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1
King, Daniel Q. "A checklist of sources of the botanical illustrations in the Leo Grindon Herbarium, The Manchester Museum". Archives of Natural History 34, n.º 1 (abril de 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 Hitherto unpublished extracts from Grindon's own history and description of his herbarium reveal his intentions in regard to the herbarium's combined specimen and documentary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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Raskoti, Bhakta B., Rita Ale e Ganga D. Bhatt. "A new record of Nymphaea (Nymphaeaceae) for Flora of Nepal". Botanica Orientalis: Journal of Plant Science 8 (2 de março de 2012): 105–7. http://dx.doi.org/10.3126/botor.v8i0.5958.
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Occurrence of Nymphaea lotus var. pubescens Willd. (Nymphaeaceae) in Nepal is reported. Detailed description, illustration and relevant notes are provided.doi: http://dx.doi.org/10.3126/botor.v8i0.5958 Botanica Orientalis – Journal of Plant Science (2011) 8: 105-107
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Raskoti, Bhakta Bahadur, e Rita Ale. "Nervilia makinnoni Duthie. and Nervilia plicata (Andrews) Schltr. (Orchidaceae): new records for flora of Nepal". Botanica Orientalis: Journal of Plant Science 6 (15 de março de 2010): 109–10. http://dx.doi.org/10.3126/botor.v6i0.2920.
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Nervilia makinnoni Duthie and Nervilia plicata (Andrews) Schltr. (Orchidaceae) are reported as new records to Nepal. Detail description, illustrations and relevant notes are provided. Key words: conservation status; herbarium; orchids; phenology.DOI: 10.3126/botor.v6i0.2920 Botanica Orientalis - Journal of Plant Science (2009) 6: 109-110
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Nickelsen, Kärin. "Draughtsmen, botanists and nature: constructing eighteenth-century botanical illustrations". Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 37, n.º 1 (março de 2006): 1–25. http://dx.doi.org/10.1016/j.shpsc.2005.12.001.
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Murphy, Willow B., Walter A. Kelley e Richard C. Dujay. "Nutlet Morphology and the Use of SEMs to Determine Characteristics for Identification of Species in the Genus Cryptantha Lehm. ex G. Don Section Oreocarya (E. Greene) Payson". Microscopy Today 8, n.º 6 (agosto de 2000): 34–35. http://dx.doi.org/10.1017/s1551929500052822.
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The genus Cryptantha Lehm ex G. Don section Oreocarya (E. Greene) Payson of the family Boraginaceae presents some problems to botanists, both professional and amateur, in the keying and identification of species. The genus contains approximately 150 species, the section about 60 perennial and biennial herbs located generally in western North America. Identification has presented some taxonomic difficulty due to the variability and lack of distinctive vegetative characters. Botanists have turned to the nutlet (fruit) and flower morphology to aid in identification for precise specific differentiation. In the past, 10X magnification and a decent botanical illustrator were required to provide the illustrations necessary to assist in this identification. We are in the process of collecting micrographs of nutlets (dorsal, sagital, and ventral views) and developing a webpage containing these micrographs along with descriptions of their morphological variations.
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Peterson, Paul M., Yolanda Herrera Arrieta e Konstantin Romaschenko. "Phylogeny of Muhlenbergia subg. Pseudosporobolus, including M. spatha (Poaceae, Chloridoideae, Cynodonteae, Muhlenbergiinae) now found in Zacatecas, Mexico". PhytoKeys 103 (18 de julho de 2018): 83–94. http://dx.doi.org/10.3897/phytokeys.103.26162.
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Muhlenbergiaspatha, previously known only from near the type locality in San Luis Potosí, is reported from two localities in Zacatecas, Mexico. Historically, botanists have overlooked this diminutive annual. To clarify affinities of M.spatha, we present a molecular phylogeny emphasising species in M.subg.Pseudosporobolus using sequence data from two plastid markers (rpl32-trnL and rps16 intron) and nrDNA ITS. In addition, we include an updated description, illustration and discussion of the habitat of M.spatha.
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NELSON, E. CHARLES, e J. PARNELL. "An annotated bibliography of the Irish botanist William Henry Harvey (1811–1866)". Archives of Natural History 29, n.º 2 (junho de 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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Nickelsen, Kärin. "The Challenge of Colour: Eighteenth-Century Botanists and the Hand-Colouring of Illustrations". Annals of Science 63, n.º 1 (janeiro de 2006): 3–23. http://dx.doi.org/10.1080/00033790500151177.
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Royer, Carla Adriane, Antonio Luiz Vieira Toscano de Brito e Eric de Camargo Smidt. "Centroglossa tripollinica (Barb. Rodr.) Barb. Rodr. (Orchidaceae: Oncidiinae): lectotypification and rediscovery in the State of Paraná, Brazil". Hoehnea 44, n.º 1 (março de 2017): 139–44. http://dx.doi.org/10.1590/2236-8906-100/2016.
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ABSTRACT The genus Centroglossa consists of six species, all endemic to the Atlantic Forest in southern and southeastern Brazil. It was known to occur in the State of Paraná based on three specimens of C. tripollinica collected by the Swedish botanist Per Karl Hjalmar Dusén at the beginning of last century. During recent fieldwork in Brazil, this species was rediscovered in Paraná. The aim of this article is to confirm the presence of C. tripollinica in the State of Paraná, provide a detailed description and illustrations of this species, and discuss its conservation status. A lectotype is designated for C. tripollinica.
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Kulakova, O. Yu. "ARTISTS SERVING BOTANISTS: CONFLICT AND SEARCH FOR MUTUAL UNDERSTANDING IN THE XVITH — XVIITH CENTURIES". Arts education and science 1, n.º 2 (2021): 68–78. http://dx.doi.org/10.36871/hon.202102009.
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The article explores the communication and mutual influence of botanists and artists who lived in Germany, Switzerland and Holland from the second half of the XVIth to the beginning of the XVIIth century. The choice of the areal and period of study is due to the active communication among scientists on the reform of scientific knowledge, in particular botany. The new demands of scientists, who expected artists to help them visualize the morphological features of plants, clashed with a painting tradition that changed slowly and gradually. Eventually, by the early the XVIIth century, an understanding was achieved. Botanical illustrations acquired its main artistic features: clarity of contour, minimum chiaroscuro and muted colour. At the same time, painters who worked in the genre of flower still life in Holland at the beginning of the XVIIth century were also significantly influenced by botanists. Several features appeared in the early Dutch still life: gathering of plants blooming in different months into one bouquet, collage method, composing a bouquet like a "table" of the Kunstkammer, uniform illumination, absence of space depth and crossing of objects, exotic, rare and expensive flowers, especially tulips.
