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Journal articles on the topic 'Botanical illustration History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Pardoe, Heather, and Maureen Lazarus. "Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 547–67. http://dx.doi.org/10.1177/155019061801400409.

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The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.

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2

Gates, Barbara. "NATURAL HISTORY ILLUSTRATION." Victorian Literature and Culture 33, no. 1 (March 2005): 314–18. http://dx.doi.org/10.1017/s1060150305220867.

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INTEREST IN VICTORIAN natural history illustration has burgeoned in recent years. Along with handsome, informative shows at the Pierpont Morgan Library in New York (“Picturing Natural History”), at the American Philosophical Society (“Natural History in North America, 1730–1860”), and at the Royal Botanical Gardens in Melbourne (“Nature's Art Revealed”), the year 2003 saw an entire conference devoted to the subject in Florence, Italy. In 2004, the eastern United States was treated to two more fauna- and flora-inspired shows, both dealing specifically with nineteenth-century British science and illustration.

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3

King, Daniel Q. "A checklist of sources of the botanical illustrations in the Leo Grindon Herbarium, The Manchester Museum." Archives of Natural History 34, no. 1 (April 2007): 129–39. http://dx.doi.org/10.3366/anh.2007.34.1.129.

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The Grindon Herbarium is unusual in having a very high proportion of botanical illustrations and articles integrated into its systematic arrangement of the specimens. Hitherto unpublished extracts from Grindon's own history and description of his herbarium reveal his intentions in regard to the herbarium's combined specimen and documentary content. An appendix based on new work in the herbarium, listing virtually all significant source publications, example illustrations and their locations, provides a guide to this aspect of the Grindon Herbarium, and gives some indication of the scope of botanical illustration and literature available to such botanists at the time.

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4

Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.

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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.

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5

Reeds, Karen. "Book Review: Picturing Plants: An Analytical History of Botanical Illustration." Bulletin of the History of Medicine 70, no. 4 (1996): 753–54. http://dx.doi.org/10.1353/bhm.1996.0166.

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6

TOMASI, LUCIA TONGIORGI. "The study of the natural sciences and botanical and zoological illustration in Tuscany under the Medicis from the sixteenth to the eighteenth centuries." Archives of Natural History 28, no. 2 (June 2001): 179–93. http://dx.doi.org/10.3366/anh.2001.28.2.179.

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A vast body of botanical and zoological illustrations was produced in Tuscany between the sixteenth and the eighteenth century. This artistic activity was made possible by the humanistic-scientific tradition which had been established in Florence during the late fifteenth century, and was further encouraged by the Medici dynasty. The contributions made by three uniquely talented and original artists are discussed. Jacopo Ligozzi produced paintings of plants and animals whose scientific accuracy and artistic quality far surpassed anything achieved by his predecessors. The miniaturist Giovanna Garzoni produced floral paintings for the Medici family. Bartolomeo Bimbi combined the genre of botanical and zoological illustration with that of the still life to create works of striking originality. The crucial role played by the new scientific institutions created during the Renaissance is also discussed. A permanent artists' studio was set up in the mid-sixteenth century at Pisa Botanic Garden. Members of Accademia del Cimento in Florence engaged in pioneering studies with the microscope, a newly invented instrument which gave scientists and artists an entirely new perspective on the natural world. The scientist Francesco Redi carried out important work with the help of the artist Filizio Pizzichi who prepared stunning microscopic studies of insects.

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7

Malainho, Eva, Fernando Jorge Simões Correia, and Cristiana Vieira. "Iconografia Selecta da Flora Portuguesa – A ilustração científica no dealbar do séc. XX e o seu contributo na divulgação da botânica." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 497–511. http://dx.doi.org/10.23925/178-2911.2019v20espp497-511.

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Resumo A obra “Iconografia Selecta da Flora Portuguesa”, de Gonçalo Sampaio (botânico) e Sara Cabral Ferreira (ilustradora), foi editada pela primeira vez em 1949. Contendo cento e cinquenta estampas de espécies da flora portuguesa, este livro destacou-se na literatura botânica nacional, embora fosse uma edição póstuma e incompleta. Os seus desenhos originais, realizados em técnica monotonal (tinta-da-china), integram atualmente a coleção de ilustração científica do Museu de História Natural e da Ciência da Universidade do Porto (MHNC-UP). Uma vez que nenhum texto, além do prefácio e dos nomes científicos das plantas, acompanha as imagens no livro, as razões que sustentaram a seleção das espécies a ilustrar, assim como a sua relevância botânica, permaneceram desconhecidas. Neste artigo, tentamos reconstruir a história desta iconografia, com base na análise de documentos epistolares e manuscritos. Focamo-nos também na importância da ilustração científica e no seu uso como ferramenta para a representação visual de espécies botânicas e para a comunicação de ciência. Assim, analisamos a metodologia empregue, quer na tipologia do arquétipo, quer na técnica de execução, bem como as eventuais restrições que conduziram a essas opções. Ao analisar estas ilustrações botânicas da primeira metade do séc. XX, procurou-se ainda explorar a pertinência destas iconografias em estudos botânicos anteriores e contemporâneos, bem como o seu potencial enquanto instrumentos de difusão de ciência. Palavras-chave: Ilustração Científica; Flora Portuguesa; História da Botânica. Abstract The book “Iconografia Selecta da Flora Portuguesa”, by Gonçalo Sampaio (botanist) and Sara Cabral Ferreira (illustrator), was first published in 1949. Containing one hundred and fifty prints of Portuguese flora species, this book stood out in the national botanical literature, although it was a posthumous and incomplete edition. The original book drawings, made in a monotonic technique, are part of the scientific illustration collection of the Museum of Natural History and Science of the University of Porto (MHNC- UP). Since no text, besides preface and the scientific names of the plants, accompanies the images in the book, the reasons which supported the selection of the species to be illustrated, as well as their botanical relevance, remained unknown. In this article, we attempted to reconstruct the history of this iconography, based on the analysis of epistolary documents and manuscripts. We also focus on the importance of scientific illustration and on its usage as a tool for the visual representation of botanical species and for science communication. Therefore, we analyzed the methodology used both in the typology of the archetype as in the execution techniques, as well as the restrictions that led to those options. By analyzing these botanical drawings of the first half of the twentieth century, it was also sought to explore the relevance of these iconographies in earlier and modern botanical studies, as well as their potential as instruments of diffusion of science. Keywords: Scientific Illustration; Portuguese Flora; History of Botany.

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Ward, Marilyn, and John Flanagan. "Portraying plants: illustrations collections at the Royal Botanic Gardens, Kew." Art Libraries Journal 28, no. 2 (2003): 22–28. http://dx.doi.org/10.1017/s0307472200013080.

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The Library & Archives at Kew hold one of the world’s greatest collections of botanical illustration, assembled over the last 200 years. A resource well-known to the natural history community, it contains much to interest art historians. Using this historically rich heritage our forward thinking includes acquisition of more contemporary items and the formulation of a digital strategy for 21st-century access and exploitation.

