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78-441: Each of the issues contains a description, in formal yet accessible language, and is renowned for featuring the work of two centuries of botanical illustrators . Many plants received their first publication on the pages, and the description given was enhanced by the keenly detailed illustrations. The first issue, published on 1 February 1787, was begun by William Curtis , as both an illustrated gardening and botanical journal. Curtis

156-549: A Cape Colony botanist assembled a Herbarium vivum of some 13 volumes at the end of the 17th c. Johann Hieronymus Kniphof's Herbarium Vivum of 1759 comprises some 1,200 botanical illustrations. In 1834 the astronomer John Herschel, faced with a similar problem of exact copying, used a camera lucida to copy the outlines of Cape Colony plants in pencil while his wife later painted the details. There are two illustrations on Misplaced Pages in Spanish. The Flemish painter Pieter van der Borcht

234-402: A (now lost) herbarium and many drawings: Description des plantes de l'Amérique was published after the second voyage (1693), and Nova plantarum americanarum genera (1703) after the third. These works include plates showing flowers and fruits at different stages of development. A few decades earlier, Flora Sinensis (Vienna, 1656) had been published by a Jesuit missionary, Michał Boym . At

312-543: A Salerno physician, is credited with the (12th century) " Circa Instans  [ fr ] " manuscript, expanded over time into the Treatise on Herbs , containing 500-900 entries depending on version. Later illustrated versions, called Secreta Salernitana , produced from the 14th century onwards influenced later herbals, such as Le Grant Herbier (1498), and its translation, the Grete Herball (1526 or earlier),

390-662: A backdrop of a real (often inhabited) landscape depicting their natural environment. Many of the illustrations also feature two little botanists collecting specimens of the plant illustrated. The work (Pietro Andrea Mattioli, Discorsi, a herbal assembled and illustrated by Gherardo Cibo ), dated 1564–1584, is accessible for online viewing on the British Library website. See the Gherardo Cibo page on Misplaced Pages in Latin for two more illustrations). Euricius Cordus , one of

468-496: A background of classic or pastoral landscapes. His Phytographia curiosa , 1702, also has inhabited landscapes in the background, reminiscent of the work of Gherardo Cibo at the end of the 16th century. Lilian Snelling Lilian Snelling (1879–1972) was "probably the most important British botanical artist of the first half of the 20th century". She was the principal artist and lithographer to Curtis's Botanical Magazine between 1921 and 1952 and "was considered one of

546-767: A book devoted entirely to tulips, Le Floriste françois (Caen, 1654). And in 1678, he published a Traité des tulipes . Nicolas Guillaume de La Fleur (1608–1663), an engraver, painter and draughtsman from Lorraine, is known to have engraved flower plates in Rome in 1638-39 (published by Frederick de Wit , Amsterdam, 1650–1706), and to have worked in Paris c.1644. Painter Claude Boutet  [ fr ] later recommended that those who wish to learn to paint flowers should copy his engravings: "Buy Nicolas-Guillaume la Fleur's Fleurs , which are sold at Mariette, ruë Saint-Jacques, at l'Espérance. They are very good." This suggests that there

624-553: A change of name to The Kew Magazine from 1984 to 1994. In 1995 the name reverted to that of the widely cited, Curtis's Botanical Magazine . It continues to be published by the Royal Botanic Gardens, Kew as a publication for those interested in horticulture, ecology or botanical illustration. The standard form of abbreviation is Curtis's Bot. Mag. or Botanical Magazine in the citation of botanical literature. Botanical illustrator Botanical illustration

702-533: A circulation of 3000 copies, with 3 plates in each. As costs of production rose, and demand increased, results would be variable within a run. The later use of machine colouring would provide uniformity to the artists work, although the process could not give the same detail for many years. The magazine has been considered to be the premier journal for early botanical illustration. When Curtis died, having completed 13 volumes (1787–1800), his friend John Sims became editor between 1801 and 1826 (Volumes 14–53) and changed