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PANSARIN, EMERSON RICARDO, FÁBIO DE BARROS e ANA KELLY KOCH. "Nomenclatural notes on species of Cleistes (Orchidaceae: Vanilloideae) described by João Barbosa Rodrigues". Phytotaxa 496, n.º 2 (12 de abril de 2021): 179–88. http://dx.doi.org/10.11646/phytotaxa.496.2.7.
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During our taxonomic study of Cleistes, we noticed that some species names published (under the genus name Pogonia) by the Brazilian botanist João Barbosa Rodrigues needed revision. In our search for type specimens, we found the holotypes of Pogonia aphylla and P. paranaensis in the herbarium of the Museu Nacional do Rio de Janeiro (R), and the holotype of P. monantha at the herbarium of the Swedish Museum of Natural History (S). The remaining type specimens housed at RB herbarium have been lost. Consequently, the designation of lectotypes for those species names is needed. Therefore, the original illustrations are here designated as lectotypes of eleven species names. Furthermore, we also propose 14 synonyms for South American Cleistes.
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Edgington, John A. "Johann Jacob Dillenius (1684–1747) as a colourer". Archives of Natural History 49, n.º 1 (abril de 2022): 130–40. http://dx.doi.org/10.3366/anh.2022.0763.
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The three books published by the botanist Johann Jacob Dillenius (1684–1747) after he came to England in 1721 were praised by Carl Linnaeus as much for their fine plates, drawn and engraved by the author, as for their accurate descriptions. The illustrations in a few copies of two of these, the third edition of John Ray’s Synopsis methodica stirpium Britannicarum (1724), and Hortus Elthamensis (1732), were coloured by Dillenius himself. Four such coloured copies of the Synopsis, out of a probable six, and seven coloured copies of the Hortus, have been traced, and their provenance investigated, in the hope that further copies of these splendid, and scarce, volumes may come to light.
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Noblett, William. "Dru Drury, his Illustrations of natural history (1770-82) and the European market for printed books". Quaerendo 15, n.º 2 (1985): 83–102. http://dx.doi.org/10.1163/157006985x00081.
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AbstractThis study attempts to show how the English entomologist, Dru Drury (1725-1804) exported his only published book, Illustrations of natural history, which appeared in three volumes between 1770 and 1782. Drury used three contacts on the European mainland: the Amsterdam bookseller, Jan Christian Sepp; the German botanist, Paul Dietrich Giseke and the Danish naturalist, Morten Thrane Brunnich. Drury's letters to these three men form the basis of the study. An examination of them reveal some of the problems encountered in the international book-trade in the eighteenth century (such as parcels going missing and the difficulties of payment) and show some of the formalities that had to be undertaken when exporting.
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Chen, Jessie Wei-Hsuan. "A Woodblock’s Career". Nuncius 35, n.º 1 (23 de abril de 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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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, n.º 4(69) (16 de fevereiro de 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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Quintanar, Alejandro, David J. Harris e Patricia Barberá. "A new species of Drypetes (Putranjivaceae) discovered by J. Léonard in the Democratic Republic of the Congo". Plant Ecology and Evolution 153, n.º 2 (8 de julho de 2020): 312–20. http://dx.doi.org/10.5091/plecevo.2020.1709.
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Background – During his stay in Yangambi in the 1940s, the Belgian botanist J. Léonard collected a species of the genus Drypetes endemic to the Democratic Republic of the Congo. He named it D. morocarpa on herbarium labels, but never published it.Methods – The present study is based on the revision of 26 collections of D. morocarpa. Morphometric measurements on herbarium specimens belonging to the new species and its closest relatives in Drypetes were carried out in order to describe this new species.Results – We describe here D. morocarpa J.Léonard ex D.J.Harris & Quintanar. It is easily recognisable by its blackish twigs and young branchlets, orbicular stipules, leaf blades usually entire, and hard fruits, covered with irregular protuberances. It has been collected in two areas along the course of the Congo river or its tributaries. A differential diagnosis, a detailed morphological description, a key to distinguish it from the most similar species, an illustration and all the available information about its habitat, distribution and conservation status are provided.
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Orejuela, Andrés, Stacey D. Smith, Boris Villanueva e Rocío Deanna. "A new species of Iochroma Benth. (Solanaceae) from the eastern Andes of Colombia". PhytoKeys 232 (18 de setembro de 2023): 133–44. http://dx.doi.org/10.3897/phytokeys.232.108474.
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Iochroma orozcoae A.Orejuela & S.D.Sm., sp. nov. (Solanaceae) is described from the Andean forests of Cundinamarca in the eastern cordillera of Colombia. Iochroma orozcoae was first collected by the eminent Spanish priest and botanist José Celestino Mutis in the late part of the 18th century, but the specimens have lain unrecognised in herbaria for over 200 years. The species shares many features with its closest relative, Iochroma baumii S.D.Sm. & S.Leiva, but it differs from it in having small flowers with five corolla lobes and few inflorescences per branch, located near the shoot apex with 1 to 4 (–8) flowers, fruits that are greenish-yellow when ripe and its restricted geographic distribution. A description of I. orozcoae is provided, along with a detailed illustration, photographs of live plants, a comparison with closely-related species and a key to all Colombian species of Iochroma Benth. In closing, we emphasise the value of historical collections for the knowledge of biodiversity.
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MILJKOVIĆ, MILICA, VLADIMIR RANĐELOVIĆ e DÖRTE HARPKE. "A new species of Crocus (Iridaceae) from southern Albania (SW Balkan Peninsula)". Phytotaxa 265, n.º 1 (9 de junho de 2016): 39. http://dx.doi.org/10.11646/phytotaxa.265.1.3.
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A new Crocus species (Iridaceae) for southern Albania, Crocus novicii sp. nov. (Iridaceae), is described and illustrated. We here provide diagnostic morphological characteristics, results of molecular analyses, detailed descriptions and illustrations of this new species and compare it with its relatives C. jablanicensis, C. cvijicii and C. veluchensis. Our molecular analysis is based on two chloroplast (matK–trnK, rps16–trnQ) and three nuclear markers (nrETS, nrITS, TOPO6B exon3–exon6) and includes representatives of all related species (C. cvijicii, C. dalmaticus, C. jablanicensis, C. rujanensis, C. sieberi subsp. atticus, and C. veluchensis). Morphologically, C. novicii can be distinguished from its relatives by its white flower with lilac coloring at the base of the perigone and its higher number of leaves (> 3). Although it is morphologically close to C. jablanicensis, molecular analysis has revealed a close affiliation to C. veluchensis. Crocus novicii is diploid with 2n = 20 chromosomes. The new species is named after the Serbian botanist Novica Ranđelović to honor his important work on the genus Crocus on the Balkan Peninsula.
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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, n.º 5 (14 de abril de 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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Sáez, Llorenç, Rafel Curto e Manuel B. Crespo. "Sideritis royoi (Lamiaceae): A New Orophilous Species from Northeastern Spain". Taxonomy 4, n.º 1 (18 de janeiro de 2024): 112–25. http://dx.doi.org/10.3390/taxonomy4010006.