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9

Шипицына, Ю. С. "Botanical Illustration in Britain in the Late 18th Century — Early 19th Century in the Context of the Formation of a Taxonomic Approach to Exploration." Вестник Рязанского государственного университета имени С.А. Есенина, no. 4(69) (February 16, 2021): 59–65. http://dx.doi.org/10.37724/rsu.2020.69.4.007.

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В статье исследуется «эра Бэнкса» (1778–1820) как особый период в истории британской науки, когда в центре интеллектуальной жизни империи оказалась ботаника, а ботаническая иллюстрация выступала как ведущий практический инструмент познания. Исследование контекстов и смыслов, возникающих вокруг ботанической иллюстрации, связано с рассмотрением практик научного наблюдения за природой, легитимированных и вместе с тем скованных определенными административными нормами, общекультурными стандартами и ценностными ориентирами своей эпохи. Наиболее влиятельной фигурой по отношению к вышеперечисленным факторам развития ботанической иллюстрации в Британии являлся ботаник Джозеф Бэнкс (1743–1820), президент Лондонского королевского общества с 1778 по 1820 год. Биография Дж. Бэнкса рассматривается нами в контексте его имперских амбиций и интеллектуального окружения. Результаты проведенного исследования позволяют углубить понимание властного дискурса подчинения человеком природы, зарождение которого связано с развитием таксономического подхода и совершенствованием способов визуализации ботанического знания. The article investigates the so called Banks era (1778–1820), a period of the history of British science when botany played a key role in the intellectual life of the British Empire and botanical illustrations were a practical tool in the exploration of the world. The investigation of meanings evoked by botanical illustrations is associated with the investigation of observations which are both legitimatized and limited by certain administrative norms, cultural standards, and values characteristic of an epoch. Joseph Banks (1743–1820), an English botanist and president of the Royal Society (1778–1820), was the most prominent figure to promote botanical illustrations in Britain. The article views the biography of Joseph Banks in the context of his imperial ambitions and his intellectual environment. The results of the research provide insight into the understanding of humanity’s domination of nature, whose origin is associated with the development of a taxonomic approach and the improvement of botanical art techniques.

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10

Графова, Е. О. "Influence of Botanical Research on the Development of the Art Nouveau Style in Western Europe and Russia (The Late 19th – Early 20th Centuries)." Nasledie Vekov, no. 4(28) (December 31, 2020): 103–15. http://dx.doi.org/10.36343/sb.2021.28.4.007.

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Автор определяет значение ботанических исследований и связанного с ними жанра ботанической иллюстрации для эволюции отечественного и зарубежного декоративно-прикладного искусства (ДПИ) эпохи модерна. Материалами выступают мемуарная литература, альбомы ботанической иллюстрации, ряд научных разработок, отраженных в обзорных монографиях по истории и стилистике ар-нуво, а также результаты прикладных исследований. Изучены зарубежные выставки садоводства рубежа XIX–XX вв., охарактеризованы своды произведений ботанической иллюстрации и издания по дизайну, относящиеся к этому периоду. Выявлены флоральные мотивы в творчестве отечественных и зарубежных мастеров ДПИ. Установлено, что флоральные сюжеты ар-нуво возникли во многом на фундаменте открытий ученых-ботаников и ботаническая иллюстрация явилась основой для соответствующих художественных мотивов. Использование в произведениях ДПИ эпохи модерна растений служило своеобразным средством популяризации и сохранения природного наследия. The author reveals the importance of scientific research in the field of botany and plant acclimatization, as well as related works of botanical illustration, for the development of certain branches of arts and crafts of the Art Nouveau Era in Russia and abroad. A wide range of materials is used: memoirs, albums of botanical illustration, a number of scientific developments reflected in overview monographs on the history and style of Art Nouveau, the results of applied research by art historians, philosophers and specialists in the history of architecture and arts and crafts. The author proceeds from the thesis about the synergy of science and art, which presupposes the consideration of these two forms of understanding objective reality (and the corresponding methods and types of activity) as closely related objects. The author employs diachronic, systemic-historical and historical-genetic methods, as well as iconographic techniques and methods of researching the symbolic content of works. The main idea of the research is to trace and reconstruct the links between developments in the field of scientific gardening at the turn of the 20th century and the development of floral themes in the arts and crafts of the Art Nouveau Era. An exhibition of horticulture, which took place during this period in Western Europe, is considered; and plant species that were popular among specialists engaged in their acclimatization and cultivation are established. Collections of works of botanical illustration and publications on design, published during the period under study, were analyzed to identify the sources of creative searches of European Art Nouveau artists. Attention is paid to the Paris World Exhibition of 1900, which took place at the dawn of the Art Nouveau Era and was a platform for demonstrating the main trends in the development of European art. Floral motives in the works of Russian and foreign jewelers, ceramists, glassblowers and architects are revealed; the degree of their realism is determined, which serves as an indicator of the connection between artistic embodiment and natural prototype. It has been established that the floral plots of Art Nouveau arose largely on the foundation of the discoveries of botanists, and botanical illustration was the basis for the corresponding artistic motives. Knowledge in the field of plant morphology opened new contexts in the iconography of the artistic heritage of Europe and Russia. The use of plants in the works of decorative and applied art in the Art Nouveau Era served as a kind of means for popularizing and preserving natural heritage.

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11

Learner, Mary. "Embroidering the New Science." Nuncius 35, no. 3 (December 14, 2020): 685–717. http://dx.doi.org/10.1163/18253911-03503002.

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Abstract An unruly object of seventeenth-century experimental science is the metal needle, an instrument that begins Robert Hooke’s Micrographia (1665) but also was the essential tool used in women’s embroidery work. This article follows traces of the needle through the historical record and florilegia – a genre that bridged botanical and artistic studies – to argue that needlework provided a way of seeing that facilitated the development of empiricism. Using evidence from the works of Isabella Parasole, Elizabeth Isham, and Maria Sibylla Merian, I show how the needle surfaces in scenes of scientific illustration, thereby resituating natural histories and the scientific process of ordering minute organisms.

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12

Harris, Stephen. "LACK, Hans Walter. The Bauers: Joseph, Franz & Ferdinand, masters of botanical illustration. An illustrated biography." Archives of Natural History 44, no. 1 (April 2017): 189–90. http://dx.doi.org/10.3366/anh.2017.0438.

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13

Wolski, Grzegorz J., Anna Faltyn-Parzymska, and Jarosław Proćków. "Lectotypification of the name Stereodon nemoralis Mitt. (Plagiotheciaceae), a basionym of Plagiothecium nemorale (Mitt.) A. Jaeger." PhytoKeys 155 (August 7, 2020): 141–53. http://dx.doi.org/10.3897/phytokeys.155.51469.

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In 1859, William Mitten described Stereodon nemoralis (≡ Plagiothecium nemorale) based on the gathering of Sir J.D. Hooker from India. However, the protologue did not indicate any specific specimen or illustration. For the past 50 years, the original material (NY 913349) deposited at the NY Herbarium has been considered as the holotype. However, this assumption has since been found to be incorrect, because in the Herbarium of The Natural History Museum exists other original material of this species (BM 1030713), collected by Hooker. In addition, the specimen from NY Herbarium is in poor condition and its most important diagnostic characters are not visible. In contrast, the material from BM Herbarium is in very good condition, and therefore it is herein designated as the lectotype. Also, the paper describes the resolution of this type, a process complicated by changes that had occurred in the provisions of subsequent botanical Codes.

