HORTUS EYSTETTENSIS PDF

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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Price realised GBP 1, Royal broadsheet x yortus. Contemporary Italian colouring of c. The present copy is the only one known to have been coloured south of the Alps and the only one extra-illustrated.

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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. The majority of drawings are directly on the plate and are very fine, possibly by the artist who coloured the work. Five drawings are on separate sheets bound in, one on prepared blue paper with an inscription in Italian on the verso, and one of the giant granadilla, hhortus the specimen grown by Cardinal Farnese.

Some of the drawings appear to be by another artist. Italian, probably Milanese, midth-century russet calf over pasteboard, border of gilt and blind fillets, large central lozenge of floral tools and eystettensiz 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.

Eystetrensis large floral tool appears to be identical to one used by Pietro Martire Locarno at Milan; after his death in the business was continued by his widow in partnership with the bookseller G.

Very possibly Dr Giovanni Faber Bamberg Romeprofessor of medicine, director of the papal botanical garden and member of the Accademia dei Lincei. Hainhofer had been instructed to acquire for Duke August an eystettensiw copy in sheets, and in this letter he reports that the price of an uncoloured copy had risen to 48 florins; that he had managed to obtain for Duke August a copy otherwise destined for Faber; and that two dystettensis copies still remained for sale.

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Hortux it was fully coloured by an Italian artist, bound for the first time — thereby retaining eywtettensis its full sheet size — and extra-illustrated with the addition of very fine original botanical drawings and an engraved print dated 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.

The print is dedicated to Giovanni Faber; and dated 20 Eystettesis 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 fl.

Giovanni Faber, a German physician, came to Rome for scientific studies.

BESLER, Basilius (). Hortus Eystettensis. [Nuremberg]: | Christie’s

He became assistant physician at the S. 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. He was elected member of the newly founded Accademia dei Lincei inand became its Chancellor and Secretary.

Faber counted among his close friends the artists Rubens, Brill and Elsheimer, and scientists across Europe, including Horhus Clavius, Marcus Welser, Giovanni della Porta, and many others.

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. The Hortus Eystettensis was held up as a model for much of the work of the Linceans; Faber eystetttensis a copy to Cesi for Christmas and Fugger in conjunction with Mattioli?

Capecci, L’accademia dei lincei e la cultura europeap. The additional drawings are by at least two artists.

Painted halls and pleasure rooms further adorned the eyshettensis. After Camerarius’s death, a Nuremberg apothecary, Basilius Eystettensie, 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.

Flowers were drawn from life with flower boxes sent to Nuremberg so that artists there could work from fresh specimens, with the result that these plant portraits serve both as documentation and pleasure; here is a garden made perennial and evergreen.

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The first edition was published in two issues: As Barker observes, the issue without text backing the plates was undoubtedly intended eysettensis be coloured by hand; the versos were left blank, to ensure that no shadow of the printed text could detract from the botanical image. It is significant that many of the deluxe copies have no descriptive text at all.

The first edition eydtettensis limited to copies, each of which carried a premium price. While uncoloured copies were available for 35 florins rising to 48coloured copies cost florins. Herzog August of Braunschweig exclaimed in disbelief over the price of a coloured copy, but acquired one nonetheless, once he was assured that eystettensks had indeed understood the price correctly.

Despite much interest in the work and numerous documentary sources, much mystery still surrounds its publication. Neither the printer of the engraved plates nor of the letterpress text has been identified.

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’?

David Paisey eystettennsis observed that if the watermark is read as Briquet did eystetfensis 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.

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.

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.

Tongiorgi Tomasi Oak Spring Flora Christie’s is grateful to Nicolas Barker for sharing hodtus expertise on the edition and its colouring. Sale Valuable Books and Manuscripts. London 13 July Lot From a Private European Library. Contact Client Service info christies.