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Sideritis royoi is found in the rocky limestone habitats of the Port Massif (southern Catalonia, Spain). The species was first collected by the local botanist Lluís de Torres in the late part of the 20th century, but the specimens have remained unidentified positively in herbaria for over 40 years. Sideritis royoi likely belongs to section Sideritis subsection Hyssopifoliae and shows some morphological affinities with the relatively widespread South European species S. hyssopifolia L., but it differs from this species because it has subspinescent upper leaves, the main surfaces of its leaves are glabrous or glabrescent, the main abaxial surface of its bracts is without eglandular hairs, and due to the fact that it has shorter inflorescences. Weaker similarities have also been observed with some species belonging to S. subsection Fruticulosae Obón & D.Rivera. In this paper, a description for the new orophilous species is provided, along with a detailed illustration, field photographs, and a comparison with closely related species. We include an assessment of its conservation status and a dichotomous key for the identification of all the species of Sideritis subsection Hyssopifoliae.
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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, n.º 2 (outubro de 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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Post, Angela R., Regina Ali, Alexander Krings, Jenny Xiang, Brian R. Sosinski e Joseph C. Neal. "On the Identity of the Weedy Bittercresses (Cardamine : Brassicaceae) in United States Nurseries: Evidence from Molecules and Morphology". Weed Science 59, n.º 1 (março de 2011): 123–35. http://dx.doi.org/10.1614/ws-d-10-00063.1.
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Bittercress (Brassicaceae) is one of the most prolific and costly weeds of the container nursery industry. Bittercress accessions from container nurseries throughout the major production zones in the United States were examined and compared with herbarium specimens. The identity of these weedy bittercress species were further explored using sequences of the nuclear ribosomal DNA (nrDNA) internal transcribed spacer (ITS) region and the nrDNA region for the COP1-interacting protein 7 (CIP7). Four species of bittercress were detected in the nursery industry of the United States, including New Zealand bittercress, hairy bittercress, flexuous bittercress, and little bittercress. The taxon referred to here as Cardamine flexuosa With. (flexuous bittercress) likely contains two genotypes previously reported as European C. flexuosa and Asian C. flexuosa. Phylogenetic relationships between the four species we examined, particularly in relationship to flexuous bittercress, were not fully resolved by the molecular evidence generated for this study. New Zealand bittercress is nonnative and does not appear in current keys to the species for the United States. Flexuous bittercress is also an alien species, which appears in some U.S. keys but not in all. To aid nurserymen and botanists in identification of these four closely related bittercress species, a key was developed and is accompanied by detailed descriptions and illustrations.
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Zemanek, Alicja, Andrea Ubrizsy Savoia e Bogdan Zemanek. "The beginnings of ecological thought in the Renaissance: an account based on the Libri picturati A. 18–30 collection of water-colours". Archives of Natural History 34, n.º 1 (abril de 2007): 87–108. http://dx.doi.org/10.3366/anh.2007.34.1.87.
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During the Renaissance ecological thinking emerged both in printed scientific works and in pictures showing plants against the background of their natural environment. A unique source for the history of plant ecology is the Libri picturati A. 18–30 collection of water-colours kept at the Jagiellonian Library in Cracow (Poland). This collection consists of 13 volumes of plant pictures, and contains about 1,800 images illustrating more than 1,000 taxa mainly from north-western Europe and the Mediterranean region, but also from Asia and America. Some of these pictures match with woodcuts in various works by famous Flemish botanists, mainly Charles de l'Écluse (Carolus Clusius) (1526–1609). Both the illustrations and their short annotations provide a synthetic review of the ecology of the Renaissance period. The paper deals with ecological issues which are found in the collection such as information on the climatic and edaphic requirements of some species, on plants occurring in various habitats and plant communities, plants representing principal growth forms, descriptions of particular adaptations to specific living conditions, for example the halophyte community of sea coasts or the parasitic flowering plants, and phenological observations. These trends can also be seen in printed publications of that time, and this collection mirrors them especially closely.
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Sobecka, Anna. "Art and Science in Early Modern Gdańsk". Studia Historica Gedanensia 13 (2022): 53–69. http://dx.doi.org/10.4467/23916001hg.22.004.17424.
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The 17th and 18th centuries were a period of the development of art and science in Gdańsk. Johann Hevelius, was the most famous astronomer of that time. He cooperated with the best artists: Jeremias Falck, Daniel Schultz and Andreas Stech. Hevelius’s second wife Elisabeth was also dedicated to science and the couple were shown together at work. Scientists” collections and cabinets in Gdańsk provided a platform for the exchange of ideas. The artists interested in observing nature were incorporated into the circle of discussants. Samuel Niedenthal who studied both the fauna and flora worked together with two other researchers and collectors form Gdańsk: Christoph Gottwald – doctor of medicine and botanist – Jacob Breyne. Gdansk naturalists themselves attempted to draw or to sculpt. Passions for art and science as well as collecting have sometimes been continued by subsequent generations. Johann Philipp Breyne and Jacob Theodor Klein supported the artistic education of their daughters. Their drawings were both used as models to make scientific illustrations and were artistic objects used also for exchange. Gdańsk scientists collected paintings, drawings, prints, and scientific as well as natural specimens. Their collections were dynamic and consistent with the emerging idea of a nature and art” developed by Gottfried Leibniz.
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Joseph, Steven F. "Alfred W. Bennett and the Photographic Gift Book". Rijksmuseum Bulletin 70, n.º 3 (30 de agosto de 2022): 222–43. http://dx.doi.org/10.52476/trb.12831.
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Alfred W. Bennett (1833-1902), better known to posterity as a botanist, was active as a publisher in London in the eighteen-sixties. Almost uniquely amongst his contemporaries, Bennett specialized in books illustrated with mounted photographic prints for the middle-class market. Every year, new ‘photographic gift books’ would be released to coincide with the Christmas season of giving. Subject matter was mainly topographical or literary. Text and images were associated creatively; design, typography and photographic printing were of the highest quality.
While Bennett’s career in photographically illustrated books was brief, starting in 1861 and ending in 1868, he made a distinctive contribution to the creation and development of the genre in Britain. The article evaluates Bennett’s career and impact, covering the following topics: the Quaker context that influenced Bennett’s activity as a publisher and photograph dealer; Bennett’s invention of the photographic gift book as a genre; synergy with Lovell Reeve, another pioneering photographic book publisher; the crucial importance of literary tourism for Bennett’s output; assimilation of the concept of the Picturesque within photographic illustration; the extension of subject matter to Continental Europe; and the decline of the photographically illustrated book business in the hands of Bennett’s successor Abraham Provost.