780-532: A combination of these and other media. The image may be life-size or not, though at times a scale is shown, and may show the life cycle and/or habitat of the plant and its neighbors, the upper and reverse sides of leaves, and details of flowers, bud, seed and root system. The fragility of dried or otherwise preserved specimens, and restrictions or impracticalities of transport, saw illustrations used as valuable visual references for taxonomists. In particular, minute plants or other botanical specimens only visible under

858-400: A format accessible by a wider one. The illustrations were initially hand-coloured prints, taken from copper engravings and intended to complement the text. Identification by a general reader was given in exploded details, some of which were given as a section. This was accompanied by a page or two of text describing the plants properties, history, growth characteristics, and some common names for

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936-417: A microscope were often identified through illustrations. To that end, botanical illustrations used to be generally accepted as types for attribution of a botanical name to a taxon . However, current guidelines state that on or after 1 January 2007, the type must be a specimen 'except where there are technical difficulties of specimen preservation or if it is impossible to preserve a specimen that would show

1014-574: A nickname for rising star Jean-Baptiste Monnoyer whose Le Livre de toutes sortes de fleurs d'après nature shows flowers with botanical accuracy and served decorative designers for decades. Joseph Pitton de Tournefort published his first work, Éléments de botanique ou méthode pour connaître les plantes , in 1694. In the preliminary notice, he noted that "the method followed is based on the structure of flowers and fruits. One cannot depart from it without getting into strange difficulties...". The book, illustrated with 451 excellent plates by Claude Aubriet,

1092-639: A physician from Baghdad. The text was translated into Latin in the mid-13th century. It was profusely illustrated and widely circulated in Europe, especially in the 14th and 15th centuries. Four handsomely illustrated complete late 14th-century manuscripts of the Tacuinum, all produced in Lombardy, survive, including one in Paris. The Tacuinum was first printed in 1531. There are many perfectly identifiable flowers in books like The Book of Hours (two volumes) by

1170-484: A tulip collector, published another florilegium: Florilegium by Emanuel Sweerts of Zevenbergen, living in Amsterdam [...] showing various flowers and other plants, in two parts, drawn from nature and rendered in four languages (Latin, German, French and Dutch) . The first part is devoted to 67 bulb plants (32 varieties of tulips), and the second to 43 perennial plants. Each plate (all borrowed from de Bry's Florilegium )

1248-405: Is an engraved florilegium of more than a hundred unusual or rare plants, accurately depicted and classified according to their flowering season. The first plates show two views of a Dutch garden. In 1616 was published Jardin d'hyver , or Cabinet des fleurs, containing in 26 elegies the rarest and most signal flowers of the most beautiful flowerbeds. Illustrated with excellent figures representing

1326-438: Is known for his accurate representations of fruits, flowers and animals, which were taken as models by many other artists in the following centuries. Hoefnagel is also known to have painted birds (notably an illustration of the dodo) while working for the court of Emperor Rudolf II , famous for his cabinet of curiosities. His Amoris Monumentum Matri Charissimae (1589) shows a floral arrangement that seems to have been perceived at

1404-468: Is numbered and refers to an index in which its name appears. The 1612 edition includes a preface in which the author gives the two addresses where tulips can be bought, in Frankfurt and Amsterdam : botanical illustration suddenly found a new outlet in the production of nursery catalogues. Hortus Eystettensis (1613) is a "cabinet book" and, more precisely, a florilegium: it contains engravings of

1482-474: Is the Vienna Dioscurides . It is a copy of Dioscorides 's De Materia Medica , and was made in the year 512 for Juliana Anicia, daughter of the former Western Roman Emperor Olybrius. The illustrations did not accurately describe the plants, which was potentially hazardous to medicinal preparations. The oldest surviving manuscript of the 4th-century Pseudo-Apuleius Herbarius , dates back to

1560-559: Is the art of depicting the form, color, and details of plant species. They are generally meant to be scientifically descriptive about subjects depicted and are often found printed alongside a botanical description in books, magazines, and other media. Some are sold as artworks. Often composed by a botanical illustrator in consultation with a scientific author, their creation requires an understanding of plant morphology and access to specimens and references. Many illustrations are in watercolour , but may also be in oils, ink, or pencil, or