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14

WALKER, TREVOR. "WHITE, JAMES J. and BRUNO, LUGENE B. Ninth international exhibition of botanical art and illustration. Hunt Institute for Botanical Documentation, Pittsburgh: 1998. US$25. ISBN 0-913196-64-9." Archives of Natural History 26, no. 3 (October 1999): 438. http://dx.doi.org/10.3366/anh.1999.26.3.438.

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15

Lack, H. Walter. "The botanical illustrations of Franz Scheidl (fl. 1770–1795)." Archives of Natural History 47, no. 1 (April 2020): 51–62. http://dx.doi.org/10.3366/anh.2020.0621.

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Franz Scheidl created approximately 800 botanical illustrations published in Vienna as coloured copperplate engravings in Nikolaus Joseph von Jacquin's Hortus botanicus Vindobonensis and Florae Austriacae icones between 1770 and 1778. Johann Jacob von Well's unpublished “Phytanthologia eikonike”, an illustrated manuscript intended as a kind of florilegium and produced between 1768 and 1780, consists in part of plant illustrations based on living specimens, in part of incomplete copies of pre-existing images; these are also by Scheidl's hand. Another manuscript, “Pflanzen Blumen und Früchte”, held by the Oak Spring Garden Foundation Library in Upperville, Virginia, to date incompletely known and possessing similar characteristics, has also been ascribed to Scheidl; its contents are analysed here. These materials help to understand the work of a botanical illustrator and copyist working in the late eighteenth century.

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Brienen, R. P. "Georg Marcgraf (1610 – c. 1644): A German Cartographer, Astronomer, and Naturalist-Illustrator in Colonial Dutch Brazil." Itinerario 25, no. 1 (March 2001): 85–122. http://dx.doi.org/10.1017/s0165115300005581.

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The German scholar Georg Marcgraf was the first trained astronomer in the New World and co-author of the earliest published natural history of Brazil, Historia naturalis Brasiliae (Leiden and Amsterdam 1648) (Fig. 1). Arriving in the Americas in 1638, Marcgraf took his place among a remarkable group of scholars and painters assembled at the Brazilian court of the German count Johan Maurits van Nassau-Siegen (1604–1679), the governor-general of Dutch Brazil from 1637–1644.1 Dutch Brazil was established by the Dutch West India Company (WIC), which was created in 1621 to engage in trade, conquest, and colonisation in the Americas and Africa. Except for Marcgraf, the most important members of the Count's entourage were Dutch and included the painters Albert Eckhout (c. 1610 - c. 1666) and Frans Post (1612–1680) and the physician Willem Piso (1611–1678). The rich group of scientific and visual materials they created are comparable in both scope and importance with the works created by Sydney Parkinson, William Hodges, and others during the Pacific voyages of Captain Cook in the eighteenth century.2 The Count's support of natural history, astronomy, and scientific and ethnographic illustration during his governorship was highly unusual, setting him apart from other colonial administrators and military leaders in the seventeenth century. Indeed, he is responsible for establishing both the first observatory and the first botanical garden in the New World, sparing no expense in creating a princely empire for himself in the Brazilian wilderness.

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17

BEASLEY, MALCOLM. "LACK, H. W. Garden Eden: masterpieces of botanical illustration. Taschen, Cologne: 2001. Pp 576. Price $ 39.99, €32,£ 19.99. ISBN 3-8228-1521-7 (softback)." Archives of Natural History 29, no. 3 (October 2002): 405–6. http://dx.doi.org/10.3366/anh.2002.29.3.405a.

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18

SMITH, G. "WHITE, J., FAROLE, A. M. and TOMASIC, S. M. Catalogue of the 8th international exhibition of botanical art and illustration. Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh PA: 1995. Pp 178; illustrated. Price $22.00. ISBN 0-913196-63-0." Archives of Natural History 23, no. 2 (June 1996): 304. http://dx.doi.org/10.3366/anh.1996.23.2.304b.

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NELSON, E. C. "BLUNT, W. and STEARN, W. T. The art of botanical illustration. New edition, revised and enlarged. Woodbridge: Antique Collectors' Club in association with the Royal Botanic Gardens, Kew: 1994. Pp 368: illustrated. Price: £ 29.95. ISBN 1-85149-177-5." Archives of Natural History 22, no. 1 (February 1995): 143–44. http://dx.doi.org/10.3366/anh.1995.22.1.143.

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DOUGLAS, G. "J. J. WHITE and D. E. WENDEL. Catalogue 6th International Exhibition of botanical art and illustration 8 April to 31 July 1988. Hunt Institute for Botanical Documentation, Pittsburgh: 1988. Pp [6], 142; illustrated. Price: US $15. ISBN 0-913196-52-5. J. V. BRINDLE and J. J. WHITE. Flora Portrayed; classics of botanical art from the Hunt Institute collections. Hunt Institute for Botanical Documentation, Pittsburgh: 1985. Pp 93; illustrated. Price US $18. ISBN 0-913196-43-6." Archives of Natural History 16, no. 1 (February 1989): 103–4. http://dx.doi.org/10.3366/anh.1989.16.1.103.

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NELSON, E. C. "L. DE BRAY. The art of botanical illustration. The classic illustrators and their achievements from 1550 to 1900. Christopher Helm, Bromley: 1989. Pp 192; illustrated. Price: £25. ISBN 0-7470-0232-0." Archives of Natural History 18, no. 2 (June 1991): 285. http://dx.doi.org/10.3366/anh.1991.18.2.285a.

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SMITH, GORDON. "ELLIOTT, B. The treasures of the Royal Horticultural Society: 350 years of botanical illustration. The Herbert Press, London: 1994. Pp 160: 70 colour plates. Price: £ 25.00. ISBN: 1-871-569-68-0." Archives of Natural History 22, no. 2 (June 1995): 291–92. http://dx.doi.org/10.3366/anh.1995.22.2.291a.

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ARNOLD, DAVID. "Plant Capitalism and Company Science: The Indian Career of Nathaniel Wallich." Modern Asian Studies 42, no. 5 (September 2008): 899–928. http://dx.doi.org/10.1017/s0026749x0700296x.

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AbstractThe career of the Danish-born botanist Nathaniel Wallich, superintendent of the Calcutta Botanic Garden from 1815 to 1846, illustrates the complex nature of botanical science under the East India Company and shows how the plant life of South Asia was used as a capital resource both in the service of the Company's economic interests and for Wallich's own professional advancement and international reputation. Rather than seeing him as a pioneer of modern forest conservation or an innovative botanist, Wallich's attachment to the ideology of ‘improvement’ and the Company's material needs better explain his longevity as superintendent of the Calcutta garden. Although aspects of Wallich's career and botanical works show the importance of circulation between Europe and India, more significant was the hierarchy of knowledge in which indigenous plant lore and illustrative skill were subordinated to Western science and in which colonial science frequently lagged behind that of the metropolis.