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Samchuk, Taras. "Fine art in the St. Vladimir University students‘ everyday life in the context of artistic life of Kyiv and nearby region (1834-1863)". Text and Image: Essential Problems in Art History, n.º 2 (2018): 84–97. http://dx.doi.org/10.17721/2519-4801.2018.2.05.
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Research works devoted to the students of St. Vladimir University usually highlight either specific features of the educational process or some aspects of their everyday life. Student‘s artistic interest has been studied to the lesser extent. The article depicts the place of fine arts in the life of the St. Vladimir University students in the years 1834-1863. The author points out that the students’ interest in fine arts developed under the influence of the region’s artistic tradition. Therefore, specifics of the artistic life in Ukraine is analyzed in the article as well. Special attention is paid to Kyiv as the center of artistic life of the region. Kyiv Сontract Fair which took place annually in the second half of January was the main event for the regional art market. Famous local artists worked in Kyiv and in the region as drawing teachers in various educational institutions. Other artists came to Kyiv to make drawings of its views and historical monuments. St. Vladimir University played an important role in artistic life of the city during the years 1834-1863. The University’s collection of fine arts, which included a lot of pieces of the Western European art, was designed to promote aesthetic and artistic development of the St. Vladimir University students. The University allowed students to attend elective drawing lessons provided by experienced artists and teachers. Nevertheless, only a few students attended these lessons. Scientific illustration as a component of visual art played important role in students‘ education, especially for medical students, botanists, zoologists etc. In many cases illustration was the main source of visual information for students. The author admits that a lot of students were skilled drawers themselves because drawing was the easiest way to visualize the results of their research work. Some students gathered their own small collections of art works. The fact that the students were familiar with the works of fine art affirms their high cultural level and belonging to the social elite.
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van Andel, Tinde, Rutger A. Vos, Ewout Michels e Anastasia Stefanaki. "Sixteenth-century tomatoes in Europe: who saw them, what they looked like, and where they came from". PeerJ 10 (17 de janeiro de 2022): e12790. http://dx.doi.org/10.7717/peerj.12790.
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Background Soon after the Spanish conquest of the Americas, the first tomatoes were presented as curiosities to the European elite and drew the attention of sixteenth-century Italian naturalists. Despite of their scientific interest in this New World crop, most Renaissance botanists did not specify where these ‘golden apples’ or ‘pomi d’oro’ came from. The debate on the first European tomatoes and their origin is often hindered by erroneous dating, botanical misidentifications and inaccessible historical sources. The discovery of a tomato specimen in the sixteenth-century ‘En Tibi herbarium’ kept at Leiden, the Netherlands, triggered research on its geographical provenance and morphological comparison to other tomato specimens and illustrations from the same time period. Methods Recent digitization efforts greatly facilitate research on historic botanical sources. Here we provide an overview of the ten remaining sixteenth-century tomato specimens, early descriptions and 13 illustrations. Several were never published before, revealing what these tomatoes looked like, who saw them, and where they came from. We compare our historical findings with recent molecular research on the chloroplast and nuclear DNA of the ‘En Tibi’ specimen. Results Our survey shows that the earliest tomatoes in Europe came in a much wider variety of colors, shapes and sizes than previously thought, with both simple and fasciated flowers, round and segmented fruits. Pietro Andrea Matthioli gave the first description of a tomato in 1544, and the oldest specimens were collected by Ulisse Aldrovandi and Francesco Petrollini in c. 1551, possibly from plants grown in the Pisa botanical garden by their teacher Luca Ghini. The oldest tomato illustrations were made in Germany and Switzerland in the early 1550s, but the Flemish Rembert Dodoens published the first image in 1553. The names of early tomatoes in contemporary manuscripts suggest both a Mexican and a Peruvian origin. The ‘En Tibi’ specimen was collected by Petrollini around 1558 and thus is not the oldest extant tomato. Recent molecular research on the ancient nuclear and chloroplast DNA of the En Tibi specimen clearly shows that it was a fully domesticated tomato, and genetically close to three Mexican landraces and two Peruvian specimens that probably also had a Mesoamerican origin. Molecular research on the other sixteenth-century tomato specimens may reveal other patterns of genetic similarity, past selection processes, and geographic origin. Clues on the ‘historic’ taste and pest resistance of the sixteenth-century tomatoes will be difficult to predict from their degraded DNA, but should be rather sought in those landraces in Central and South America that are genetically close to them. The indigenous farmers growing these traditional varieties should be supported to conserve these heirloom varieties in-situ.
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SKOKANOVÁ, KATARÍNA, PAVOL MEREĎA Jr., BARBORA ŠINGLIAROVÁ e STANISLAV ŠPANIEL. "Lectotype of Solidago ×niederederi (Asteraceae) selected from a recently rediscovered original material". Phytotaxa 438, n.º 1 (2 de abril de 2020): 62–64. http://dx.doi.org/10.11646/phytotaxa.438.1.8.
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Solidago ×niederederi Khek (1905: 22) is a hybrid between North-American S. canadensis Linnaeus (1753: 878) and European native S. virgaurea Linnaeus (1753: 880). Solidago canadensis was introduced to Europe in the 17th century (Kowarik 2003). It has spread invasively throughout Europe since the second half of the 19th century (Weber 1998), reaching, besides sites disturbed by human activity, also (semi)natural biotopes, as forest edges, abandoned meadows and field margins which are often inhabited by native S. virgaurea. Their hybrid was discovered for the first time in nature by a local schoolmaster Franz Niedereder in the area of Vorderstoder village (Austria). Niedereder sent a plant material of the assumed hybrid to Eugen Johan Khek (born in 1861, Neuhaus/Jindřichov Hradec; died in 1927, Vienna), the pharmacist and botanist who lived in Vienna since 1889 (Anonymous 1916). Khek described the hybrid species under the name S. ×niederederi in honour of his discoverer (Khek 1905). The protologue indicates that the relevant communication between Niedereder and Khek was going on between July 1900 (when they met for the first time) and February 1905 (when the hybrid’s description was published). Before its description, Khek studied the hybrid for four years and he saw a herbarium material from Niedereder as well as a living material. In the protologue, no particular herbarium specimens or illustrations had been indicated or associated with S. ×niederederi (Khek 1905).
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Fraser-Jenkins, Christopher. "Huperzia kingdonwardiana and H. meghalaica (Lycopodiaceae), two new lycopods from North-East India and Myanmar". Indian Journal of Forestry 38, n.º 4 (1 de dezembro de 2015): 335–38. http://dx.doi.org/10.54207/bsmps1000-2015-j9gim7.
