Summer Flowers of the High Alps — A Closer Reading

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Hastings, Somerville, 1878-1967 Project Gutenberg 2021 Not confirmed
Wild flowers -- Alps; Mountain plants -- Alps Readers of public-domain and historical texts
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Words 22,818
Reading time 100 min
Text sections 45

This digital edition of Summer Flowers of the High Alps — A Closer Reading is described by source-level measurements including 22,818 words, 1 hr 40 min estimated reading time, and 45 detected text sections.

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An analysis of Somerville Hastings' 1910 photographic field guide to Alpine flora, focusing on his precise botanical descriptions, use of colour photography, and comparative method for identifying common and rare species in the Bernese Oberland.
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SUMMER FLOWERS OF THE HIGH ALPS

SUMMER FLOWERS OF THE HIGH ALPS

BY SOMERVILLE HASTINGS M.S. AUTHOR OF “ALPINE PLANTS AT HOME,” SERIES I. AND II.

ILLUSTRATED BY REPRODUCTIONS FROM DIRECT COLOUR PHOTOGRAPHS BY THE AUTHOR

LONDON: J. M. DENT & SONS, LTD. NEW YORK: E. P. DUTTON & CO.

The coloured plates of Alpine plants, which are the special feature of this book, are all reproduced from colour photographs taken directly from nature. The plants were all photographed exactly as they were found, with two exceptions, in the immediate neighbourhood of Rosenlaui in the Bernese Oberland during the month of July 1909; so that the pictures are true portraits of the flowers “at home.”

The Lumière process of colour photography which was used, depends on the action of light on a photographic plate after its passage through various coloured starch grains. The process is entirely beyond the control of the operator, and the exact colours are automatically reproduced. These photographs have in turn been carefully reproduced for this work by the three colour process.

The flowers here photographed were selected as good examples of common and typical species; and, of course, they represent but a very small portion of the rich flora of Switzerland. The present volume is intended as a short introduction to the subject, for the fuller study of which the following works are recommended:—

A. Gremli, “The Flora of Switzerland.” Translated by Paitson.

A. W. Bennett, “The Flora of the Alps.”

G. Hoffmann, “Alpine Flora.” Translated by E. S. Barton.

L. and C. Schröter, “Coloured Vade-mecum to the Alpine Flora.”

C. Schröter, “Das Pflanzenleben der Alpen.”

F. E. Hulme, “Familiar Swiss Flowers.”

“Hints and Notes for Travellers in the Alps,” being the General Introduction to Ball’s Alpine Guide.

They have all been freely referred to in the preparation of the accompanying notes.

Wherever possible the common name of each plant in English, French, and German has been given on the corresponding plate. It is hoped that this may be of use to the reader.

In conclusion I would like to thank the publishers for the great trouble they have taken in the preparation of the plates, and Mr Howard Farmer, of the Polytechnic School of Photography, for much valuable advice.