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Schupbach, William. "Gavin D. R. Bridson and James J. White. Plant, Animal and Anatomical Illustration in Art and Science: A Bibliographical Guide from the 16th Century to the Present Day. Winchester: St Paul's Bibliographies in association with Hunt Institute for Botanical Documentation, 1990. Pp. xxxix + 450. ISBN 0-906795-81-8. £75.00." British Journal for the History of Science 24, no. 4 (December 1991): 488–89. http://dx.doi.org/10.1017/s0007087400027849.

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Noltie, H. J. "A Scottish daughter of Flora: Lady Charlotte Murray and her herbarium portabile." Archives of Natural History 46, no. 2 (October 2019): 298–317. http://dx.doi.org/10.3366/anh.2019.0592.

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A collection of 267 late-eighteenth-century miniature botanical illustrations, painted in Perthshire, Scotland, by Lady Charlotte Murray (1754–1808) is described. The drawings are arranged according to the Sexual System of Linnaeus in a specially adapted box. The scientific and social context of the collection is discussed, including the role the cards may have played in relation to a botanical card game housed in a companion box of educational games also created by Lady Charlotte. Her place in the history of the discovery of the Scottish Highland flora is discussed, as is her influence on the botanical activities of her nieces Lady Charlotte Menzies and Lady Amelia Drummond.

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NELSON, E. C. "WHITE, J. J. and FAROLE, A. M. Catalogue 7th international exhibition of botanical art and illustration 13 April to 31 July 1992. Hunt Institute for Botanical Documentation, Pittsburgh: 1992. Pp 142. Price: US$ 18.00 (p & p extra). ISBN: 0-913196-55-X. PRENDEVILLE, B. Like the face of the moon. The South Bank Centre, London: 1991. Pp 64. Price: none stated. ISBN: 1-85332-0641." Archives of Natural History 20, no. 1 (February 1993): 134. http://dx.doi.org/10.3366/anh.1993.20.1.134.

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Thomas, Joshua J. "The Illustrated Dioskourides Codices and the Transmission of Images during Antiquity." Journal of Roman Studies 109 (October 11, 2019): 241–73. http://dx.doi.org/10.1017/s007543581900090x.

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AbstractA parchment codex of the early sixth century a.d., now in Vienna, contains a remarkable series of nearly 400 full-page illustrations of individual botanical species. These illustrations accompany an alphabetical recension of a pharmacological treatise on the medicinal properties of plants written by Dioskourides of Anazarbos, a Greek author of the first century a.d. Both the date of the codex and the style of its botanical illustrations have encouraged suggestions that the latter were modelled somehow on classical archetypes. This article presents new observations in support of the classical archetypes theory, but questions the traditional view that these archetypes were transmitted by ‘illustrated texts’ or ‘pattern books’ executed in papyrus or parchment. What follows is a new hypothesis concerning the nature of the artistic intermediaries used by painters, mosaicists and sculptors during antiquity.

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Chen, Jessie Wei-Hsuan. "A Woodblock’s Career." Nuncius 35, no. 1 (April 23, 2020): 20–63. http://dx.doi.org/10.1163/18253911-03501002.

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Abstract The Antwerp publishing house Officina Plantiniana was the birthplace of many important early modern botanical treatises. Throughout the sixteenth and seventeenth centuries, the masters of the press commissioned approximately 4,000 botanical woodblocks to print illustrations for the publications of the three Renaissance botanists – Rembert Dodoens, Carolus Clusius, and Matthias Lobelius. The woodcuts became one of the bases of early modern botanical visual culture, generating and transmitting the understanding of plants throughout the Low Countries and the rest of Europe. The physical blocks, which are preserved at the Museum Plantin-Moretus in Antwerp, thus offer a material perspective into the development of early modern botany. By examining the 108 woodblocks made for Dodoens’ small herbal, the Florum (1568), and the printing history of a selected few, this article shows the ways in which the use of these woodblocks impacted visual botanical knowledge transfer in the early modern period.

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Lazarus, Maureen H., and Heather S. Pardoe. "Bute's Botanical tables: dictated by Nature." Archives of Natural History 36, no. 2 (October 2009): 277–98. http://dx.doi.org/10.3366/e0260954109000990.

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In the final years of his life, after a long and turbulent political career, John Stuart, third Earl of Bute, was at last free to indulge in one of his passions: botany. The publication of Linnaeus's Systema naturae in 1735 threw the botanical world into disarray and academic argument raged throughout Europe. The production of the Botanical tables (1785) was an ambitious project to explain Bute's individual view of Linnaeus's system of taxonomy and was particularly composed for the “Fair Sex”. Twelve volumes were published privately and presented to family, royalty and botanical colleagues across Europe. The Botanical tables were illustrated by the renowned botanical artist, John Miller. The illustrations are both aesthetically pleasing and scientifically correct. In this paper we consider the circumstances of the production of the Botanical tables and explore how the original sets of this publication and original material have been dispersed.

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RIZO PATRÓN, FEDERICO L. "Platystele peruviana sp nov. (Orchidaceae), the smallest orchid from Peru." Phytotaxa 564, no. 1 (September 14, 2022): 113–20. http://dx.doi.org/10.11646/phytotaxa.564.1.9.

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A new orchid species is described, Platystele peruviana, from Oxapampa, Pasco, Peru, and can be considered, at this moment, the smallest orchid in the country. This species differs from other related species by the morphology of the ovate lip with circular glenion and the lateral sepals parallel, subfalcate and connate. A brief history of Platystele is provided along with the botanical description and illustrations of the new species. Finally, a key to the Peruvian Platystele species is provided, in English and Spanish.

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NELSON, E. CHARLES, and J. PARNELL. "An annotated bibliography of the Irish botanist William Henry Harvey (1811–1866)." Archives of Natural History 29, no. 2 (June 2002): 213–44. http://dx.doi.org/10.3366/anh.2002.29.2.213.

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The Irish botanist William Henry Harvey (1811–1866), who came of Quaker stock, published more than 130 books, papers and pamphlets during his lifetime. He also drew and lithographed at least one thousand illustrations, mainly of marine algae from North America, the British Isles and Australia, but also flowering plants of southern Africa and California, and mosses from the Indian subcontinent and southern Africa. This annotated bibliography also includes his non-botanical works.

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Charmantier, Isabelle. "Carl Linnaeus and the Visual Representation of Nature." Historical Studies in the Natural Sciences 41, no. 4 (October 1, 2011): 365–404. http://dx.doi.org/10.1525/hsns.2011.41.4.365.

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Abstract The Swedish naturalist Carl Linnaeus (1707–1778) is reputed to have transformed botanical practice by shunning the process of illustrating plants and relying on the primacy of literary descriptions of plant specimens. Botanists and historians have long debated Linnaeus's capacities as a draftsman. While some of his detailed sketches of plants and insects reveal a sure hand, his more general drawings of landscapes and people seem ill-executed. The overwhelming consensus, based mostly on his Lapland diary (1732), is that Linnaeus could not draw. Little has been said, however, on the role of drawing and other visual representations in Linnaeus's daily work as seen in his other numerous manuscripts. These manuscripts, held mostly at the Linnean Society of London, are peppered with sketches, maps, tables, and diagrams. Reassessing these manuscripts, along with the printed works that also contain illustrations of plant species, shows that Linnaeus's thinking was profoundly visual and that he routinely used visual representational devices in his various publications. This paper aims to explore the full range of visual representations Linnaeus used through his working life, and to reevaluate the epistemological value of visualization in the making of natural knowledge. By analyzing Linnaeus's use of drawings, maps, tables, and diagrams, I will show that he did not, as has been asserted, reduce the discipline of botany to text, and that his visual thinking played a fundamental role in his construction of new systems of classification.

