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Botanical Images

Bouquets

Flowers

Gardens

Leaf

Plants

Trees & Shrubs

Tropical

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bouquets, flowers, gardens, plants, tropical, leaf, trees. Botanic Gardens, Flowers Into Art. At the exhibition olf contemporary botanical art (28th July to 23th September 2001), alongside the paintings from Shirley Sherwood's collection, volumes from the Library's rich collections of illustrated botanical works were displayed. Choosing them proved to be a fascinating but challenging task. Valuable assistance carne from the studies of Lucia Tongiorgi Tornasi, who also advised on the exhibition as a whole. Having decided to exclude, for reasons of conservation, manuscript material (represented in any case by three plates of the pr�ciousfacsimile of the Grimani Breviary created at the beginning ofthe 20th century), we chose to present some signific�nt examples of the varions kinds of publications containing engraved and handcoloured plates with flow�rs, plants and fruits. Such works appeared from the 18th century onwards, revealing a combination of artistic sensitivity and precise naturalistic description. To represent 17th-century florilegia, works . in which flowers and plants ar� proposed in refined compositions but. r�moved from their natural habitat, with strong symbolic overtones (human life is as fleeting as that of the flower), we chose. two items. One was the richest of all, the Hortus Eystettensis (Nuremberg 1613), edited by the naturalist Basil Besler, wlio commissioned various artists to r�present in 367 plates the plants in the botanical garden of the Bishop of Eichstadt. The other was a little-known supplement to the Hortus floridus (Arnheim 1614); the most popular florilegium ever published, designed and engraved in burin by Crispyn de Paas the younger, member of a famous German family of engravers. From the same century came the fortunate handbook of botanical precepts by the Jesuit Giovanni Battista Ferrari, De florium cultura libri IV, publish�d for the first time in Rome in 1633, then translated into Italian and made famous throughout Europe in the edition published in Amsterdam in 1646: the 46 splendid copperplates that accompariy the text, taken from the Museo cartaceo by Cassiano dal Pozzo, were drawn by Pietro da Cortona, Guido Reni and Andrea Sacchi and engraved by Johann Friedrich, Claude M�llan and Anna Maria Vaiani. Examples were also_presented of collections illustrating rare plants in European botanical gardens, organised according to Linnaeus's classification. The Hortus Elthamensis (London 1732), a work by Johannes Dillenius (a German doctbr, who moved.to London and became the first Professor of Botany at Oxford), iilustrates the plants cultivated in the garden of the Sherards at Eltham in Kent. The rare plants in the gardens of Sch�nbrunn were splendidly engraved in copper by Franz Andreas and Ferdinand Lucas Bauer for Nicolaas Jozeph Jacquin, a doctor and botanist from Leida, who by order of Emperor Francis I had gone to thd. Arnericas to bring back rare species to Vienna. Between 1781 and 1793 Jacquin published in Vienna Icones plantarum rariorum, in two volumes, and between 1797and 1804 the four volumes of the plantarum, rariorum horti caesarei Schoenbrunnensis descriptiones et icones, for a total of over 2,000 plates. Among the collecti�ns of botanica plates organised speciftcally for medical purposes, room had to be found for Elizabeth Blackwell's work, a curious herbal... of the most useful plants, which are now used in the practice of physick (London 1737-1739), containing 500 plates drawn from life - from the plants of the garden in Chelsea -, engraved and hand-coloured, to help her husband imprisoned for debt; of a higher artistic evel are the 758 plates, engraved by Johann Ignatius Albrecht for the eight volum�s of the Icones plantarum medicinalium (Vienna 1788-1812) by the Austrian university teacher of medicine and botany, Joseph Jakob von Plenck, author of numerous highly successful scientific works. The last work, chronologically speaking; in this selection of Marciana editions deserves special mention: the Pomona italiana, ossia Trattato degli alberi fruttiferi (Pisa 1817-1839), a product of the passion of a talented autodidact, Giorgio Gallesio from Liguria; who desired to provide Italy with a catalogue of the national varieties of fruit (as had already been done in Germany, France and England); and who accomplished the task with the aid of a group of Florentine artists, engravers and colourers co-ordinated by Antonio Serantoni. Bouquets, flowers, gardens, plants, tropical, leaf, trees