1638-480: The 18th century). In 1631 the great era of " Les Vélins du Roi " began. At the same time, the idea of the (private) pleasure garden , which originated in Italy, was brought to France during the great period of Hôtel particulier construction, mainly in Paris from the early 17th century onwards. These freestanding mansions were often built between an entrance court (on the street side) and a pleasure garden overlooking

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1716-485: The 6th century. It includes stylized plant illustrations and their medicinal uses. Among the first people in Europe to take an interest in plants were monks and nuns, and physicians. Medicinal herbs were grown in monastic gardens and used for self-care and for tending to the sick in local communities. Hildegard von Bingen even wrote about natural medicine and cures in Causae et Curae and Physica . Matthaeus Platearius ,

1794-643: The Botanic Garden and Professor of Botany at the University of Edinburgh . She studied lithography under Frank Morley Fletcher . She left in 1921 to work at the Royal Botanic Gardens, Kew as principal artist and lithographer to Curtis's Botanical Magazine which had recently been bought by the RHS where from 1929 she was assisted by Stella Ross-Craig . After 30 years she retired in 1952 having produced over 830 paintings and plates. Volume 169 of Curtis's

1872-820: The Elder was one of the first to work in the new medium of copperplate engraving and etching that came into use after 1564. Woodcuts (like wood engravings, much later) allowed in-text illustrations, unlike intaglio processes . Van der Borcht began illustrating botanical works in 1565, when the Antwerp printer Christophe Plantin commissioned plates from him for the herbarium of Rembert Dodoens . Further commissions (more than 3000 watercolours in all, engraved by Arnold Nicolaï, then Gerard van Kampen and Cornelis Muller) followed for works by Dodoens, Matthias de l'Obel and Carolus Clusius (a pupil of Guillaume Rondelet , like Gaspard Bauhin as well as Rabelais. Pierre Richer de Belleval

1950-590: The Master of Flowers (Maître-aux-fleurs, 15th century) or Jean Bourdichon 's Grandes Heures of Anne of Brittany (between 1503 and 1508), with 337 plants from the Queen's garden, captioned in Latin and French. These artists' objective was, though, purely artistic. At the end of the 16th century, an illustrated manuscript such as the Erbario Carrarese ( British Library , London, Egerton Ms.2020 ), revealed

2028-709: The New World (and particularly New Spain ), a study of the region's medicinal plants and animals, and brought back thousands of illustrations for which he was assisted by local artists, " tlacuilo  [ fr ] s". It was to the Levant that Pierre Belon undertook extensive scientific travels to study fauna and botany. The work that he published in 1553 includes some illustrations. Leonhart Fuchs published De historia stirpium commentarii insignes (1542), accompanied by illustrations at least as accurate as those by Hans Weiditz. The drawings are by Albrecht Meyer and

2106-427: The accumulation of specimens (in cabinets of curiosities and botanical gardens ), their classification, the creation of catalogues, botanical works, and the emergence of scientific illustration. The passion for horticulture created a market for floral still lifes (painted for aesthetic purposes) and for more scientific miniatures . The Libellus de Medicinalibus Indorum Herbis is an Aztec manuscript describing

2184-459: The botanical knowledge of his time, lavishly illustrated with engravings. Carolus Clusius , a French-speaking Flemish physician and botanist, created one of the first botanical gardens in Europe, the Hortus botanicus Leiden , and can be considered the world's first mycologist and the founder of horticulture, particularly of the tulip (of which he obtained seeds from Ogier Ghiselin de Busbecq ). He

2262-549: The commerce of tulips, along with the instability of their colors, provided additional incentive to have them painted. A book created in 1634 for Nicolaes Tulp contains over a hundred pages of tulips (along with insects and Mollusc shells ) painted by Jacob Marrel . Tulip mania continued beyond the collapse of the market in 1637. In 1650 Jean Le Clerc (15..-163.), bookseller, publisher and engraver, published his Livre de fleurs où sont représentées toutes sortes de tulippes (Paris). Charles de La Chesnée-Monstereul followed suit with

