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Edition 20: Equity by Design

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Page 149 of 299

he rose as symbol—ancient, fertile—needs in our time a rescue from the banality into which florists and greeting cards have cast it. A look, first, at the Latin phrase sub rosa is instructive. In ancient Rome, a wild rose would be placed on the door of a room where secret matters were discussed. This association of the rose with something clandestine appeals to me; love is better off secret, not fulsomely displayed. Artistically speaking, two visual interpretations of the rose, over a century between them, come vividly to mind. The first are the gesso panels created at the turn of the twentieth century by Glasgow artist Margaret MacDonald Mackintosh for her husband, architect Charles Rennie Mackintosh's interiors for Glasgow tearooms and private residences. Indeed, this less famous Mackintosh was T Reborn, Reborn, 2013 2013 HYLAND

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