Art of Botanical Illustration

The connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also been referenced as examples linking art and science. These drawings are catalogued and the majority of the botanical specimens are identified. Previous studies have mainly focused on a more individualized descriptive approach of the drawings themselves or a biographical perspective towards Mackintosh’s interest in botany. Nevertheless, a more profound formal study of these drawings as a whole, has not yet been done as to clearly identify their artistic and their scientific features and assess their potential contributions to both art and science. With this in mind, we have analysed 70 botanical drawings owned by the Hunterian Museum and Art Gallery and the National Library of Ireland. We compared their features toy botanical illustrations, photographic records from the present time, real live plants and with both artists’ stylized plant forms. This study should contribute to the dialogue between art and science and, ultimately the appreciation of the natural world and biodiversity.

Title: Arts and Sciences in Dialogue – Proceedings of the International Conference
Editors: Isabel Ponce de Leão, Maria do Carmo Mendes & Sérgio Lira
Publisher: Green Lines Instituto para o Desenvolvimento Sustentável
eBook ISBN: 978-989-8734-04-4

Opium, Silk and the Missionaries in China retells one of the largely forgotten histories between Britain and China in the 19th Century. 

Drawing on several collections using artefacts to explore the history of the Opium Wars through botanical arts and tools; historical artefacts about silk; missionary work and intercultural shared experiences in China recorded by British Missionaries throughout this period.

The exhibition includes sections looking at:

Story of the Opium Poppy species of flowering plant in the family Papaveraceae
Hong Kong taken from China as the fruits from the Opium War
'Grand Chop' my ship sailed from China with a cargo of silk
The Mission from London to Canton
Gladys Aylward rejected by the China Inland Mission for her lack of education, she went to China as an independent missionary

#TheMission

'The Mission' at a glance:  Opium, Silk and the Missionaries in China

https://vimeo.com/568182247

Einen Schwerpunkt des Jahresberichts 2017 der Erlanger Buchwissenschaft bilden vier Aufsätze zu den Sammlungen des Nürnberger Arztes und Naturforschers Christoph Jacob Trew (1695–1769), die im Besitz der Universitätsbibliothek Erlangen sind. Der einleitende Aufsatz gibt einen Überblick über die Bestände, in deren Zentrum die medizinisch-naturwissenschaftliche Bibliothek, historische und zeitgenössische Briefschaften sowie botanische Illustrationen von hohem künstlerischen und materiellen Wert stehen. Die Trew-Sammlungen sind bisher nur einem kleinen Kreis von Spezialisten bekannt und nur punktuell erforscht. Die Beiträge berichten über neue und zukünftige Aktivitäten aus der Erlanger Buchwissenschaft und Kunstgeschichte.
Weitere Beiträge und Berichte zeigen die Fülle und thematische Bandbreite Erlanger buchwissenschaftlicher Forschungen. Daniel Bellingradt gibt einen Einblick in seine Publikation zu gelehrtenmagischen Handschriften. Axel Kuhn widmet sich der populären Lesekultur und ihrer Funktion in der modernen Gesellschaft. Günther Fetzer fragt nach Merkmalen des Buchtyps ›Taschenbuch‹. Peter Lutz stellt die Gesetzesnovelle zur Bildungs- und Wissenschaftsschranke des Urheberrechtsgesetzes vor.
Der formale Berichtsteil ab S. 105 stellt die Entwicklungen in Forschung, Lehre und Institut im Überblick dar.

Im Mittelpunkt des Beitrags im Sammelband „Biographien des Buches“ steht ein Exemplar des "Herbarius latinus", ein pharmakologisches Handbuch, gedruckt und verlegt bei Peter Schöffer in Mainz 1484, das sich heute im Bestand der Universitätsbibliothek Erlangen befindet. Über sechs Stationen wird die Exemplargeschichte des Buchs entfaltet: von der Mainzer Offizin zum Pariser Verleger Henri II Etienne und als Geschenk Henris zum ungarischen Humanisten Johannes Sambucus, weiter nach Nürnberg in eine unbekannte Privatbibliothek und wenig später in die bedeutende Bibliothek in die Nürnberger Bibliothek des Arztes und Naturforschers Christoph Jacob Trew. Die Trew-Sammlungen gelangten  nach seinem Tod als Schenkung in die Universität Altdorf und und nach der Auflösung der Universität an ihren heutigen Aufbewahrungsort, die UB Erlangen. Diese letzte Station wurde kurzfristig  unterbrochen durch einen Ausflug des Exemplars, das von dem drogensüchtigen Erlanger Bibliothekar Mehringer gestohlen wurde, in den Münchner Antiquariatsbuchhandel die Bibliothek des Bibliophilen Otto Schäfer in Schweinfurt.

