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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The copy contains 15 additional 17th-century original drawings in water- and body-colour and a hand-coloured engraving of a passion flower, giant granadilla. Capecci, L’accademia dei lincei e la cultura europeap.
Hortus Eystettensis – Plants of the Four Seasons 9
Besler had the assistance of his brother and a group horrus skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kiliana skilled engraver from Augsburg.
October Click [show] for important translation instructions. Besler’s portrait appears on the frontispiece holding a sprig of basilpunning on his name. 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 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? Contemporary Italian colouring of eystttensis.
Lacking season titles as often; a few small wormholes in title, preliminary leaves, first few and final 7 plates; single wormhole in blank area through plate 85; faint dampstaining in first approx. The first edition was published in two issues: Exact name of German article]]; see its history for attribution.
The first edition was limited to copies, each of which carried a premium price. Wikimedia Commons has media related to Hortus Eystettensis. The plates were of garden flowers, herbs and vegetables, exotic plants such as castor-oil and arum lilies.
The present copy is the only one known to have been coloured south of the Alps and the only one extra-illustrated. The print, itself a rarity, depicts a passion flower, the giant granadilla, which had been first introduced into Italy that year and had flowered in the garden of Cardinal Farnese. Some of the drawings appear to be by another artist. The images were often inadequate for identification, and had little claim to being aesthetic. The print is dedicated to Giovanni Faber; and dated 20 December The majority of drawings are directly on the plate and are very fine, possibly by the artist who coloured the work.
From Wikipedia, the free encyclopedia. Christie’s is grateful to Nicolas Barker for sharing his expertise on the edition and its colouring. The work was published twice more in Nuremberg, in andusing the same plates. The additional drawings are by at least two artists. In other projects Wikimedia Commons.
Hortus Eystettensis – Plants of the Four Seasons 9
Do not translate text that appears unreliable or low-quality. Price realised GBP 1, The first edition printed copies, which took four years to sell.
This page was last edited on 13 Januaryat It is significant that many of the deluxe copies have no descriptive text at all. The large floral tool appears to be identical to one used eyxtettensis Pietro Martire Locarno at Milan; after his death in the business was continued by his widow in partnership with the bookseller G. Sale Valuable Books and Manuscripts.
The layout was artistically pleasing and quite modern in concept, with the hand-colouring adding greatly to the final effect. Views Read Edit View history.
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.
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Tongiorgi Tomasi Oak Spring Flora A model attribution edit summary using German: The original drawings used in preparing the plates for publication survive at the University of Erlangen, and of the copperplates, long thought to have been melted at the Munich mint c. Despite much interest in the work and numerous documentary sources, much mystery still surrounds its eystettsnsis.
The work generally reflected the four seasons, showing first the flowering and then the fruiting stages. View a machine-translated version of the German article. This article may be expanded with text translated from the corresponding article in German.
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 eystettfnsis. Two versions were produced, cheap black and white for use as a eytettensis book, and a luxury version without text, printed on quality paper and lavishly hand-coloured. Giovanni Faber, a German physician, came to Rome for scientific studies.
These were depicted near life-size, producing rich detail. The emphasis in botanicals of previous centuries had been on medicinal and culinary herbs, and these had usually been depicted in a crude manner.