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GIBSON, J. A. "BRIDSON, G. D. R. and WHITE, J. J. Plant, animal and anatomical illustration in art and science. A bibliographical guide from the 16th century to the present day. St Paul's Bibliographies in association with the Hunt Institute for Botanical Documentation, Winchester, Pittsburgh and Detroit: 1990. Pp xl, 451; illustrated. Price: £ 75.00. ISBN: 0-906795-81-8." Archives of Natural History 19, no. 3 (October 1992): 411. http://dx.doi.org/10.3366/anh.1992.19.3.411.

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Zemanek, Alicja, and Piotr Köhler. "Historia Ogrodu Botanicznego Uniwersytetu Stefana Batorego w Wilnie (1919–1939)." Studia Historiae Scientiarum 15 (November 24, 2016): 301–45. http://dx.doi.org/10.4467/23921749shs.16.012.6155.

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The university in Vilna (Lithuanian: Vilnius), now Vilniaus universitetas, founded in 1579 by Stefan Batory (Stephen Báthory), King of Poland and Grand Duke of Lithuania, was a centre of Polish botany in 1780-1832 and 1919-1939. The Botanic Garden established by Jean-Emmanuel Gilibert (1741–1814) in 1781 (or, actually, from 1782) survived the loss of independence by Poland (1795), and a later closure of the University (1832), and it continued to function until 1842, when it was shut down by Russian authorities. After Poland had regained independence and the University was reopened as the Stefan Batory University (SBU), its Botanic Garden was established on a new location (1919, active since 1920). It survived as a Polish institution until 1939. After the Second World War, as a result of changed borders, it found itself in the Soviet Union, and from 1990 – in the Republic of Lithuania. A multidisciplinary research project has been recently launched with the aim to create a publication on the history of science at the Stefan Batory University. The botanical part of the project includes, among others, drafting the history of the Botanic Garden. Obtaining electronic copies of archival documents, e.g. annual reports written by the directors, enabled a more thorough analysis of the Garden’s history. Piotr Wiśniewski (1884–1971), a plant physiologist, nominated as Professor in the Department of General Botany on 1 June 1920, was the organiser and the first director of the Garden. He resigned from his post in October 1923, due to financial problems of the Garden. From October 1923 to April 1924, the management was run by the acting director, Edward Bekier (1883–1945), Professor in the Department of Physical Chemistry, Dean of the Faculty of Mathematics and Natural Sciences. For 13 subsequent years, i.e. from 1 May 1924 to 30 April 1937, the directorship of the Garden was held by Józef Trzebiński (1867–1941), a mycologist and one of the pioneers of phytopathology in Poland, Head of the Department of Botany II (Agricultural Botany), renamed in 1926 as the Department of Plant Taxonomy, and in 1937 – the Department of Taxonomy and Geography of Plants. From May 1937 to 1939, his successor as director was Franciszek Ksawery Skupieński (1888–1962), a researcher of slime moulds. Great credit for the development of the Garden is due to the Inspector, i.e. Chief Gardener, Konstanty Prószyński (Proszyński) (1859–1936) working there from 1919, through his official nomination in 1920, until his death. He was an amateur-naturalist, a former landowner, who had lost his property. Apart from the work on establishing and maintaining the Garden’s collection, as well as readying seeds for exchange, he published one mycological paper, and prepared a manuscript on fungi, illustrated by himself, containing descriptions of the new species. Unfortunately, this work was not published for lack of funds, and the prepared material was scattered. Some other illustrations of flowering plants drawn by Prószyński survived. There were some obstacles to the further development of the institution, namely substantially inadequate funds as well as too few members of the personnel (1–3 gardeners, and 1–3 seasonal workers). The area of the Garden, covering approx. 2 hectares was situated on the left bank of the Neris river (Polish: Wilia). It was located on sandy soils of a floodplain, and thus liable to flooding. These were the reasons for the decision taken in June 1939 to move the Garden to a new site but the outbreak of the Second World War stood in the way. Despite these disadvantageous conditions, the management succeeded in setting up sections of plants analogous to these established in other botanical gardens in Poland and throughout the world, i.e. general taxonomy (1922), native flora (1922), psammophilous plants (1922), cultivated plants (1924/1925), plant ecology (1927/1928), alpinarium (1927–1929), high-bog plants (1927–1929), and, additionally – in the 1920s – the arboretum, as well as sections of aquatic and bog plants. A glasshouse was erected in 1926–1929 to provide room for plants of warm and tropical zones. The groups representing the various types of vegetation illustrated the progress in ecology and phytosociology in the science of the period (e.g. in the ecology section, the Raunkiaer’s life forms were presented). The number of species grown increased over time, from 1,347 in 1923/1924 to approx. 2,800 in 1936/1937. Difficult weather conditions – the severe winter of 1928 as well as the snowless winter and the dry summer of 1933/34 contributed to the reduction of the collections. The ground collections, destroyed by flood in spring of 1931, were restored in subsequent years. Initially, the source of plant material was the wild plant species collected during field trips. Many specimens were also obtained from other botanical gardens, such as Warsaw and Cracow (Kraków). Beginning from 1923, printed catalogues of seeds offered for exchange were published (cf. the list on p. ... ). Owing to that, the Garden began to participate in the national and international plant exchange networks. From its inception, the collection of the Garden was used for teaching purposes, primarily to the students of the University, as well as for the botanical education of schoolchildren and the general public, particularly of the residents of Vilna. Scientific experiments on phytopathology were conducted on the Garden’s plots. After Vilna was incorporated into Lithuania in October 1939, the Lithuanian authorities shut down the Stefan Batory University, thus ending the history of the Polish Botanic Garden. Its area is now one of the sections of the Vilnius University Botanic Garden (“Vingis” section – Vilniaus universiteto botanikos sodas). In 1964, its area was extended to 7.35 hectares. In 1974, after establishing the new Botanic Garden in Kairenai to the east of Vilnius, the old Garden lost its significance. Nevertheless, it still serves the students and townspeople of Vilnius, and its collections of flowering plants are often used to decorate and grace the university halls during celebrations.

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Edgington, John A. "Three botanical watercolours by Richard Bradley (c.1688–1732) including of coffee and cinnamon." Archives of Natural History 49, no. 2 (October 2022): 341–46. http://dx.doi.org/10.3366/anh.2022.0795.