In der Raumsoziologie entstehen Kommunikationsräume auf der Grundlage der Wahrnehmung sozialer Güter von handelnden Akteuren in räumlichen Anordnungen. Damit ist der Rahmen für mögliche Strategien benannt, denen der Herbarius und sein kommunikatives Angebot zu unterschiedlichen Zeiten und an wechselnden Orten ausgesetzt ist. Das Schriftmedium ‚Buch‘ wird als Artefakt und Gegenstand symbolisch-kommunikativer Handlungen, von Praktiken und Bedeutungs-zuschreibungen, in den Blick genommen. Der Beitrag hat zwei Ziele: erstens zu zeigen, wie Methoden der historischen Buchforschung zur Rekonstruktion der Bewegungen eines Buchexemplars in Raum und Zeit genutzt werden können, und zweitens, das Medium Buch in den Kontext neuerer Diskussionen um das Konzept der Objektbiographie und der Materiellen Kultur zu stellen.

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of  ower forms constitute a signi cant part of his oeuvre. So far they have not been of special interest to researchers, therefore it is worth giving them more attention now. It seems necessary to look at the existing attributions to estimate the real number of Falck’s works on this subject, and to formally analyse various prints. It is also necessary to critically approach the questions of the original prints, later editions, and copies.
Up to date researchers have recorded selected  ower representations, without referring to the information in the only catalogue raisonné of Falck’s works by Block, who attributed to him up to 98 compositions on the subject. Only by compar- ing prints from the Polish museums with various collections abroad the answer to the question how many  ower arrangements were actually created by Jeremias Falck can be provided.
Falck’s authorship of the series Novae et exquisitae FLORUM ICONES has been con rmed. It is also highly likely that he elaborated most of the plates of the series Verscheyde Nieuwe TULPEN.
From the frontispiece of the series Novae et exquisitae FLORUM ICONES we can
conclude that Falck was not only the engraver, but also the author of the composition (inventor). Flowers in his works do not map a particular set of a botanical collection, but are a recommendation for an artistic representation of the plant.  ey could have been a kind of a template for painters, and at the same time objects d’art for collectors.  anks to their artistic qualities, perfect workmanship, and attention to the highest editorial standards, Falck’s  ower engravings became desirable works in the art mar- ket, copied by other designers and reprinted by other publishers.
e analysis of the preserved prints linked to Falck can also lead to a number of general conclusions on the functioning of the market for graphic art in the 17th cen- tury. Florilegia were usually formed in series containing a few to a dozen composi- tions. Herbaria’s cards could circulate in the form of a compact collection of a few series together, but also in smaller folders or even as loose cards.  e study shows that they were particularly popular in 17th-century France and the Netherlands.  e increase in production, mainly of the copies of previous cycles, occurred in the 1670s and lasted until the early 18th century. Falck and Vauquer were copied by Gerard Valck, Nicolaes Visscher and many others.

Uso libre

Diccionario ilustrado de los rasgos visibles en la hoja
El siguiente documento corresponde a la clasificación de los términos normalmente usados en guías de campo y trabajos de investigación en cuanto a la descripción de la hoja.
Es una herramienta didáctica para facilitar la descripción de la flora usando las palabras adecuadas.
Clasificación de las hojas

Barely twenty years after Johann Gutenberg invented printing using a press and movable metal types in the 1450s, printers began publishing herbals. Most of the several dozen herbals which came out before 1500 were amalgams of anonymous herbals produced in manuscript during the middle ages (about 700 to 1400 C.E.), often containing information from ancient sources such as Pliny the Elder, Dioscorides, Hippocrates, and Galen. These manuscripts were sometimes copied and handed down verbatim, but often they combined texts from many different sources. Printers of early herbals like Peter Schöffer often had collections of these manuscripts and commissioned editors to create “new” herbals for the market using this varied and sometimes ancient information, without new research about plants or medicine playing any role whatsoever.