NEW CAVENDISH STREET, W. _April 1910._

THE SPINY FULLER’S THISTLE _Frontispiece_

THE NARCISSUS-FLOWERED ANEMONE 2

THE COMMON MONK’S-HOOD 6

THE YELLOW WOLF’S-BANE 8

THE TWO-FLOWERED VIOLET 10

THE LONG-SPURRED PANSY 12

THE BOX-LEAVED MILKWORT 14

THE CREEPING GYPSOPHILA 16

THE MOSS CAMPION OR CUSHION PINK 18

THE COLD MOUNTAIN-LENTIL 26

THE DULL-FLOWERED SWEET CLOVER OR ALPINE SAINFOIN 28

FLEISCHER’S WILLOW-HERB 34

THE MOUNTAIN HOUSE-LEEK 36

SEMPERVIVUM FUNCKII 38

THE EVERGREEN SAXIFRAGE 40

THE LARGE ASTRANTIA 42

THE ALPINE STARWORT OR ALPINE ASTER 44

THE CAT’S-FOOT, MOUNTAIN EVERLASTING OR MOUNTAIN CUDWEED 46

THE ROUND-HEADED RAMPION 52

THE BEARDED BELL-FLOWER OR CAMPANULA 54

THE DWARF HAIR-BELL OR BELL-FLOWER 56

THE HAIRY-LEAVED ALPENROSE 58

THE LESSER WINTER-GREEN 60

THE STEMLESS GENTIAN 62

THE SHORT-LEAVED GENTIAN 64

THE ALPINE TOAD-FLAX 66

THE LEAFY LOUSEWORT 70

THE YELLOW AURICULA 72

THE LADY’S SLIPPER 76

THE WHITE VERATRUM 78

No one can visit Switzerland for the first time without being struck with the singular beauty of its wild flowers. In the early summer the whole country from the lowland meadows right up to the snowline is ablaze with beauty. Probably in no other part of the world are the forms of the flowers more pleasing and their colours more brilliant. Hence it is that almost everyone who visits the Alps, however little interest he may take in the wild flowers of his own home, desires to know something of the wonderful new forms that everywhere meet his gaze. Here the charm of novelty also comes in, for at least half the flowers met with in the Alps are absent from the plains, and many of the species that occur in both situations have, as we shall see later, acquired such different characters at high altitudes as to be with difficulty at first sight recognised. Those who would see Switzerland in all its beauty, and as far as its floral treasures are concerned, at its best, must visit it in early June before the hay is cut. Otherwise they will miss the glory of the unmown meadows, and although many of the spring flowers, like the Crocuses and Primulas (Plate 35), may still be found in small quantities at high altitudes even in July, the striking effect of the large masses of these flowers will be entirely wanting.

Somerville Hastings’ Summer Flowers of the High Alps (1910) is a field guide built around colour photographs taken directly from nature using the Lumière autochrome process. Hastings, a surgeon and amateur botanist, photographed plants exactly as found near Rosenlaui in the Bernese Oberland during July 1909. The resulting plates are presented as “true portraits of the flowers ‘at home’,” and the accompanying notes serve as a short introduction to Alpine flora. The book’s authority rests on Hastings’ own observations and on standard references such as Gremli’s Flora of Switzerland and Schröter’s Das Pflanzenleben der Alpen.

Diction and Descriptive Precision

Hastings writes with a botanist’s exactness, favouring concrete terms over decorative language. A typical entry notes that the Mountain House-leek has “rosettes of leaves” that are “covered with much longer hairs, which are not, however, twisted together into a spider’s web.” He distinguishes species by measurable features: the Common House-leek is “a much larger plant” with “wedge-shaped rosette leaves” that “are only provided with hairs along their margins, and are armed with sharp spines at their extremities.” Such phrasing avoids metaphor and instead supplies the reader with criteria for field identification.

Structure of the Entries

Each plant description follows a consistent pattern: habitat, morphology, flowering period, colour variation, and comparison with similar species. For the Evergreen Saxifrage, Hastings first notes its abundance and typical locations—“moist rocky places, at the foot of glaciers, and on the banks of mountain streams”—then describes the flower’s anatomy: “five brightly coloured petals alternating with five green sepals,” followed by “a ring of ten stamens with dark red pollen, and then the showy ring-like nectary and the two styles.” This systematic arrangement allows the reader to locate information quickly.

Comparative Method as a Tool

Hastings frequently uses comparison to clarify identification. When describing Sempervivum Funckii, he contrasts it with the Mountain House-leek (smaller rosettes, longer hairs) and with the Cobweb House-leek (hairs not interwoven). He then compares it to the Common House-leek, noting differences in leaf hair distribution and spine presence. The same approach appears in the Saxifrage section, where he distinguishes varieties by petal colour: “lemon yellow with orange red spots” versus “pure orange red.” This comparative framework helps the reader differentiate look-alike species.

Voice and the Observer’s Presence

Hastings’ authorial voice is that of a careful observer who occasionally shares a personal note. He remarks that the Cobweb House-leek “will be readily distinguished” by its web-like hairs, and that the Common House-leek “is often seen in England growing on old walls and on cottage roofs, where it is supposed to protect from lightning.” Such asides reveal his familiarity with both Alpine and British flora. The preface’s acknowledgment of “Mr Howard Farmer, of the Polytechnic School of Photography, for much valuable advice” underscores the technical care behind the plates.

Hastings’ guide rewards readers who attend to the details of leaf shape, hair distribution, and flower colour. The photographs, though reproduced by the three-colour process, are best used alongside the verbal descriptions, which often note subtle variations not visible in the plates. For those planning a summer visit to the Bernese Oberland, this book offers a focused, evidence-based companion—one that expects the reader to look closely and compare.

Reading these alpine names, I remembered my grandmother’s pressed gentians, and how she’d whisper their Latin names like a prayer. Hastings’ careful eye feels like tending a small garden. A similar patience once unfolded in Drug Plants Under Cultivation — Themes and Context, where each root’s usefulness was described with the same quiet reverence for what grows slowly and asks only for attention.

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