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An overlooked but spectacular species of Huperzia from higher altitude in North-East India and North Myanmar is distinguished by its very long, linear, strongly downward-deflexed, grey leaves, which then angle upwards in their apical halves. It is named here as Huperzia kingdonwardiana Fraser-Jenk., after one of its collectors, the remarkable British botanist and plantsman, Frank Kingdon Ward. It was firstbrought to notice by Fraser-Jenkins (2008) during the ongoing preparation of a checklist of pteridophytes of Arunachal Pradesh State, and was then identified by the present author as H. quasipolytrichoides (Hayata) Ching, in error, influenced by the poor illustration given for that species by Nessel (1939). Subsequently it was reidentified by the present author at BM under the present name in Jan. 2012, which he had first coined for it in 2002 on recognising it as a species previously unknown in India. It differs from H. quasipolytrichoides from Taiwan and East China in itsobviously longer, narrower leaves that arch upwards more strongly above the deflexed basal part of the leaf, and in its wider branches. A further previously unrecognised species from the Khasi Hills of Meghalaya State, North-East India, is described as H. meghalaica Fraser-Jenk., and is similar to a longer-leaved H. pulcherrima (Wall. ex Hook. & Grev.) Pich.-Serm.
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Charmantier, Isabelle. "Carl Linnaeus and the Visual Representation of Nature". Historical Studies in the Natural Sciences 41, n.º 4 (1 de outubro de 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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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, n.º 4(28) (31 de dezembro de 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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Malainho, Eva, Fernando Jorge Simões Correia e 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 (29 de dezembro de 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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GUIGGI, ALESSANDRO, e MAURO MARIOTTI. "Notes about the Berger’s new Opuntia s.l. species (Cactaceae) described from the Hanbury Botanical Gardens collection". Phytotaxa 420, n.º 1 (8 de outubro de 2019): 21–55. http://dx.doi.org/10.11646/phytotaxa.420.1.2.
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Alwin Berger, a German Botanist, was curator of the Hanbury Botanical Gardens (also known as “La Mortola” from the name of its locality near Ventimiglia, North-Western Italy) during the period 1897–1915. During his curatorship, the cactus collection was enlarged thanks to the numerous specialist, American collectors and the exchanges with prestigious Botanical Gardens such as New York Botanical Gardens and Botanic Garden of Palermo. The study of this unique collection allowed Berger to publish a revolutionary systematics work on the genus Cereus s.l., including the description of many new species under Opuntia s.l.. The taxa described as new by Berger are currently considered as unresolved cases with a incertae status, and few names are typified with dry specimens at present, and without still living known or studied plants in cultivation or with modern illustrations. The discovery of many Berger’s Opuntia in cultivation in some Italian historical gardens and as well as the finding of exsiccata in K, HMGBH (Herbarium Mortolensis), NY and US which were never before studied, led us to start a revision of the Berger’s new names in Opuntia s.l.. Our investigation allowed to confirm the identities of Opuntia bergeriana, O. gilva, O. haematocarpa, O. ledienii and O. winteriana, and the recognition as valid species for O. exaltata, O. schumannii and O. zacuapanensis. 5 lectotypes, 1 neotype, and 4 epitypes are designated in the present paper. In addition, a new Opuntia species, O. mantaroensis is here described for a Peruvian plant misidentified by F. Ritter as O. inaequilateralis. To completion, the neotype of O. tomentosa, the valid species to which the Berger’s name is referred (i.e. O. tomentella) was also designated here.
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NELSON, E. CHARLES. "MARCHIORI. S., MEDAGLI. R and RUGGIERO. L Guida botanica del Salento. Mario Congedo Editore, Galatin (Lecce): 1998. Pp [2], 238; colour illustrations. Price Lire 120,000. ISBN 88-8086220-0." Archives of Natural History 28, n.º 3 (outubro de 2001): 409. http://dx.doi.org/10.3366/anh.2001.28.3.409a.
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Törnvall, Gunilla. "Kärin Nickelsen, Draughtsmen, Botanists and Nature: the Construction of Eighteenth-Century Botanical Illustrations, Archimedes, New Studies in the History and Philosophy of Science and Technology, 15 (Dordrecht: Springer, 2006). 295 s." Sjuttonhundratal 6 (1 de outubro de 2009): 156. http://dx.doi.org/10.7557/4.2792.
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Shteir, Ann B. "“FAC-SIMILES OF NATURE”: VICTORIAN WAX FLOWER MODELLING". Victorian Literature and Culture 35, n.º 2 (29 de junho de 2007): 649–61. http://dx.doi.org/10.1017/s1060150307051698.
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THE GIGANTIC WATER LILY WHOSE seeds were brought to England from the Amazon in 1847 had been sighted a decade earlier in British Guiana by Sir Robert Schomburgk and described in 1837. Named Victoria regia and now known as Victoria amazonica, the spectacular specimen had huge leaves five feet in diameter and seventeen feet in circumference, and flowers more than twelve inches in diameter. Germination of the seeds took some time, but in 1849 three plants developed, and the race was on to propagate the first flower. The triumphal first bud in England opened in early November 1849, its flower measuring three feet in circumference, at the Chatsworth estate of the Duke of Devonshire where the gardener and landscape architect, Joseph Paxton, had designed a greenhouse and water tanks for this purpose; Margaret Darby has detailed the precise attention that Paxton gave to the levels of light, moisture, and heat so as to approximate the plant's native habitat. The Victoria regia produced 126 large, beautiful, and fragrant white and pink tinted flowers. It was a popular wonder and received clamorous public attention for its size, beauty, and surprising strength. Paxton presented a leaf and flower to the Queen and Prince Albert at Windsor, and a well-known engraving in the Illustrated London News, November 17, 1849, showed Paxton's eight-year old daughter Annie standing on one of the leaves. Publication in 1851 of Victoria Regia; or Illustrations of the Royal Water-Lily with life-sized drawings and lithographs by Walter Hood Fitch and descriptions by the botanist Sir William Jackson Hooker brought further celebrity to the plant. Soon after, John and Horatio Mintorn, wax flower artists in London, were commissioned to make a model of the flower of this huge plant in different stages of development – “from the large and bristly bud to the white opening petals, and the full-blown flower, in its beautiful variegation of form and tint” (the Daily News July 17, 1850). Exhibition of the wax model generated wide press coverage about the “fac-simile…of one of the most curious botanical phenomenon of the present age” (Mintorn 1844, ii-iii).
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WALTERS, S. M. "D. E. ALLEN, 1986. The Botanists: a history of the Botanical Society of the British Isles through a hundred and fifty years. St Paul's Bibliographies, Winchester. Pp xv + [l] + 232, 25 black & white illustrations. ISBN 0-906795-36-2. Price £15." Archives of Natural History 15, n.º 1 (fevereiro de 1988): 101–2. http://dx.doi.org/10.3366/anh.1988.15.1.101.
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BRENNINKMEYER-DE ROOIJ, B. "Zeldzame bloemen, 'Fatta tutti del natturel' door Jan Brueghel I". Oud Holland - Quarterly for Dutch Art History 104, n.º 3-4 (1990): 218–48. http://dx.doi.org/10.1163/187501790x00101.