Th is paper is devoted to some points of interaction between the scientific
illustrations and
easel paintings. Plotless still life genre refl ects a special mode of thinking which is characteristic for the
people of a certain epoch. In the 17th century’s flower still lifes Western European artists followed the intellectual
impetus of their time, showing interest in the structure of nature and embodying their observations
in new pictorial forms. The changes in science methodology of that time found their reflection in aesthetic
images. In the scientific inquiry at the turn of the 16th–17th cc. we can notice a parallel to the re-thinking of
the inherited spiritual background which in religious and social spheres of life gave impulse to the Reformation.
The reformation in the scientific methods ended in differentiation between the
science and the art and
in the formation of a well-defined structure of disciplines where the nature was allowed to stay objectively
natural while painting could progress in perception of the harmony of its own features and limits.

В статье рассматриваются некоторые особенности взаимовлияния научных иллюстраций и станковых картин. Жанр натюрморта, оставаясь бессюжетным, улавливает и озвучивает
особенности мышления людей определенной эпохи. В цветочных натюрмортах XVII в. западноевропейский художник помимо прочего следует за интеллектуальным импульсом своего времени,
демонстрируя интерес к устройству природы и воплощая полученные наблюдения в новых изобразительных формах. Изменения, произошедшие в методах естественнонаучных дисциплин того вре-
мени, отразились и в эстетических образах. В научных поисках рубежа XVI–XVII вв. можно видеть
аналогию тому переосмыслению накопленного опыта, которое в религиозной и социальной сферах
жизни дало импульс Реформации. Дело «реформации» научного метода было завершено разделением науки и искусства и формированием четкой структуры дисциплин, когда естественной природе позволили быть беспристрастно естественной, а живописи — развиваться в сторону познания
гармонии ее собственных качеств и границ.

Francesca Lui, Pomona 'picta' e 'descripta': Un itinerario nell’iconografia pomologica tra il XVI e il XX secolo attraverso le tecniche, in Miti, aere e scienza nella Pomologia italiana, a cura di Enrico Baldini, Roma, Consiglio Nazionale delle Ricerche, 2008, pp. 37-62.

El mundo de las flores secas en la obra de Oswaldo Guayasamin Por: Lissandro Loor Solórzano ! El mundo vegetal en la pintura europea Desarrollo histórico y métodos de estudio FLORES SECAS "El siglo XIX latinoamericano había terminado a nivel de artes plásticas muy entregado a formas paisajísticas y costumbristas. Había una urgencia por catalogar el mundo americano en sus montañas o en sus valles, o también en los tipos de sus pobladores y el siglo XX encontró el arte latinoamericano rebosante de representaciones tocadas de romanticismo de lo que era el mundo americano. El indio, el gaucho, el oficial, la lavandera, el cura o el juez, o bien ciertos episodios de la historia o de pasajes literarios eran mecanismos de representación del universo entero que constituía la América Latina..."

Oggetto della tesi è il libro di Giovanni Battista Ferrari dal titolo "De Florum cultura", nella sua edizione italiana del 1638.
Gesuita, umanista, orientalista e letterato, professore di ebraico al Collegio Romano dal 1618 fino al 1647, Ferrari coltiva lungo tutto il corso della sua vita gli studi botanici che lo qualificarono come appassionato intenditore di storia naturale e, più in particolare, di piante ‘peregrine’.
L’impresa editoriale di De Florum Cultura è sovraintesa da Cassiano dal Pozzo (1588-1657), che propone gli argomenti dei testi, curandone l’intero iter redazionale, fino ad individuare i più opportuni canali per il finanziamento della stampa. Così, grazie ai suoi uffici, la realizzazione di questo compendio botanico-floreale è sostenuta economicamente da Francesco Barberini (1597-1679), cardinal nipote del pontefice Urbano VIII, del quale Cassiano è il "ministro delle arti".
Il libro ha un ricchissimo apparato iconografico, che raffigura specie botaniche rare ritratte "al vero", schemi di aiuole di giardini ideali e reali, strumenti di giardinaggio e composizioni floreali per apparati e banchetti. A queste immagini "tecniche" si affiancano tavole di carattere mitologico, che illustrano le favole che Ferrari ha composto, riecheggiando le Metamorfosi di Ovidio,  per visualizzare i temi della floricultura e dell’orticultura ma, soprattutto, per ammonire e per dilettare il lettore.
Gli artisti coinvolti in questa impresa sono gli stessi che lavorano per la corte pontificia  barberiniana e per i committenti ad essa collegati, Cassiano in particolare: Pietro da Cortona, Andrea Sacchi, Guido Reni, Giovanni Lanfranco per le favole, Claude Mellan, Anna Maria Vaiana, Johann Friedrich Greuter per le incisioni di tutte le tavole, oltre all'anonimo autore che disegna le tavole botaniche.
Soggetto principale di questo manuale "sui generis" sono le piante esotiche, i fiori ‘peregrini’, introdotti in Europa nella seconda metà del XVI secolo e, da quel momento, coltivati, acquistati, conservati e collezionati con la stessa cura e lo stesso entusiasmo che i collezionisti riservavano alle opere d’arte.
Padre Ferrari e Cassiano dal Pozzo tentano di tradurre nello stile elegante e colto della corte barberiniana, l’idea di una grande enciclopedia illustrata del ‘theatro della natura’, come stavano facendo con ben altro rigore e spirito scientifico, Federico Cesi e i suoi compagni Lincei: le loro sparse, anche se prestigiose, singole edizioni, furono naturalmente seguite e curate da Cassiano, proprio come il De Florum Cultura di padre Ferrari.