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Three watercolour paintings by Richard Bradley, depicting plants from the East Indies and southern Africa, are described. The images of Coffea arabica (coffee) (Rubiaceae), Cinnamomum verum (cinnamon) (Lauraceae) and a southern African succulent, Cylindrophyllum calamiforme (Aizoaceae), are bound into contemporary volumes now held at the British Library, London. Also included in the cinnamon watercolour are two images of Sri Lankan butterflies. This paper sets these watercolours in the context of Bradley’s other paintings and colour illustrations. These three images, hitherto unpublished, were probably painted during Bradley’s visit to Holland in 1714.

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Cook, A. "Plants illustrating exotic collections." Notes and Records of the Royal Society of London 55, no. 1 (January 22, 2001): 129–44. http://dx.doi.org/10.1098/rsnr.2001.0130.

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The study of plants was nothing new when The Royal Society was founded, but some of our earliest Fellows changed it drastically. Perhaps they did not do this as suddenly or as completely as did Newton for dynamics, but in the long run they had at least as great an influence on views of the natural world and how to study it. Did God create all the great variety of plants no one (in Europe) had ever seen before, and if so why? Plants brought back by explorers, especially from North America, and plants looked at in the microscope, together with the taxonomic system constructed by Linnaeus, replaced the plants grown in monastic gardens and their successors in public botanic gardens, and the study of plants for purely medicinal uses.

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LÓPEZ PINERO, JOSE M. "THE POMAR CODEX (CA. 1590): PLANTS AND ANIMALS OF THE OLD WORLD AND FROM THE HERNADEZ EXPEDITION TO AMERICA." Nuncius 7, no. 1 (1992): 35–52. http://dx.doi.org/10.1163/182539192x00028.

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Abstract<title> RIASSUNTO </title>Si descrive un codice illustrato (ca. 1590), donato dal re Filippo II a Honorato Pomar, professore di medicina botanica all'Università di Valencia, e ora conservato nella biblioteca della stessa universita. Tale codice contiene 218 acquarelli di piante e animali del Vecchio Continente e provenienti dalla spedizione nelle Americhe di Hernandez (1571-1577). Inoltre, l'articolo si sofferma brevemente sull'interesse di Filippo II per la storia naturale, sulla spedizione di Hernandez e sulla cattedra di botanica medica all'universita di Valencia nel corso del sedicesimo secolo. Infine, si discute dell'identita dell'autore delle illustrazioni e dei testi del codice, con particolare riferimento a Honorato Pomar e a <?CTRLerr type="1" mess="Doute Cars isoles avec recollage" ?>Jacopo Ligozzi, un pittore della corte fiorentina durante il regno di Francesco I.

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ROSE, EDWIN D. "PUBLISHING NATURE IN THE AGE OF REVOLUTIONS: JOSEPH BANKS, GEORG FORSTER, AND THE PLANTS OF THE PACIFIC." Historical Journal 63, no. 5 (April 14, 2020): 1132–59. http://dx.doi.org/10.1017/s0018246x20000011.

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AbstractThe construction and distribution of books containing large copperplate images was of great importance to practitioners of natural history during the eighteenth century. This article examines the case of the botanist and president of the Royal Society Sir Joseph Banks (1743–1820), who attempted to publish a series of images based on the botanical illustrations produced by Georg Forster (1754–94) on Cook's second voyage of exploration (1772–5) during the 1790s. The analysis reveals how the French Revolution influenced approaches to constructing and distributing works of natural history in Britain, moving beyond commercial studies of book production to show how Banks's political agenda shaped the taxonomic content and distribution of this publication. Matters were complicated by Forster's association with radical politics and the revolutionary ideologies attached to materials collected in the Pacific by the 1790s. Banks's response to the Revolution influenced the distribution of this great work, showing how British loyalist agendas interacted with scientific practice and shaped the diffusion of natural knowledge in the revolutionary age.

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Nelson, E. Charles. "BROWN, A. Flower paintings from the Apothecaries' Garden: contemporary botanical illustrations from Chelsea Physic Garden." Archives of Natural History 33, no. 1 (April 2006): 180–81. http://dx.doi.org/10.3366/anh.2006.33.1.180.

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Cohen-Aponte, Ananda, and Ella Maria Diaz. "Painting Prophecy." English Language Notes 57, no. 2 (October 1, 2019): 22–42. http://dx.doi.org/10.1215/00138282-7716125.

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Abstract This article examines the work of the Chicana artist Sandy Rodriguez, who created the Codex Rodriguez-Mondragón, an ongoing project begun in 2017 that consists of botanical illustrations and large-scale maps of California and northern Mexico. Rodriguez’s Codex draws on pre-Hispanic, colonial, and Chicana/o/x antecedents, most notably the Florentine Codex (sixteenth century) and the Chicana/o/x codices of the early 1990s, produced in the context of the quincentenary of Columbus’s voyage. This article posits Rodriguez’s Codex as a polyphonic text that exceeds both the linguistic of the literary and the visual of the artistic, drawing on a multiplicity of sources, both historical and contemporary, visual and textual, oral and aural, in her mapping of California’s land and history. The Codex Rodriguez-Mondragón collapses precolonial, colonial, and contemporary histories to underscore continuities between the ruptures of conquest and our dangerous geopolitical moment.

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Turner, I. M. "Thomas Hardwicke (1756–1835): botanical drawings and manuscripts from the Hardwicke Bequest in the British Library." Archives of Natural History 42, no. 2 (October 2015): 236–44. http://dx.doi.org/10.3366/anh.2015.0308.

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Major-General Thomas Hardwicke retired following a lengthy career in India during which he amassed a considerable collection of natural history specimens and drawings. At his death in 1835, the bulk of these were transferred to the British Museum, together with various drawings, manuscripts and correspondence – the “Hardwicke Bequest”. The purpose of this paper is to review some of the material in the Hardwicke Bequest, particularly that related to botany now held in the British Library. The illustrations include the 16-volume set of “Plants of India”, a volume of Indian fungi, and another of plants of Penang. Among the manuscripts, a copy of the contents list of William Jack's hortus siccus of Malay plants presented to the Marchioness of Hastings appears to be a significant find. A manuscript copy of William Hunter's “Plants of Prince of Wales Island”, the earliest, though unpublished until 1909, flora of Penang is also notable. Hardwicke was an indefatigable describer of the plants he encountered, sending many descriptions, as well as specimens, to William Roxburgh and other eminent botanists of his day. The Hardwicke Bequest includes a large number of manuscript descriptions, notably 247 from Hardwicke's extended stay in Mauritius in 1811.

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Shipilov, I. A. "Sources on the History of Siberia in the First Half of 18th Century: Drawings of Artists of the Second Kamchatka Expedition." Bulletin of Irkutsk State University. Series History 34 (2020): 73–82. http://dx.doi.org/10.26516/2222-9124.2020.34.73.

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The article based on complex analysis of geographical, naturalistic (botanic, zoological, mineralogical), archaeological and ethnographic drawings performed by artists of the academic detachment of the Second Kamchatka expedition J. Ch. Berckhan, J. W. Lürsenius, J. C. Decker is shown importance of these works as subject-matter and disciplinary scientific illustrations representative of development the Russian science. It is revealed that the images of the named artists are realistic visual representations of the past of Siberia and should be used together with the scientific works of the participants of the Second Kamchatka Expedition to study the history of the region. The qualitative characteristics of naturalistic and archaeological drawings allow for the reconstruction of museum collections that have not preserved to this day. It is concluded that drawings of J. Ch. Berckhan, J. W. Lürsenius, J. C. Decker are picturesque memorial monuments of the Russian pictural art, valuable sources on the history of exploration of Siberia and visual history of Russia in the modern period.

