets of curiosities.

Common hollyhock (Alcea rosea)

The cypresses (Cupressus sempervirens) in the background of this garden recall those painted by Velázquez at the Villa Medici. A family is gathered at the entrance of the house, in a grapevine bower (Vitis vinifera). A number of hollyhocks have been planted beside the door, a practice still common today. They are quite tall, and dotted with flowers, many of which are pink. Hollyhocks were used to cure snakebites and scorpion stings, and are therefore regarded as beneficial.