Qui l'abstract in inglese, per il quale mi sono servita delle ottime note di Robert F. Erickson dal sito "Illustratedgarden.org".

Giovanni Battista Ferrari was born in Siena in 1583 and entered the Jesuit Order in Rome in 1602.
His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books.
He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace, which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America.
The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.
Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646). The earlier book, translated into Italian in 1638 as "Flora overo cultura di fiori", was dedicated to Cardinal Francesco Barberini, nephew of Pope Urban VIII, and a patron of the arts and sciences. De Florum Cultura was a horticultural book emphasizing the planting and planning of gardens. In it, Ferrari discussed the cultivation and decorative qualities of flowers, particularly of the new and exotic species which were then being planted in a number of new Roman gardens. He also gave close attention to the names of plants, for the introduction of new species from remote parts of the world had the potential to overwhelm the existing systems of plant nomenclature. Ferrari attempted, through careful descriptions and analysis, to name and classify the new species, and his efforts were unique and valuable.
In addition to its botanical and horticultural parts, De Florum Cultura included a number of excellent botanical plates—most of them by the Dutch print-maker, Cornelis Bloemaert (1603-84). Also in its contents were Ferrari’s original allegorical stories. These were tales about the gods in the horticultural scene or about fantastic happenings in the gardens such as the transformation of a thieving gardener into a snail. The tales were illustrated by engravings done by Johann Friedrich Greuter from the drawings of a number of young artists: Andrea Sacchi, Guido Reni and Pietro da Cortona. A final notable element of Ferrari’s book is the inclusion of the first printed botanical illustration ever made on the basis of a microscopic investigation. It is an illustration of the seeds and seed- pods of the Chinese Rose (Hibiscus rosa-sinensis L.) successfully cultivated in Rome by Ferrari himself in the Barberini Gardens.

Page 28 of the Codex Borgia depicts Tlaloc accompanied by goddesses and maize plants. Tlaloc wears the costume, accoutrements, and facial paint of deities associated with fertility and with maize. Each goddess wears the headdress and face paint of deities associated with fertility and maize but is otherwise naked; each is in the position of a receiver in front of open vessels with open hands, open arms, with the engorged breasts and the creased abdomen of a maternal figure. I argue, based on a thorough iconographical analysis of the imagery and supported by additional archaeological, ethnographic, and botanical evidence, that the imagery on page 28 represents the biological reproduction of the maize plant, a plant that has male and female parts and reproduces sexually.

When studying the relationship between text and image in a single medieval manuscript with a medical topic, it is not uncommon to find large differences between the two media. There are cases where the writing is admittedly accompanied by miniatures, but where these are not reflected in the words: the subject of the figure is mentioned, but there is no descriptive element provided.
These inadequacies prompt us to reflect on this type of image, which was ultimately not designed from the start to be linked, either "intellectually" nor "physically", to a single text and therefore was not devoted to shed light on a single work.
Through the representation of the sea urchin, as it appears in some manuscripts of the De materia medica of Pedanius Dioscorides, I examine here the nature and functions of this kind of image that I call paradigmatic.
This analysis also provides an opportunity to study the anatomical diagrams of Aristotle, from which the representation of the sea urchin would originate, and to consider the role of this type of image in the teaching of medical disciplines in Antiquity.