2340-431: The different parts of plants. Nehemiah Grew 's The Anatomy of Plants (1682) displays detailed anatomical diagrams and cross sections of flowers and other plant structures, including the first known microscopic description of pollen. This makes it all the more curious to see that Abraham Munting 's best known work, Naauwkeurige Beschryving Der Aardgewassen (Description of Terrestrial Plants, 1696), shows plants against

2418-698: The end of the 15th century onwards. Andrea Amadio  [ it ] 's approach was scientific. Like Bourdichon, he was a miniature painter (who was born in Venice and died after 1450) but he illustrated a book written by a physician and scholar from Conegliano, Niccolò Roccabonella (1386–1459), the Liber de Simplicibus (known as the Codice Rinio, after the name of its second owner, Benedetto Rinio), between 1415 and 1449. Printed herbals appeared in 1475 ; in 1485 Gart der Gesundheit , by Johannes de Cuba ,

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2496-404: The end of the 17th century, the first manuals for amateur painters appeared: in 1679, Claude Boutet  [ fr ] published École de la mignature : Dans laquelle on peut facilement apprendre à peindre sans maître (Miniature art school: where you can easily learn to paint without a master’.). Chapters 88 and following are dedicated to the painting of flowers. The idea for the manual

2574-491: The engravings by Veit Rudolph Speckle. Fuchs included ornamental plants and plants brought back from the Americas, and had the whole plants, including roots, flowers and fruits, illustrated from life so that they could be identified. His work was reprinted many times and in several languages. The engravings were also widely reused. The book named the contributing artists and included their portraits. One way of copying precisely

2652-560: The features attributed to the taxon by the author of the name.' (Arts 40.4 and 40.5 of the Shenzen Code, 2018). Early herbals and pharmacopoeia of many cultures include illustrations of plants, as in Ibn al-Baytar 's Compendium on Simple Medicaments and Foods . Botanical illustrations in such texts were often created to assist with identification of a species for some medicinal purpose. The earliest surviving illustrated botanical work

2730-582: The first floras in the mid-16th century. Jacopo Ligozzi worked for both Ghini and Aldovrandi. Pietro Andrea Mattioli 's botanical masterpiece was his Commentarii in libros sex Pedacii Dioscoridis , first published in Italian in 1544 with 500, and later 1,200 engravings. This work made a profound impression on the botanist Gherardo Cibo , who then illustrated some of the plants featured in Mattioli's work (with roots, flowers and fruit) in close-up set against

2808-553: The first chair of botany in Europe was established in Padua. Luca Ghini , an Italian physician and botanist, founded the Orto botanico di Pisa (Europe's first university botanical garden) in 1544 with the support of Cosimo I de' Medici and published his first herbarium that same year. He is credited with inventing the herbarium (known as "hortus siccus", dried garden), around 1520 or 1530. His compatriot Ulisse Aldrovandi compiled one of

2886-521: The first illustrated herbal in English. The illustrations were in fact copies of a series of woodcuts which first appeared in an earlier German herbal, and the same woodcut could be used to represent several plants. Another notable medical and botanical manuscript is the " Tacuinum Sanitatis ", derived from the Taqwīm aṣ Ṣiḥḥa (or "Maintenance of Health"), an 11th-century Arabic medical text by Ibn Butlan ,

2964-616: The founders of botany in Germany, wrote the Botanologicon (1534) and his son, Valerius Cordus (1515–1544), was the author of very important works such as the Historia stirpium libri V (1561), published after his death, in which 502 species are described. Like his father, he relied on systematic observation of many of the same plants described by Pedanius Dioscorides . The Swiss naturalist Conrad Gessner devoted much of his life to

3042-404: The full title emphasises, flowers and plants, with their roots and bulbs, engraved from nature. It appears that at least some of the plates were borrowed from Pierre Vallet (c. 1575–1657), engraver and embroiderer to Kings Henri IV and Louis XIII, who himself published two florilèges: Le Jardin du roy tres chrestien Henri IV (1608) and Le Jardin du roy tres chrestien Loys XIII (1623). Some of