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AbstractThe letters Jan Brueghel (1568-1625) wrote to his Italian patron Federico, cardinal Borromeo, between 1605 and 1625, provide some information about his flower paintings. The first significant item occurs in a letter of April 14, 16o6, in which he mentions having started on a flower piece with beautiful and rare species, all painted from life. He had seen and `portrayed' some of them in Brussels (note 16). In a letter of almost the same date to Borromeo's fellow-citizen, the collector Bianchi, Brueghel writes that the piece was to consist of m<>re than a hundred different flowers, and that he had never made such a picture before (note 17). The painting, which is still in the Ambrosiana in Milan, was thus Brueghel's very first flower piece (fig. 3). This is even more obvious when it is compared to a second version (fig. 4), probably painted soon afterwards, in which the flowers are distributcd more evenly over the surface. An arrangement of this kind of bouquet was not possiblc in Brueghel's day. Such flowers were too costly to be placed in vases (note 21); even in gardens they were displayed as single specimens (figs. 5 and 6). They were exotic rarities like the sunflower, which was thought to have been imported from Peru (note 25; fig. 7). Brueghel's native city, Antwerp, was the centre of botanical knowledge in the early 17th century in Europe because of the books published by Plantijn on herbs and plants, written by the leading botanists: Dodonacus, Lobelius and Clusius. In Brueghcl's day plants were fashionable collector's items, not only in the gardens of the aristocracy but also in those of the wealthy bourgeoisie. In this context a picture by a Brueghel imitator featuring Pictura painting a large flower piece (fig. 9) seems quite understandable. Illustrations of plants in books show little or no shadow on their forms, and the light is often diffuse (figs. 7 and 11). Brueghel's flower pieces have the same diffuse light and ignore the effect of light and shade. He may have becn influenced by these illustrations, and he adhered to the same principle: the recognizability of his flowers was all important. Brueghel's bouquet for Borromco (fig.3) consists of flowers which were rare, and therefore valuable. As he wrote to his pastron: 'Underneath the flowers I have made an ornament, with some coins (..). Your Excellency must judge for himself whether flowers do not deserve to take precedence above gold and ornaments' (note 18). Cardinal Borromeo was delighted (notes 47 - 5 1) and wrote that he had paid the value of the ornament as the price of the painting (note 48). However, painted flowers were merc substitues for the real ones to the Cardinal, who docs not seem to have reacted to the next flower piece Brueghel sent him, at the end of 1609 (fig. 15). It was the last flower piece Brueghel painted for him. It is interesting to note that the correspondence gives the impression that this piece was painted partly out of doors (notes 5 4 and 56). Remarks in a letter to Bianchi give some impression of how Brueghel painted his flower pieces. According to him he made no drawing or sketch, he painted alleprinle and arranged he flowers on the surface of the painting while working on it. The combination of spring and summer flowers is understandable when one realizes that it took him about four months to make such a picture. One wonders, however, whether he and his assistants (note 61) did not work on several near identical paintings at the same time. His remark that he painted several bouquets every spring (note 64) suggests the possibility and so does the fact that only about twelve different compositions of flower pieces by him are known, all in more than one version (cf. e.g. figs. 18 and 19). Only very few paintings - the ones for Borromeo, possibly those for the Vienna and/or Brussels court - have no known repeats. Brueghel was boasting when he wrote that he worked exclusively from life. Examination of a flower piece in Cambridge revealed a complete underdrawing (fig. 23); moreover, the iris is copied from a print by Pierre Vallet (fig. 25; note 68). He borrowed some day lilies from a woodcut in Dodonaeus' Stirpium Historiae Pemptades Sex (figs. 26 and 27). One flower - the red Anemone coccinaea on its twisted stem which often appears in his pictures - may be artificial, made from cloth or silk. Nevertheless, his flowers pieces were portraits of betanical rarities, as was probably the case in similar situations at the time (note 79). Any other meaning - for example as a vanitas - is highly unlikely. Neither Brueghel nor Borromco ever mention a religious morality in connection with these flower paintings. Therefore, the endeavour to 'Immorta]17.e' the ephemeral beauty of these flowers must often have been the chief motivation. On the basis of this appreciation for rare flowers, their occurrence in bouquets, and the assumption that Brueghel painted several near-identical flower pieces during a number of years a chronology of (most of) Brueghel's flower pieces has been added as appendix.
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Jaipuriar, Saumya Garima. "Indian Art and European Science: Patnakalam and Colonial Botanical Drawings". Rupkatha Journal on Interdisciplinary Studies in Humanities 12, n.º 4 (30 de julho de 2020). http://dx.doi.org/10.21659/rupkatha.v12n4.14.
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This paper seeks to explore how scientific documentation fuelled by Enlightenment and indigenous art intermingled to create Patnakalam in nineteenth century India. Patnakalam, a school of painting that flourished in Patna, Bihar in the nineteenth and early twentieth centuries, came into existence with the complex interactions between an indigenous artistic tradition and a western visual sensibility mediated by the requirements of science. Botanists of the East India Company employed native artists to make illustrations of local plant species in an attempt to scientifically catalogue all of the natural resources of the region. This inevitably contributed to the formation of a style of painting which went on to have an enduring legacy far beyond their taxonomical albums.
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Statham, Michael, Heather Pardoe e Vanessa Cunningham. "The Legacy of Welsh Botanist Jessie Gwendoline O’Callaghan (née Insole; 1882–1932)". Collections: A Journal for Museum and Archives Professionals, 16 de março de 2023, 155019062311604. http://dx.doi.org/10.1177/15501906231160456.
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This biographical paper examines the background of collections comprising illustrations of fungi and herbarium specimens attributed to Jessie O’Callaghan, held by the Amgueddfa Cymru—Museum Wales. O’Callaghan was a privileged, wealthy woman born in the Welsh parish of Llandaff, which, in 1922, was incorporated into Cardiff, now Wales’ capital city. Upon her marriage in 1906 she moved to Ireland, but eventually settled in the English county of Surrey. Throughout her life she had an enduring interest in botany, seeking, collecting, painting, and cultivating rare plants. She shared this passion with Eleanor Vachell, the well-regarded Welsh amateur botanist, whom she had known since childhood. Entries in Eleanor’s diaries, and their letters, together with a surviving photograph album, provide fascinating insights into Jessie’s life. The paper also speculates on the fate of O’Callaghan’s collection of 595 watercolour paintings of wild flowers, loaned to the Museum by her daughter in 1932, but later returned to her.
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Viladomiu, Àngels, e Àngel Romo. "Madame Davit: Gaudir de la natura: La il·lustració botànica des de la perspectiva de gènere". Mètode Revista de difusió de la investigació, n.º 14 (24 de março de 2023). http://dx.doi.org/10.7203/metode.14.25553.