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Caire da Silva, Regiane Aparecida. "A formação do artista botânico no século XIX: fronteira entre ciência e arte." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 823–35. http://dx.doi.org/10.23925/2178-2911.2019v20espp823-835.

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ResumoA imagem botânica percorreu tendências e possibilidades técnicas singulares ao longo da sua história. Diferentes teorias influenciaram na representação das imagens das plantas, bem como a importante relação entre artista, desenhista, gravador e cientista, uma confluência entre teoria e prática - ciência e arte – apresentadas em edições fundamentais da historiografia botânica. Houve, portanto, a necessidade de formação do ilustrador para as edições científicas e de distingui-lo do artista paisagista ou pintor de flores. Contudo, essa distinção foi tênue, levando-se em conta que a própria Taxonomia de Lineu, com a publicação da obra Systema Naturae (1735), por destacar a flor na classificação, fez com que as imagens científicas estivessem muito próximas às pinturas florais decorativas. Necessitou-se da parceria do artista com o botânico, uma combinação que não ficou reservada às edições de livros e trocas de informações teóricas, mas difundiu-se igualmente na metodologia de ensino em botânica.Cabe notar que, além de desenhos ou gravuras para o aprendizado, também existiam tratados e manuais direcionados para a formação inicial do artista botânico. Este trabalho pretende mostrar que a instrução do ilustrador botânico era complexa e dependia substancialmente de esforços colaborativos entre o cientista e o artista. Principalmente na sua integração às concepções e orientações científicas para se diferenciar do pintor comum, e não apenas da habilidade artística.Palavras-chave: História da Ciência. Artista botânico. Ensino. AbstractThe botanical image has traced trends and unique technical possibilities throughout its history. Different theories influenced the representation of plant images, as well as the important relation between the artist, the draftsman, the engraver and the scientist, a confluence of theory and practice - science and art – featured in fundamental editions of botanical historiography. Therefore, there was a need for illustrators to be trained for scientific editions and to distinguish themselves from landscape artists or flower painters. However, this distinction was subtle, with the very Taxonomy of Linnaeus in his work Systema Naturae (1735) containing images that resembled decorative floral paintings due to the flowers being highlighted for classification. The partnership between the botanist and the artist became necessary not only in publishing and for scientific communication but was also incorporated in methodologies used for botany teaching. It is noteworthy that, in addition to drawings and engravings used as learning material, there were also treatises and manuals intended for the initial training of botanical artists. This work intends to show that the instruction of the botanical illustrator was complex and depended substantially on collaborative efforts between the scientist and the artist. Mainly in its integration to the scientific conceptions and orientations to differentiate itself from the common painter, and not just artistic ability.Keywords: History of Science. Botanical artist. Education.

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Cañizares‐Esguerra, Jorge. "The Torner Collections of Sessé and Mociño Biological Illustrations. CD‐ROM. Pittsburgh, Pa.: Hunt Institute for Botanical Studies, 1999. $40." Isis 95, no. 3 (September 2004): 495–96. http://dx.doi.org/10.1086/429008.

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van Dalen, Elaine. "Scientific Method in Late-Antique Paganism: The (Rational) Empiricism of al-Filāḥa l-nabaṭiyya (The Nabatean Agriculture)." Arabica 68, no. 5-6 (December 28, 2021): 510–56. http://dx.doi.org/10.1163/15700585-12341624.

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Abstract The reputation of the late-antique or early Islamic al-Filāḥa l-nabaṭiyya (The Nabatean Agriculture) as an esoteric forgery has recently begun to shift and its value as a source for the study of early-Islamic or late-antique Near Eastern paganism has been restored. This article contributes to a further reinterpretation of the work by elucidating its value for the history of late-antique and early Islamic science. It argues that the work distinguishes between the epistemological categories of the rational and the marvelous and critically approaches both based on a rational empiricism which it shares with contemporary disciplines such as medicine and astrology. The concepts of experience (taǧriba) and reason (qiyās) are central to al-Filāḥa l-nabaṭiyya’s epistemology, and the work relies on observation and experiments, combined with methods of deductive and analogical reasoning to obtain applied botanical and agricultural knowledge. Al-Filāḥa l-nabaṭiyya also contains competing views regarding prophecy and astrological knowledge which are illustrative of epistemological debates within Pagan late-antique scholarship.

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Gardner, E. M. "Colonial botany and the shifting identity of Balanostreblus ilicifolius Kurz (Moraceae)." Gardens' Bulletin Singapore 73, no. 1 (May 25, 2021): 221–35. http://dx.doi.org/10.26492/gbs73(1).2021-12.

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The protologue of Balanostreblus ilicifolius Kurz included the citation of specimens from Bangladesh and Myanmar of a plant now called Taxotrophis ilicifolia (Kurz) S.Vidal. However, the description in the protologue and the accompanying illustration were based largely on the Neotropical Sorocea guilleminiana Gaudich., which was cultivated in the Royal Botanic Garden, Calcutta and has similar vegetative characters. This paper seeks to resolve a century of confusion over the identity of Balanostreblus ilicifolius and reviews its history in light of historical correspondence relating to its identity and the trans-continental exchange of plants under British colonialism. The paper concludes that a previous attempt to typify Balanostreblus ilicifolius with an uncited cultivated specimen of Sorocea guilleminiana should be superseded with material from Myanmar cited in the protologue. A lectotype is designated, fixing the application of the name, which can now serve as the basionym of Taxotrophis ilicifolia.

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Barlow, H. S. "Malaysia - Botanical Monkeys. By E.J.H. Corner. Edinburgh, Cambridge, Durham: The Pentland Press, 1992. Pp. xi, 55. Illustrations, Bibliography." Journal of Southeast Asian Studies 24, no. 1 (March 1993): 182–84. http://dx.doi.org/10.1017/s0022463400001703.

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Kuo, John. "Taxonomy of the Genus Halophila Thouars (Hydocharitaceae): A Review." Plants 9, no. 12 (December 8, 2020): 1732. http://dx.doi.org/10.3390/plants9121732.

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The seagrass genus Halophila Thouars has more than twenty described species and is predominately distributed over a wide geographic range along the tropical and the warm temperate coastlines in the Indo-West Pacific Oceans. A brief history of the Halophila taxonomic development is presented. Based on reproductive and vegetative morphology, the genus is divided into eight sections including three new sections: section Australes, section Stipulaceae and section Decipientes. A rewritten taxonomic description of the type species for the genus Halophila,H. madagascariensis Steudel ex Doty et B.C. Stone, is provided. The lectotype of H. engelmannii Asch. as well as neotypes of H. hawaiiana Doty et B.C. Stone and H. spinulosa (Br.) Asch. are designated. Furthermore, H. ovalis ssp. bullosa, ssp. ramamurthiana and ssp. linearis together with H. balforurii have been recognised as distinct species. Nomenclature, typification, morphological description and botanical illustrations are presented for each taxon. Recent molecular phylogenetic surveys on certain Halophila taxa are also discussed. Field surveys for the deep water Halophila in West Pacific regions are suggested. Morphological studies combined with molecular investigations for the Halophila on the east coast of Africa and the West Indian Ocean are urgently needed and highly recommended.