"This work, which is the continuation of a first mapping Materials and Tools (Sirianni 2005), is
divided into sections that follow those of the previous review closely. Sources: it contains a brief list
of the most important doctors, naturalists, alchemists. This is preceded by brief notes on herbaria and
officinal herb gardens. Texts: it is a review of old herbals, alchemic works, etc.3. Studies: it includes
works on both herbals from a historical-artistic perspective and officinal herb gardens. etc. Sections
are subdivided into subsections according to their primary topic: a. herbals, b. botanical gardens, c.
religion, magic, medicine. At the end of each section, materials available on the Internet are listed.
Works that owing to various reasons were not included in the first review are listed in the appendix"

P ietro Andrea Mattioli pubblicò la prima edizione della sua traduzione italiana dei cinque libri del De materia medica di Pedacio Dioscoride nel 1544, a Venezia, in un solo volume di 442 pagine stampato da Nicolò Bascarini, un libraio bresciano installatosi in laguna due anni prima. 102 Il testo riguardava una disciplina allora di grande attualità e ne riproponeva, in una nuova traduzione commentata, proprio l'autore più importante e studiato. 103 L'editio princeps della traduzione latina, attribuita a Costantino Africano con il commento di Pietro Padovano, era stata stampata per la prima volta nel 1478 a Colle Val d'Elsa dal prototipografo fiammingo Johannes de Medemblick; erano seguite le due edizioni aldine dell'originale greco, nel 1499 e nel 1504, mentre l'anno seguente era apparsa a Firenze presso Filippo Giunti una nuova traduzione latina del medico-semplicista fiorentino Marcello Virgilio Adriani, che l'aveva arricchita di un commento a carattere filologico. Nel corso del Cinquecento furono pubblicate nuove traduzioni umanistiche condotte sul testo greco: quella, fondamentale, del medico e botanico Jean de Ruel uscì a Parigi nel 1516 e all'inizio dell'anno seguente ne fu stampata a Venezia un'altra, postuma, realizzata da Ermolao Barbaro tra il 1482 e il 1489. Una prima traduzione italiana piuttosto divulgativa, infine, opera del letterato e poligrafo Sebastiano Fausto da Longiano, vide la luce a Venezia nel 1542. 104 La nuova traduzione del Mattioli, condotta sulla versione latina del Ruel (riproposta anche a Venezia nel 1538 da Giovanni Antonio Nicolini da Sabbio), era di gran lunga più affidabile e aveva un respiro ben diverso: per ogni semplice descritto dal medico greco, infatti, gli amplissimi discorsi et comenti et doctissime annotationi et censure non erano solo di ordine filologico, ma anche pratico, con indicazioni utili soprattutto per il riconoscimento di tutti i semplici già noti e l'integrazione di informazioni e citazioni tratte da altre fonti antiche.

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В статье впервые дается общий обзор ботанической иллюстрации в русских рукописях XVI–XVIII вв.
Это, с одной стороны, переводы европейских энциклопедических естественнонаучных сочинений —
Gaerde der Suntheit Иоганна фон Кубе и Liber de arte distillandi Иеронима Бруншвига, и с другой
стороны — “народные” травники XVIII в., в которых представлен “наивный” вариант ботанической
иллюстрации.
This article provides the first general overview of the botanical illustrations in Russian manuscripts between the
sixteenth and eighteenth centuries. On the one hand, these are the translations of the European encyclopaedical
works in natural sciences, such as Johann von Cube’s Gaerde der Suntheit and Hieronymus Brunschwig's Liber
de arte distillandi. On the other hand, there are “folk” herbals of the eighteenth century that represent a “naive”
version of botanical illustrations.

Ellen Widder: Vom antiken Wissen zur modernen Wissenschaft. Wissenschaftshistorische Aspekte der Fuchs’schen Pflanzendarstellungen, in: Leonhard Fuchs (1501-1566) - Mediziner und Botaniker, hg. v. Gerd Brinkhus und Claudine Pachnicke, Tübingen 2001 (Tübinger Kataloge 53), S. 121-149, 176-180.

The connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also been referenced as examples linking art and science. These drawings are catalogued and the majority of the botanical specimens are identified. Previous studies have mainly focused on a more individualized descriptive approach of the drawings themselves or a biographical perspective towards Mackintosh’s interest in botany. Nevertheless, a more profound formal study of these drawings as a whole, has not yet been done as to clearly identify their artistic and their scientific features and assess their potential contributions to both art and science. With this in mind, we have analysed 70 botanical drawings owned by the Hunterian Museum and Art Gallery and the National Library of Ireland. We compared their features toy botanical illustrations, photographic records from the present time, real live plants and with both artists’ stylized plant forms. This study should contribute to the dialogue between art and science and, ultimately the appreciation of the natural world and biodiversity.

Dándose a la tarea de pensar estéticamente las mutilaciones como manifestaciones de la violencia en Colombia, se propone “diseccionar” principalmente el “corte de florero”, quizá la mutilación más terrorífica que ha tenido lugar en nuestro país. Dicho análisis dialoga con la noción de distribución de lo sensible de Jacques Rancière, los estudios sobre mutilaciones realizados por María Victoria Uribe, y el lenguaje de las flores de George Bataille, y se enfocará en la serie Corte de florero (1997), del artista Juan Manuel Echavarría. En dicha serie, compuesta de 36 láminas fotográficas, Echavarría vincula acertadamente la noción y práctica de la disección botánica dentro de la Real Expedición Botánica del Nuevo Reino de Granada, con la práctica de la mutilaciones realizadas durante largo tiempo en nuestro país, y particularmente durante el período que historiadores han llamado “La Violencia”, con el fin de identificar dentro de las mutilaciones la presencia de un orden natural y un orden moral de la violencia, y la particular autonomía de estas formas (re)creadas, y de esos cuerpos cortados y reorganizados.

Call for Papers
The Dutch Americas
Historians of Netherlandish Art Sponsored Session
111th CAA Annual Conference
New York, NY, February 15—18, 2023
Organizers: Stephanie Porras (Tulane University) and Aaron M. Hyman (Johns Hopkins University)

In this study, basic techniques which are used in botanical illustration are examined. Undoubtedly the most basic and accessible technique for the illustration artists is pencil and ink. Artists who have been drawing for years have used this technique with the decorations on the books and although technological developments present us unlimited opportunities today, basic illustration techniques; pencil, ink and watercolour technique has kept its place. It is necessary for this basic illustration technique to contain main features such as line, tone, colour, texture, shape, size. Just as all the artists who are dealing with illustration, artists-scientists who are dealing with botanic have also benefited from these techniques. as a result, no matter if it serves for art or for science, these techniques have always had an important place in creation of visual data for the development of humanity.

This chapter relates my efforts to regard several plants as ethnographic subjects, a project that proceeded rather awkwardly at first, then developed some momentum. I settled on the “how to” format because I hope my approach proves useful to others and also conveys the experimental aspect of this undertaking. My ethnographic project involved the usual steps: read the literature, find a site, proceed to analyze, and so on. The shift comes in trying to account for life forms directly, rather than their representations in human knowledge systems. It seems to me that multispecies ethnography fundamentally must narrate life—that is, describe and analyze life forms in their social relations. I attempt that here, partly by accessing the expertise of botanists, but also by turning toward “thin description,” an approach that shifts away from ethnography’s traditional investment in “thick description.” This is the final chapter of Care of the Species: Races of Corn and the Science of Plant Biodiversity

Catalogue entries in “The Immensity of the Universe” in the Art of Giovanna Garzoni, edited by Sheila Barker. Exh. cat. Gallerie degli Uffizi, Palazzo Pitti 9 March – 24 May 2020. Livorno: Sillabe, 2020. (“Lioness with an Open Eye,” p. 132-133; “Hyacinthus orientalis,” “Valeriana Phu and Valeriana officinalis,” “Hyacinth with Four Cherries, a Lizard, and an Artichoke,” “Ranunculus with Two Almonds and a European Carpenter Bee,” p. 148-151; “Lapdog with Biscotti and a Chinese Cup,” p. 162-163)