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Suzanne Davit (Paris, 1897 – Barcelona, 1973) is little known and studied, despite the relevancy of her legacy to the Catalan botanical illustration of the early and mid-20th century. Great botanists such as Pius Font i Quer greatly valued her unique way of capturing nature. As a woman and an artist who was passionate about nature and who was also scientifically very curious, her representation of plants was different from the typical work of the time. Her innovations are interpreted as an alternative artistic discourse to the dominant patriarchal dialogue and a manifestation of the female touch. Access to unpublished documents – Davit's correspondence with a friend – has made it possible to reconstruct some of the key aspects of her work, involving the crossroads between the aesthetic exaltation of flowers and a gender perspective.
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Wąsowicz, Paweł, Łukasz Folcik e Adam Rostański. "Typification of Blechnum spicant var. fallax Lange (Blechnaceae)". Acta Societatis Botanicorum Poloniae 86, n.º 1 (31 de março de 2017). http://dx.doi.org/10.5586/asbp.3542.
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<em>Blechnum spicant</em> var. <em>fallax</em> Lange is a fern taxon endemic to Iceland where it occurs in the vicinity of hot springs on geothermally heated soils. The taxon was first described by a Danish botanist Johan Martin Christian Lange in 1880 on the basis of plant material collected by Christian Grønlund in Iceland. Because its holotype was not designated in the protologue, we examined the extant original material including illustrations from <em>Flora Danica</em> and a single plant on sheet C10021769 (deposited in C) that was the basis for the respective plate. We select this specimen as the lectotype of <em>Blechnum spicant</em> var. <em>fallax</em>.
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Sharma, Anuradha, Rajiv Sharma, Chetan Pandey e Vivek Chopra. "Eflora: Future of Plant Taxonomy and Conservation". Ecology, Environment and Conservation, 12 de agosto de 2022, S151—S156. http://dx.doi.org/10.53550/eec.2022.v28i04s.022.
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In the age of digital transformation editing, retrieving and rendering data via a non-tedious way of justreferring to an e-repository has become effortless. This paper highlights the importance of e-taxonomyrepository specifically eFlora that have been developed across the world. eFlora is an internet based toolthat has reduced our efforts of taxonomic identification and study steps via a consolidated database ofbiodiversity informatics. eFlora aims at developing a structured data of hierarchical plant kingdomclassification through huge published taxonomic and floristic research data of biodiversity. A taxon can beeasily linked with data illustrations in more than one flora with the help of automated data links. Thesefloras are immensely helpful in maintaining a long term digital preservation of taxonomic data. Thepublication of research work of botanists has also become readily available on a single platform of eFlora.Moreover, sharing and inviting contributions from the world community of taxonomists has never beeneasier.
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Bender Jørgensen, Lise, e Dagfinn Moe. "En glemt skatt, Miranda Bødtkers tegninger af arkæologiske tekstiler". Viking 83, n.º 1 (11 de novembro de 2020). http://dx.doi.org/10.5617/viking.8256.
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Over many years, illustrator Miranda Bødtker (1896–1996) carried out drawings for botanists, zoologists and archaeologists at Bergen Museum, the University of Bergen. After her death, thousands of drawings were discovered in her estate. Among them were numerous unpublished drawings of archaeological textiles from five sites. Bødtker’s illustrations show that although several scholars have studied the textiles, none had seen them all. This applies in particular to textiles from two Viking Age burials, Grønhaug and Dale, both of which comprise remains of figured tapestries that are hardly mentioned in archaeological literature. Grønhaug, and a boat from Halsnøy also offer several types of textiles related to the maritime world. The paper presents Bødtker’s drawings and discusses how they compare with published descriptions of those textiles, with drawings of textiles from the Oseberg burial, and to what degree this form of documentation meets current scientific demands.
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Fielding, Russell. "‘The correct name for the breadfruit’: on interdisciplinarity and the artist Sydney Parkinson's contested contributions to the botanical sciences". Notes and Records: the Royal Society Journal of the History of Science, 16 de novembro de 2022. http://dx.doi.org/10.1098/rsnr.2022.0028.
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Breadfruit is a tropical fruit-bearing tree native to Oceania and a staple food in the diets of many Pacific Islander communities. During the so-called Age of Discovery, several European voyages returned from the Pacific with descriptions of the region's flora, including breadfruit. Since that time, scientists have sometimes struggled to agree upon an adequate acknowledgement of those early descriptions in modern botany and taxonomy. This paper considers one such struggle: the centuries-long disagreement among botanists regarding the value of the botanical descriptions and illustrations of breadfruit, as well as the proposed scientific name for the species attributed to Sydney Parkinson, a young artist who sailed with Cook aboard HMS Endeavour during the late eighteenth century. While Parkinson's descriptions were thorough, it is suggested here that his contributions were neglected by later scientists, due mainly to his status as an artist and to an approach that today we would call interdisciplinary . This outcome can be viewed as indicative of the tension between the arts and the sciences that remains to this day and, I suggest, continues to hamper our understanding of the natural world.
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Van Andel, Tinde, e Anastasia Stefanaki. "What did 16th-century tomatoes look like?" BAUHINIA – Zeitschrift der Basler Botanischen Gesellschaft 29 (31 de dezembro de 2023). http://dx.doi.org/10.12685/bauhinia.1370.
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Soon after the Spanish conquest of the Americas, the first tomatoes were presented as curiosities to the European elite and drew the attention of 16th-century Italian naturalists. Despite their scientific interest in this New World crop, most Renaissance botanists did not specify where these „golden apples” or „pomi d’oro” came from. It is likely that tomatoes were brought to Europe after the Spanish sieged the Aztec city of Tenochtitlan (now Mexico City) in 1521 and after they conquered the Peruvian Inca emperors in 1531. Tomatoes and other New World domesticates must have been brought to the Spanish court, and were probably planted in the royal gardensin Madrid, after which they were likely shipped from Sevilla to Italy, but no written evidence have been found so far for these events. The debate on the first European tomatoes and their origin is often hindered by erroneous dating, botanical misidentifications and inaccessible historical sources. So, who saw the first 16th-century tomatoes that entered Europe? What did they look like? Who made the first botanical description, collection and/or illustration? And where did these tomatoes come from?
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Del Guacchio, Emanuele, Tim Böhnert, Giancarlo Sibilio, Olga De Castro e Paolo Caputo. "The identities of three plants of unknown origin revealed by ancient paintings". TAXON, 24 de janeiro de 2024. http://dx.doi.org/10.1002/tax.13126.
