"Connie visited [artist and designer] Norman Wilkinson at his riverside home Strawberry House, by Chiswick Mall ... As she explored and admired the house, Connie came across something that suddenly jogged her memory: hanging in the sitting-room was a copy of Richard II Holding the Red Rose of Lancaster, the painting that she had seen as a child in The Studio magazine. She explained how she had been so excited by it, the lavish richness combined with austere formality: 'I remember to this day', she wrote, 'the parterre of delicate, exquisite even strange flowers: flaked and ticked pinks, curious foxgloves, panachée roses ...the minute and elaborate detail of the smallest flower.' She told Wilkinson that this painting had inspired in her a creative interest in all kinds of flowers, whether wild, exotic, rare or commonplace. The artist was pleased when he heard that she had liked it so much because, he told her, it was he who had painted it when he was very young. He quoted some lines of Milton from Lycidas which had inspired him:
Bring the rathe primrose that forsaken dies,
The tufted crow-toe, and pale jessamine,
The white pink, and the pansy freaked with jet,
The glowing violet,
The musk rose, and the well-attired woodbine,
With cowslips wan that hang the pensive head,
And every flower that sad embroidery wears. "
From The Surprising Life of Constance Spry by Sue Shephard.
A lovely example of links in the long chain of inspiration, and if you're interested in flowers and the wider social scene in Britain from the 1930s to the '50s I'd recommend the book warmly.