3120-648: The garden with beds in the shape of fruit. He was also the great-uncle of the painter François Walter  [ fr ] , author of a Herbier du Bas-Rhin (1795). The growing need for European naturalists to exchange ideas and information led to the creation of the first scientific academies, such as the Accademia dei Lincei (Italy, 1603), the Royal Society (1660), and the French Academy of Sciences (1666). Denis Dodart (1634–1707), who oversaw

3198-798: The genus Paeonia (1946) and Fred Stoker's A Book of Lilies (1943.) In 1954 she was appointed MBE in the Birthday Honours List . In 1955 she was awarded the Victoria Medal , the RHS 's highest honour. In 1959 her work was featured in the Kew Gardens 's bicentennial exhibition: "Kew's Aid to Botany over 200 Years" where she was described as "one of a remarkable group of women" who included Stella Ross-Craig , Ann V. Webster and Margaret Stones . She died at her home, 208 High Street, St Mary Cray, Kent, on 12 October 1972. In 2007

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3276-417: The greatest botanical artists of her time" – "her paintings were both detailed and accurate and immensely beautiful". She was appointed MBE in 1954 and was awarded the Victoria Medal in 1955. The standard author abbreviation Snelling is used to indicate this person as the author when citing a botanical name . Lilian Snelling was born on 8 June 1879 at Spring Hall, St Mary Cray , Kent into

3354-423: The highest expressions of Renaissance European herbals. It describes thousands of plants and classifies them in a manner that foreshadowed the binomial nomenclature later developed by Linnaeus. Later editions were illustrated. Johannes Bodaeus van Stapel helped revive and disseminate ancient botanical knowledge when he published Theophrastus' Historia Plantarum (c. 350 BC – c. 287 BC) in Amsterdam in 1644. It

3432-468: The illustrations included in the books he published: Herbarum, arborum, fruticum, frumentorum ac leguminem (Frankfurt, 1546) features 800 woodcuts of plants and animals. Some of the woodcuts used were engraved by Sebald Beham , Heinrich Steiner and Heinrich Köbel while others were reproduced from Otto Brunfels and engraver Hans Weiditz 's Herbarium vivae icones (Botanical Sketch Book, with hand-coloured woodcuts ), which prompted Johannes Schott ,

3510-634: The increased importance attached to plant observation. It is an Italian translation (produced in Veneto between 1390 and 1404 for Francesco Novello da Carrara ) of a Latin translation of the Carrara Herbarium , a medical treatise likely written in Arabic by Serapion the Younger at the end of the 12th century, The Book of Simple Medicaments . Botany  [ fr ] made great strides from

3588-592: The invention (and improvements) of the printing press, which facilitated the widespread dissemination of botanical knowledge; the advent of paper for the preparation of herbariums; and the development of botanical gardens , which allowed for the cultivation, observation, and study of plants from diverse regions. These developments were closely tied to advancements in navigation and exploration, which led to botanical expeditions that introduced numerous previously unknown species to Europe. As explorers and botanists traveled to new lands, they collected plants and expanded both

3666-690: The large family of John Carnell Snelling (1841–1902), brewer, and his wife, Margaret Elizabeth, née Colgalt. She and her sisters were boarders at a school in Tunbridge Wells. In 1915–16 Henry John Elwes commissioned her to paint flowers (which he had gathered on his travels), at his home Colesbourne Park in Gloucestershire . Snelling worked at the Royal Botanic Garden Edinburgh from 1916 to 1921 painting plant portraits for Sir Isaac Bayley Balfour , Keeper of

3744-417: The magazine in 1877 following a dispute with Hooker—for whom Fitch had been preparing illustrations for several books—and Hooker's daughter Harriet Anne Hooker Thiselton-Dyer stepped in. She rendered almost 100 illustrations for publication during the period 1878–1880, helping to keep the magazine viable until the next principal artist, Matilda Smith took over as lead illustrator. Like Thiselton-Dyer, Smith