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AbstractArchives and correspondences are often overlooked resources in assessing taxonomic and nomenclatural information and this sometimes affects taxonomic proposals. Here we show that unpublished illustrations not only can definitively help in identifying unresolved or poorly known names but can be themselves original material and sometimes must serve as types, avoiding neotypes or misleading synonymizations. We present the case of three names introduced by the Neapolitan botanist Michele Tenore (Muscari strangwaysii, Asparagaceae; Pogostemon suavis and Salvia menthifolia, Lamiaceae). They have been interpreted differently over time because herbarium specimens that constituted original material were not accurately searched for (M. strangwaysii) or were unavailable (P. suavis, S. menthifolia). Although these three names are currently synonymized (with M. neglectum, P. cablin, and S. chamaedryoides) we demonstrate that these synonymies are not correct, based on the detailed study of original nineteenth‐century watercolour paintings, a re‐examination of protologues and specimens preserved in the Botanical Garden of Naples (NAP). The watercolour paintings are crucial for application of the names, because diagnostic features often disappear with drying (M. strangwaysii), or because they are the only extant original material (P. suavis). In all three cases we introduce new typifications for the names and update the synonymy to M. botryoides, P. heyneanus, and S. microphylla, respectively.
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Dietz, Bettina. "Herbaria as manuscripts: Philology, ethnobotany, and the textual–visual mesh of early modern botany". History of Science, 13 de julho de 2023. http://dx.doi.org/10.1177/00732753231181285.
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While interest in early modern herbaria has so far mainly concentrated on the dried plants stored in them, this paper addresses another of their qualities – their role as manuscripts. In the 1670s, the German botanist Paul Hermann (1646–95) spent several years in Ceylon (today Sri Lanka) as a medical officer in the service of the Dutch East India Company. During his stay he put together four herbaria, two of which contain a wealth of handwritten notes by himself and several later owners. First, it will be shown that these notes provide information on the linguistic skills and interests of those who collected plants in an overseas trading settlement. Hermann’s botanical practice demanded and, at the same time, generated knowledge of Sinhalese (an Indo-Aryan language that is spoken by the largest ethnic group on the island) and its script. In his herbarium, observations on the semantics, morphology, and pronunciation of Sinhalese are inextricably intertwined with those of botanical nature. Second, on the basis of these voluminous notes, the character of early modern herbaria as manuscripts will be highlighted. And third, Hermann’s herbaria will be integrated into an investigation of scribal practices and publication strategies of eighteenth-century botany. Along with field notes, letters, manuscripts, illustrations, and printed books, herbaria were knots in the textual–visual mesh of early modern botany.
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Banfi, Enrico, e Agnese Visconti. "Botanical geography correspondence between Alexander von Humboldt and Filippo Parlatore (1851-1852)". Natural History Sciences 7, n.º 2 (18 de novembro de 2020). http://dx.doi.org/10.4081/nhs.2020.470.
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This paper focuses on the relationship between Alexander von Humboldt, the famous German explorer-naturalist and Filippo Parlatore, botanist from Palermo (Sicily, Italy) in the field of botanical geography. Our considerations are based on three letters written by Humboldt to Parlatore in May 1851 and two letters with attachments written by Parlatore in answer to Humboldt in May 1851 and June 1852. The former are preserved in the Biblioteca comunale di Palermo (Palermo City Library) and the latter in the Staatsbibliothek zu Berlin (Berlin State Library). On reading the correspondence it can be inferred how, on the one hand, Humboldt asked Parlatore for verification on some important questions of botanical geography that he intended to cover in the second part (never published) of volume five of his Kosmos, and how, on the other hand, Parlatore diverged in his answers from Humboldt’s intent to search for universal laws to explain the distribution of plants on the planet. In fact, Parlatore was engaging in new lines of research, which, though stemming from Humboldt, were moving towards a modern twodimensional interpretation of natural plant communities according to which vegetation and flora, though interacting, are distinct realities and require different methods of study. The paper includes a portrait of Parlatore and one of Humboldt, a taxonomic table of the plants mentioned by the two scientists in their correspondence and illustrations of a selection of the same plants.
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"His Majesty Emperor Hirihito of Japan, K. G., 29 April 1901 - 7 January 1989". Biographical Memoirs of Fellows of the Royal Society 36 (dezembro de 1990): 241–72. http://dx.doi.org/10.1098/rsbm.1990.0032.
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The biographer, reflecting on the long and manifold life of the Showa Emperor, cannot but be struck by many contrasts. None, perhaps, is greater than that which distinguished the Scholar Emperor and Imperial Biologist, about whom this memoir is written, from His Imperial Majesty the Emperor and Statesman. Many short articles have appeared in illustration of his biological prowess (Egami 1989; Guillain 1989; Hamburger 1962; Kitamura 1988; Komai 1972; Reischauer 1975; Steam 1989; Taku 1972), and there is the early book by Hino (1931). The substantial biographies of the western press, however, treat it as if it had been a pastime (Haas 1975; Mosley 1966; Packard 1987; Sayle 1988; Takeda 1988). It was far more. No amateur could have encompassed and mastered the vast field of nature that he did and have risen to international authority. His enjoyment of biology not only provided comfort and relaxation, as others have remarked, but reflected his confidence in natural science as a means, so dear to his heart, of uniting all mankind. With much greater resources than others, he assembled a biological court of advisers in whom he had implicit trust, and became the first emperor to have devoted his spare time to science. Said to have entered this world alarmingly slight as an infant, he developed the physique and resolution to reign for 62 years, longer than any monarch in history, and he passed away still dwelling on that research. He wore two faces. There was the placid, impassionate, and, even, obedient leader in public regard, and there was the eager intent of the original investigator whether in the field or the laboratory, bent on discovery and understanding. A boy, raised strictly in the aura of the one divinely to ascend the Chrysanthemum Throne, found not respite so much as inspiration in studying the humblest orders of life. Surrounded with beauty and detesting conflict, he was led into the second and most frightful world war, to rescue his country, for the first time in its history, from shattering and abject defeat, by that very humility which his science had nurtured. A dual image has already been ascribed. Takeda compares an arrogant monarchy with the democratization of post-war and modem Japan. Others have contrasted the impassionate emperor with the endearing father who loved his children; and in both regards there is a profound chapter in one of the books of Elizabeth Vining (1970). Neither aspect, however, reveals the true personality which was manifested in that love of nature, respect for all living things, and confidence in the brotherhood of science. So far from being a side-issue, it is a cardinal consideration; it was the force that kept him going through troubled times. In the words of Professor Woodroofe, when we were conversing in Tokyo, Hirohito was a born naturalist who had to be the emperor. In the course of this memoir about one who was both botanist and zoologist, I have kept two questions in mind. What led the young Prince to biology and what was the scientific outcome? Perhaps, the nearest answers have already appeared in the charming reminiscences of Kanroji (1975), written at the age of 96 years after he had served the Imperial Court for 70 years. With Japanese text and splendid illustration, there are the book of the National Science Museum, Tokyo (Anonymous 1988) and those of the Asahi Publishing Company (Anonymous 1989 a ; Senzo 1989).