Hortus Eystettensis was published in to document a garden created by the Prince-Bishop of EichstStt which contained all the shrubs and flowering plants. BESLER, Basilius (). Hortus Eystettensis. [Nuremberg]: Royal broadsheet ( x mm). Letterpress: dedication to Johann Christoph, Prince. The Biodiversity Heritage Library works collaboratively to make biodiversity literature openly available to the world as part of a global biodiversity community.
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Retrieved from ” https: The emphasis in botanicals of previous centuries had been on medicinal and culinary herbs, and these had usually been depicted in a crude manner. Faber was at the nexus of scientific circles focused on the visual representation of natural history, as well as the study and cultivation of specimens in the papal gardens.
There it was fully coloured by an Italian artist, bound for the first time — thereby retaining almost its full sheet size — and extra-illustrated with the addition of very fine original botanical drawings and an engraved print dated The work was published twice more in Nuremberg, in andusing the same plates.
The first edition was limited to copies, each of which carried a premium price. Neither the printer of the engraved plates nor of the letterpress text has been identified.
Two versions were produced, cheap black and white for use as a reference book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. Price realised GBP 1, This page was last edited on 13 Januaryat The work generally reflected the four seasons, showing first the flowering and then the fruiting stages. Exact name of German article]]; see its history for attribution.
Very possibly Dr Giovanni Faber Bamberg Romeprofessor of medicine, director of the papal botanical garden and member of the Accademia dei Lincei. Christie’s is grateful to Nicolas Barker for sharing his expertise on the edition and its colouring.
Hortus Eystettensis – Wikipedia
Eysstettensis much interest in the work and numerous documentary sources, much mystery still surrounds its publication. Italian, probably Milanese, midth-century russet eystfttensis over pasteboard, border of gilt and blind fillets, large central lozenge of floral tools and small stars, larger tool repeated at corners and, with pomegranate tool, in spine compartments, title lettered along spine, 4 clasps, sprinkled edges, later slipcase new endpapers, a little worming, wear at spine with loss at head, lower spine compartment renewed, some rubbing, discreet repairs at extremities, clasp-leather renewed.
Descriptions of the plants were in Latin and showed remarkable anticipation of the binomial system, in that the captions often consisted of the first two or three words of the description. Lacking season titles as often; a few yestettensis wormholes in title, preliminary leaves, first few and final 7 plates; single wormhole in blank area through plate 85; faint dampstaining in first approx. Painted halls and pleasure rooms further adorned the gardens.
The first edition was published in two issues: Some of the drawings appear to be by another artist. He was elected member of the newly founded Accademia dei Lincei inand became its Chancellor and Secretary. Views Read Edit View history. The Bishop, Johann Konrad von Gemmingen, commissioned Besler to produce the work, which he compiled over sixteen years, although the bishop died eystettenssis its completion.
The images were often inadequate for identification, and had little claim to being aesthetic. Royal broadsheet x mm. David Paisey has observed that if the watermark is read as Briquet did as a pine-cone within an armorial shield, then it may be the arms of Augsburg, which further points to Wolfgang Kilian’s shop at Augsburg as responsible for the engravings cf.
Rose Besler Hortus Eystettensis
In other projects Wikimedia Commons. Spirito in Sassia hospital, lecturer on anatomy at the Sapienza in Rome, professor of medicine and pharmacology, and, at the death of Andrea Bacci, director of the papal botanical garden. The present copy is the only one known to have been coloured south of the Alps and the only one extra-illustrated. Barker has tentatively suggested Paul Kauffmann as the printer of the text, with material acquired at Frankfurt through the offices of the printseller and publisher Balthasar Caimox expressly for printing the Hortus Eystettensis ‘Who printed the text of the ‘Hortus Eystettensis’?
The copy contains 15 additional 17th-century original drawings in water- and body-colour and a hand-coloured engraving of a passion flower, hotrus granadilla. Content in this edit is translated from the existing German Wikipedia article at [[: Lot From a Private European Library.
A model attribution edit summary using Eystettemsis Capecci, L’accademia dei lincei e la cultura europeap. You must provide copyright eysrettensis in the edit summary by providing an interlanguage link to the source of your translation. Articles to be expanded from October All articles to be expanded Articles needing translation from German Wikipedia. The luxury version sold for an exorbitant florinswhile the plain, uncoloured copies went for 35 florins each. Interestingly, a similar print of the giant granadilla, but with caption by Tobia Aldini and dated Venice, 20 Julyis preserved in the copy of the Hortus Eystettensiscoloured in Germany, bound in Italy, and owned by the noted Venetian art patron, Andrea Vendramin hortuz.
Giovanni Faber, a German physician, came to Rome for scientific studies. Contemporary Italian colouring of c. Do not translate text that appears unreliable or low-quality. The print is dedicated to Giovanni Faber; and dated 20 December The majority of drawings are directly on the eystettebsis and are very fine, possibly by the artist who coloured the work.
The first edition printed copies, hortks took four years to sell. Faber counted among his close friends the artists Rubens, Brill and Elsheimer, and scientists across Europe, hoetus Christoph Clavius, Marcus Welser, Giovanni della Porta, and many others.
The Hortus Eystettensis was held up as a model for much of the work of the Linceans; Faber gifted a copy to Cesi for Christmas and Fugger in conjunction with Mattioli? He became assistant physician at the Yestettensis.
As Barker observes, the issue without text backing the plates was undoubtedly intended to be coloured by hand; the versos were left blank, to ensure that no shadow of the printed text eystettenis detract from the botanical image. For more guidance, see Wikipedia: After Camerarius’s death, a Nuremberg apothecary, Basilius Besler, advised on the gardens, and it was he who undertook immortalising the garden in detailed and delicate engravings for the year-round enjoyment of his patron and for posterity in the Hortus Eystettensis.
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Hortus Eystettensis – Plants of the Four Seasons 9
History of botany Botanical literature. The modern French translation of the herbal appears eystettebsis the title Herbier des quatres saisonsand Italian version is L’erbario delle quattro stagioni. The Hortus Eystettensis changed botanical art overnight.