3822-415: The magazine, required the careful training of the illustrators. The artist worked closely with the botanist to depict a specimen, the use of exploded details surrounding the depiction gave the volumes practical appeal to botanists, horticulturalists, and gardeners. The magazine is the greatest serial of botanical illustration yet produced, the consistent quality of the journal's plates and authority make this

3900-582: The medicinal properties of various plants used by the Aztecs. It gives the Nahuatl names of the plants and includes an illustration. The Florentine Codex , an encyclopaedia of the Aztec world dating from the mid 16th century, includes a Nahuatl text, a Spanish text and illustrations. Book 11 is a treatise on natural history. In the 1570s, Francisco Hernández de Toledo embarked on the first scientific mission in

3978-467: The most beautiful flowers of domestic gardens in their natural state (in particular anemones and tulips)... By Jean Franeau . The work included an initial index and engravings by Antoine Serrurier. The flowers most prized by ‘florists’ (garden lovers) are presented in the order of the seasons, starting with spring. (Herbaria were called "hortus hyemale or "hiemale" in Latin (‘winter garden’), or "hortus siccus" (‘dry garden’), and did not take on this name until

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4056-446: The most widely cited work of its kind. Other 19th century artists who contributed largely to the magazine include Augusta Innes Withers and Anne Henslow Barnard , Joseph Dalton Hooker's sister-in-law, who was active in the period 1879–1894. The hand-coloured plates were a labor-intensive process, but this tradition was continued by another principal illustrator, Lilian Snelling (1879–1972), from 1921 until 1948 A photomechanical process

4134-485: The name. William Hooker was the editor from 1827, bringing to it his experience as a botanist, and as author of the rival magazine, Exotic Botany . W. J. Hooker brought the artist Walter Hood Fitch to the magazine, this artist became the magazines principal artist for forty years. Joseph Dalton Hooker followed his father, becoming the Director of Kew Gardens in 1865, and editor of its magazine. Fitch resigned from

4212-466: The plants for himself, since he includes ecological and distributional observations. His Kreuterbuch von Underscheidt, Würckung und Namen der Kreuter, so in teutschen Landen wachsen (1546), written in German, was illustrated by David Kandel . The Age of Discovery and the introduction of as yet unknown plant species (and other wonders of nature) in Europe sparked a great interest in nature. This led to

4290-607: The plants grown in the garden created by the botanist Basilius Besler at the request of the Prince-Bishop of Eichstätt . The 367 engravings, mostly by Wolfgang Kilian , were designed to be painted, if necessary. Crispijn van de Passe the Older  [ fr ] (1564–1637) and mostly (or only) his son Crispijn van de Passe the Younger (1594/1595-1670) published their Hortus Floridus in Utrecht from 1614 onwards. This

4368-507: The plants to which they are attached. Her daughters Rachel Ruysch and Dorothea Maria Graff were also flower painters. The most important work on plant systematics in the 17th century was the Historia generalis plantarum ('The General History of Plants', 1686) by John Ray (1627–1705), on which Linnaeus based his work and whom he proclaimed the 'founder' of systematics. The botanist and draughtsman Charles Plumier , who made four botanical expeditions (the first one in 1689), brought back

4446-404: The plates are beautifully hand-colored. Both books were made for “those who wish to paint or illuminate, embroider or make tapestries". Johann Theodor de Bry greatly assisted his father. With the assistance of Matthäus Merian der Ältere he later published Florilegium renovatum et auctum , also known as Anthologia Magna (1641), an expanded version with 177 engraved plates. Emanuel Sweerts ,

4524-544: The precise moment when butterflies , caterpillars and snails appeared. The idea was often taken up again. His Archetypa studiaque patris Georgii Hoefnagelii (published by his son Jacob, in Frankfurt, in 1592) contains 48 engravings by Jacob (and perhaps Theodor de Bry or his son) based on studies that seem to have been made from life by Joris (who, according to Filippo Bonanni , had used a microscope). Theodor de Bry , draughtsman and engraver, published his Florilegium novum in 1612, consisting of 116 plates representing, as