La cultura dei giardini, declinata al femminile, si rivela un importante frammento del più ampio quadro della cultura ottocentesca nella Restaurazione austro-estense. Le figure che animano questo ideale giardino sono aristocratiche dame o signore altoborghesi che si cimentano nei ruoli di floricoltrici, di “collezioniste vegetali”, di committenti della progettazione di aree verdi a cornice delle residenze estive o urbane. Addentrarsi in questo tema può gettar luce su una contingenza di cultura ove passioni e ambizioni personali si coniugano con gli aggiornamenti alla moda, con gli interessi botanici e le varie correnti artistiche, oltre che con specifiche inclinazioni collezionistiche, storico-letterarie, archeologiche. Le nobili signore “fioraje” - dal titolo di una pubblicazione modenese stampata nel 1846 e nel 1847 - non possiedono certo la notorietà della duchessa Maria Luigia d’Austria sovrana del vicino ducato parmense, autrice di vari interventi su parchi e giardini delle sue residenze. Sono, piuttosto, incontentabili estimatrici del giardino “all’inglese”, come la marchesa Ippolita Levizzani Sorra Munarini, oppure orgogliose collezioniste d’arte, come la marchesa Giulia Seghizzi Coccapani Imperiali e la figlia marchesa Anna Fontanelli; o “amatrici d’antichità”, quale fu la contessa Carolina Poppi Guidelli Guidi; cultrici di botanica come la contessa Bernardina Nievo  Malmusi; o, ancora, “dilettanti” di entomologia come la marchesa Adelaide Bellincini Bagnesi. D’altro canto, da Cerere, dea delle messi e dei raccolti, a Diana, divinità delle selve; da Flora, dea dei fiori e dei giardini, a Pomona, nume tutelare dei frutti e degli orti, sino all’antica Cibele, la “grande Madre”: le dee della terra e della fecondità sono donne.

La Basilicata, nel corso del tempo, ha dato i natali a illustri botanici, tra questi sicuramente alcuni hanno avuto più fortuna e notorietà di altri, tanto da aver costruito importanti carriere professionali e di cui è viva la memoria, è il caso di Guglielmo Gasparrini di Castelgrande, o Orazio Gavioli di Potenza. Altri, invece, hanno svolto la propria attività in sordina, con molta modestia e l'incanto di una modalità silenziosa tutta volta alle erborizzazioni, un termine che evoca un passaggio nella natura, fondamentale per comprenderla e raccontarla. Tra questi ultimi una figura di rilievo che desideriamo riportare alla memoria è quella del pomaricano Giordano.

En el presente artículo se presenta un análisis del uso del dibujo en la Expedición Botánica del Nuevo Reino de Granada. Con este propósito se revisa el concepto de representación vinculado con las ideas sobre ilustración botánica imperantes en el siglo XVIII. Se trata en especial la relación del director de la Expedición, José Celestino Mutis, con el botánico Sueco Carl von Linneo, para establecer la importancia adjudicada al uso de la imagen por Mutis, a diferencia de la prelación adjudicada a la descripción escrita por Linneo.

7 Scientific botanical illustrations in pen & ink commissioned by F. Verloove, Botanic Garden of Meise, for his article : "A conspectus of Cyperus s.l. (Cyperaceae) in Europe (incl. Azores, Madeira and Canary Islands), with emphasis on non-native naturalized species"

"We review the representation of Ginkgo biloba L., a quintessentially
Chinese plant, in the art of those Western botanists who first encountered it in China and Japan. We also show how several later representations of Ginkgo, in both the West and the East, were inspired and made possible by specimens of Ginkgo in cultivation."

This study is the first to successfully address the identification of the botanical components of a garden in the palatial courtyard of Herod’s the Great Promontory Palace in Caesarea Maritima. Based on the extraction and identification of fossil pollen grains, we were able to reconstruct at least part of the garden's flora, which we argue, could only have grown within the architecturally-protected confines of a garden of this splendid seaside palace. The palynological spectrum included, among other taxa, high percentages of Cupressaceae pollen as well as pollen of the non-local tree Corylus sp. (hazelnut), which was most probably imported from the northeast Mediterranean or Italy. These trees appear to have been accompanied by other ornamental plants (e.g., Salvia and various Rosaceae plants). The choice of flora to be planted in the garden is consistent with our knowledge of Roman gardens dated to Herod’s time. This exceptional and magnificent palace, with its luxurious architectural features and its impressive, well-maintained garden, symbolized the power and the abilities of Herod, the greatest builder in ancient Jewish history.