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Zarzo, Esther. "Book Review: Aullón de Haro, P. (2016), La Escuela Universalista Española del siglo XVIII. Madrid: Sequitur, pp. 255." International Journal of Comparative Literature and Translation Studies 5, no. 3 (July 31, 2017): 80. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.80.

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Recently published by the Madrid publishing house Sequitur, La Escuela Universalista Española del siglo XVIII is an introductory work to a study of the so-called Universalist School. Its author, Pedro Aullón de Haro from the University of Alicante, Spain, and Head of the Research Group “Humanism-Europe” since 1994, has coordinated various volumes whose main objective is the historical reconstruction of the Late Spanish Enlightenment Period, which was truncated by Charles III of Spain’s expulsion of the Jesuits, affecting a great many of its members. This Enlightenment Period, in contrast to the victorious French Enlightenment, offered not a political, but a scientific and humanistic view of knowledge, taking a comparative and universalist approach, but, due to the aforementioned expulsion of the Jesuits, the authors dispersed, leaving their work unfinished; and it is only now, under the label of the Universalist School, coined by Prof. Aullón de Haro, that they have been gathered together furthering the possibility of recovering their meaning and systematic cohesion. This volume serves as an introduction to the publications that the author has announced for 2018, in which the detailed study of the main authors within this scientific community will be undertaken following an encyclopaedic structure, which will finally give recognition to the Universalist School movement, and whose stand out authors include: Juan Andrés, creator of the Universal History of the Humanities and Sciences; Lorenzo Hervás y Panduro, creator of Universal and Comparative Linguistics; and Antonio Eximeno, creator of a universal aesthetic concept of music as language and expression.The common thread of the School is precisely the "universalist ideation" that assumes the unity of knowledge in a harmonious integration of experimental sciences, fine arts and human sciences within a humanistic epistemological framework, and consequently, comparativism as a methodology of study, based on the unity of its object: the destiny of man, with his knowledge integrated into a unitary vision of the universe and the world. All this is ultimately based on the work of Dionysius of Halicarnassus, historically rooted in the process of Greco-Roman cultural parallels, and with the main figures of Macrobius, Scaliger and Morhof.Furthermore, 2017 is the second centenary of the death of Juan Andrés, commemorated by an international Congress held at the Complutense University of Madrid and featuring an important bibliographical exhibition in the History Library of this Madrid University, titled "Juan Andres y la Escuela Universalista Española" (2017).The great scientific and thematic scope of the School means that it is possible to discern several sectors or "sub-schools", although the authors often practice several disciplines: the linguistic sub-school (Hervás and his extensive circle of collaborators), bibliographical (Miguel de Casiri, Diosdado Caballero…), botanical-naturalist (Antonio José Cavanilles, Pedro Franco Dávila, Juan José Ruperto de Cuéllar, José Celestino Mutis, Eduardo Romeo…), musicological (Antonio Eximeno, Josef Pintado, Vicente Requeno, Buenaventura Prats, Joaquín Millás…), Americanist-Mexicanist (Francisco Javier Clavijero, Juan Bautista Muñoz, Miguel del Barco González, José Lino Fábregas, Juan Nuix y Perpiñá…), on the Philippines (Juan de la Concepción, Antonio de Tornos, Bernardo Bruno de la Fuente…), meteorology (Andrés, Viñes, Faura…), studies on translation (Carlos Andrés, Juan Bautista Colomés, Pedro Cantón…) etc.The work is divided into three sections: "Teoría general", "Textos de y sobre autores de la Escuela", and "Bibliografía fundamental y selecta".The first section begins with an introductory chapter in which the conceptual principles of the School are explained in relation to the particularity of the Hispanic cultural history, where both its antecedents and theoretical limits are determined. Next comes a description of the sequence of milestones, historical circumstances and accidents that resulted in the formation of the School, as well as an in-depth explanation of the concept of "universalist ideation". Finally, "La ideación del primer programa epistemológico", is a necessary exposition of the important and almost inaccessible Prospectus Philosophiae Universae, a work that was written and directed by Juan Andrés. It is a general and pluridisciplinary programmatic text published in 1773 in Ferrara, and access to it for consultation is hard to come by. That is, it is a kind of program that intends to carry out a radical overcoming of the culture and thought of the Baroque era, through the integration of empiricist science and philosophy with classical humanism and its evolution through a historically founded and revisable concept of progress. The fourth chapter, entitled "La Ilustración universalista: creación de la Comparatística moderna y Literatura Universal", lists the conceptual keys to understanding the particularity of this late Spanish age of Enlightenment of Hispanic-Italian roots, Christian, integrative, international, intercontinental, founded on a unitary vision of the universe and the world. The fifth chapter, "La clasificación de las ciencias, la universalidad tematológica y la estética de la expresión", analyses the variables of the Enlightenment Period, the various types of European illustrations and their internal conceptual sectors, in an attempt to bring to light the lack of historical and intellectual homogeneity of a process of great relevance, and analyses the universalistic classification of scientific disciplines by comparison with the classification of the French illustration, showing the flagrant reduction of the French classification, and also includes a revealing study on the concept of "expression" elaborated by Antonio Eximeno, which was later also recovered by Benedetto Croce, although without him acknowledging the precedence of Eximeno’s work.The second part, "Textos de y sobre autores de la Escuela", presents a series of documents as a critical support of the School and its authors. This is especially true of the textual references from the three main authors with respect to the other members of the School, which provides an account of the indisputable existence of a productive and active scientific community.The last part records essential bibliographical sources and information intended to enable a continuation of the study by the authors of this School, a bibliographic selection of the most important works of all the members of the School, and another selection of general and monographic studies on relevant theoretical, historical and cultural issues.In short, this work succeeds in refuting one of the most important historical and intellectual fallacies of our time: the absence of a Spanish Enlightenment Period, and consequently, proves the existence of an original and consistent modern Hispanic thought. In this way, it opens up a field of study that demands new research that will bring to light better-informed reinterpretations of both Spanish and Hispanic America pasts in general, which will lead to a search for unity, not in political and economic terms, as seems to be the objective of economic globalization, but on the basis of the concept of universality. For this purpose, the Research Group Humanismo-Europa has affiliated itself with the Instituto Juan Andrés de Comparatística y Globalización, as well created links to its online network Biblioteca HumanismoEuropa, where all the information about the authors of the School and their texts has been gathered and made available to the general public.

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BARLOW, H. "CORNER, E. J. H. Botanical monkeys. The Pentland Press, Durham: 1992. Pp xii, 55 [+24 pp illustrations]. Price: £ 12.50. ISBN: 1-872795-72-2." Archives of Natural History 21, no. 2 (June 1994): 251–52. http://dx.doi.org/10.3366/anh.1994.21.2.251b.

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