4602-512: The printer, to take legal action against him. From 1530 onwards (and thanks particularly to German herbalists appeared the first books illustrated with woodcuts based on direct observation of live plants, as opposed to relying on older, often incorrect depictions from ancient texts. Such works included those by Otto Brunfels , illustrated by Hans Weiditz : Herbarum vivae eicones ("Living Images of Plants", 1530–1536, in three parts) and Contrafayt Kräuterbuch (1532–1537, in two parts). In 1533

4680-592: The private apartments. The Hôtel Lambert , built in 1640, had a terraced garden. " Follies " (summer houses) such as the Folie-Rambouillet  [ fr ] (built from 1633 to 1635) had extensive ‘pleasure gardens’ to which André Mollet dedicated a book: Le Jardin de plaisir, contenant plusieurs desseins de jardinage ( The Pleasure Garden, containing several garden designs ), 1651. Pinax theatri botanici (Illustrated Exposition of Plants, Basel, 1623) by Swiss botanist Gaspard Bauhin stands as one of

4758-460: The scope of botanical knowledge and the range of plants available. Together, these factors significantly increased the number of known plant species and facilitated the global exchange of local and regional botanical knowledge. During this period, Latin remained the universal language of science, ensuring that botanical discoveries could be shared and understood across national and linguistic boundaries. Christian Egenolff attached great importance to

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4836-446: The species. The first volume's illustrations were mostly by Sydenham Edwards . A dispute with the editors saw his departure to start the rival The Botanical Register . The credit for the first plate ( Iris persica ) goes to James Sowerby , as did a dozen of Edwards contributions. The first thirty volumes used copper engraving to provide the plates, the hand colouring of these was performed by up to thirty people. An issue might have

4914-482: The studies of the French Academy of Sciences from 1670 to 1694, played a pivotal role in the publication of Mémoires pour servir à l'histoire des plantes in 1676. This work proposed the creation of a comprehensive (and illustrated) catalogue of plant species. Joachim Jungius was the first scientist to combine a philosophical mindset with precise observation of plants. For him, rigorous botanical terminology

4992-511: The study of plant anatomy developed rapidly, which was to have a major influence on later classifications. Robert Hooke's Micrographia , (1667), contains a large number of observations made with the microscope . Modern plant pathology started with Robert Hooke illustrating a fungal disease, rose rust (1665). Marcello Malpighi used the microscope to study the anatomy of all kinds of organisms; his work, Anatomia Plantarum (1675), contains studies of plant anatomy and systematic descriptions of

5070-541: The study of botany. He published two works in 1541 and 1542, but the remainder of his botanical writings were not published until the middle of the 18th century. The woodcuts that illustrated them were often reused, depicting plants with their roots, flowers and seeds. According to Christine Velut, "specialists agree in attributing the first illustrated plate of tulips to K. Gesner's De Hortis Germaniae Liber ... published in 1561". Hieronymus Bock developed his own system to classify 700 plants. Bock also seems to have observed

5148-455: Was a market for such books. On his return to his estates in Idstein around 1646, John, Count of Nassau-Idstein built up a large cabinet of curiosities, had a garden laid out for himself, and invited Johann Jakob Walther to paint it: Le florilège dit de Nassau-Idstein , painted between 1654 and 1672, comprises 42 miniatures on vellum of flowers (familiar or exotic) and fruits, and views of

5226-447: Was also the first to give truly scientific descriptions of plants. He translated the works of Dodoens. Rariorum plantarum historia (published by Plantin in 1601) is a compilation of works on botany published earlier and has a pioneering mycological study on mushrooms from Central Europe. Joris Hoefnagel was a Flemish illuminator who belonged to the transitional period between medieval illumination and Renaissance still-life painting. He

5304-546: Was an apothecary and botanist who held the position of Praefectus Horti (Director) and demonstrator of plants at the Chelsea Physic Garden , who had published the highly praised (but poorly sold) Flora Londinensis a few years before. The publication familiarized its readers with ornamental and exotic plants, which it presented in octavo format. Artists who had previously given over their flower paintings to an affluent audience, now saw their work published in

