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Description
white spots money tree leaves Lunaria annua 'Alba'Lunaria annua 'Alba' White Honesty Money Plant Elegant, timeless, and versatile Lunaria annua 'Alba' is the pure white flowering form of the beloved money plant, grown primarily for its distinctive seedpods. This easy to grow biennial offers charming starry white blooms in spring, followed by flat, translucent seed discs that are perfect for both fresh and dried arrangements. Highly valued by floral designers and gardeners alike, its ethereal seedpods
Lunaria annua 'Alba' | White Honesty | Money Plant
Elegant, timeless, and versatile — Lunaria annua 'Alba' is the pure white-flowering form of the beloved money plant, grown primarily for its distinctive seedpods. This easy-to-grow biennial offers charming starry white blooms in spring, followed by flat, translucent seed discs that are perfect for both fresh and dried arrangements.
Highly valued by floral designers and gardeners alike, its ethereal seedpods shimmer like silver coins and last beautifully in wreaths, bouquets, and decor throughout autumn and winter.
Key Features
- Plant type: Biennial (self-seeding)
- Flower color: White
- Height: Up to 90 cm
- Spread: 30 cm
- Flowering period: May to August
- Position: Full sun or partial shade
- Uses: Dried arrangements, autumn decor, cut flower gardens
- Soil: Moist, fertile, well-drained
- Special trait: Tolerates poor soil and shade
Though the flowers are delicate and short-lived, the real treasure lies in the seedpods — each plant can produce 20–30 stems heavily laden with flat, coin-like seed cases. These can be harvested fresh while green or left to mature for a silvery, papery finish.
Sowing Instructions
- Direct sowing: Best sown directly in autumn or early spring in 3 mm deep drills spaced 30 cm apart. Keep soil moist until germination and thin seedlings to 15 cm.
- Indoor sowing: Sow onto loam-based compost; lightly cover with a thin layer of grit. Maintain warmth at 18°C for 6–8 weeks, then cold stratify at 5°C for another 6–8 weeks. Return to warmth to trigger germination. Repeat warm–cold cycle if needed.
- Note: Germination can be slow and erratic — patience is key.
Growing Notes
- Thrives in less-than-perfect spots — including part shade and poor soil
- Avoid excessive feeding or manure
- Minimal maintenance once established
Harvesting & Drying
- Harvest seedheads in late summer to autumn when pods are mature and paper-like
- Peel off the green outer layer to reveal luminous, silvery discs
- To dry: Hang stems upside down in a warm, dark place for 2–3 weeks
Dried seedpods are fragile — handle with care once dried.
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4.1 ★★★★★
Based on 20 reviews
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Product Reviews
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
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Reviewed in the United States on May 7, 2014
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers
ISBN: 978-0-19-5396638
Read June, 13th-27th, 2017.
This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book.
After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time.
Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person.
Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma.
Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision.
The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017