5382-440: Was an immediate success. Tournefort himself translated it into Latin as Institutiones rei herbariae as the use of Latin was still necessary to ensure a wide readership throughout Europe. He introduced a sophisticated hierarchy of classes, sections, genera and species, and was the first to systematically use a polynomial nomenclature. Towards the end of the 17th century, the first microscopic observations of plants were made and

5460-463: Was brought to the magazine by Hooker, who was her cousin. Between 1878 and 1923 Smith drew over 2,300 plates for Curtis's. Her exceptional contribution was to see her become the first botanic artist of Kew, and she was later made an associate of the Linnean Society —the second woman to have achieved this. The scientific value of the figures and illustration, a source of pride and notability for

5538-473: Was dedicated to her: "artist, lithographer and botanical illustrator who with remarkable delicacy of accurate outlines, brilliancy of colour and intricate gradation of tone, has faithfully portrayed most of the plants figured in this magazine from 1922 to 1952." Her paintings illustrated the supplement to Grove's supplement to Henry John Elwes 's Monograph of the Genus Lilium (1934), Stern's, Study of

5616-709: Was essential, thus reducing the use of vague or arbitrary terminology in systematics . Jungius's Doxoscopia (1662) and Isagoge phytoscopica (Introduction to the study of plants, 1679) were published posthumously. His botanical theories were far ahead of their time and had little influence during his lifetime. It was John Ray who brought them to light by applying them to his own botanical classification work, and, through Ray, Carl von Linné eventually incorporated them into his own system. Jacob Marrel's stepdaughter Maria Sibylla Merian , who published her first book in 1675, included insects in her floral pictures. Metamorphosis insectorum Surinamensium (1705) showed caterpillars and

5694-451: Was implemented after this time. In 1921, Lilian Snelling , took over as chief illustrator on the magazine, a position she held until 1952, producing over 830 paintings and plates during her tenure From 1929, she was assisted by Stella Ross-Craig , a talented illustrator and botanist who remained at Kew until the 1960s, contributing 3000 illustrations to many publications including Curtis's. It has been published continuously ever since, with

5772-423: Was not only a translation as he added his own commentary and annotations as well as detailed illustrations of plants. Balthasar Moncornet published a number of works for ornamentalists, including Livre nouveau de fleurs très util pour l'art d'orfèvrerie et autres (a new book of flowers, very useful for the art of goldsmithing and others, Paris, 1645). When in the 17th century, tulipomania swept through Holland,

5850-475: Was offered by the Herbarium vivum : images were made by pressing ink-coated objects onto paper, leaving impressions; earlier methods used carbon black from soot. Impressions from dried plant materials could then be painted over in colour, pieces too bulky for pressing could be painted or drawn. Hieronymus Harder started a Herbarium vivum which reached 12 volumes, starting in 1562. Henrik Bernard Oldenland ,

5928-460: Was one of Rondelet's successors in Montpellier). Dodoens' Florum, coronariarum odoratarumque nonnullarum herbarum historia published by Plantin (1568) offers a description of ornamental flowers with engravings showing the whole plant (from flower to root). One whole chapter is devoted to tulips. In France, Jacques Daléchamps 's Historia generalis plantarum (1586) is a compilation of all

6006-473: Was published in Mainz : it is the first printed book on natural history. In the 15th and 16th centuries, botany developed as a scientific discipline distinct from herbalism and medicine, although it continued to contribute to both. Several factors contributed to the development and progress of botany during these centuries: the evolution from miniature painting or woodblock printing to more modern techniques;

6084-635: Was taken up by a former pupil of Nicolas Robert , Catherine Perrot  [ fr ] , received at the Académie royale de peinture et de sculpture (1682): The Royal Lessons, or the Method of Painting Miniatures of Flowers and Birds, based on an Explanation of the Books on Flowers and Birds by the late Nicolas Robert , Flower painter (1686), recommends (Preface and Chapter I) imitating Robert's works rather than those of one "Baptiste de la Fleur", presumably

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