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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He became assistant physician at the S. The additional drawings are by at least two artists. He was elected member of the newly founded Accademia dei Lincei inand became its Chancellor and Secretary. 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.

Capecci, L’accademia dei lincei e la cultura europeap. The emphasis in botanicals of previous centuries had been on medicinal and culinary herbs, and these had usually been eyetettensis in a crude manner. Besler had the assistance of his brother and a group of skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kiliana skilled engraver from Augsburg. 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 eystethensis evergreen.

The first edition was published in two issues: Neither the printer of the engraved plates nor of the letterpress text has been identified. Articles to be expanded from October All articles to be expanded Articles needing translation from German Wikipedia. In other projects Wikimedia Commons. Sale Valuable Books and Manuscripts.

Do not eyatettensis text that appears unreliable or low-quality. A model attribution edit summary using German: The present copy is the only one known to have been coloured south of the Alps and the only one extra-illustrated. The layout was artistically pleasing and quite modern in concept, with the hand-colouring adding greatly to the final effect.

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Lacking season titles as often; a few small wormholes in title, preliminary eyshettensis, 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 Hortus Eystettensis was held up as a model for much of the work of the Linceans; Faber gifted a copy to Hrotus for Christmas and Fugger in conjunction with Mattioli?

October Click [show] for important translation instructions.

Rose Besler Hortus Eystettensis

Yestettensis had been instructed to acquire for Duke August an uncoloured copy in sheets, and in this letter he reports that the price of an uncoloured copy had risen to 48 florins; that he had eyztettensis to obtain for Duke August a copy otherwise destined for Faber; and that two other copies still remained for sale.

The work was first published in and consisted of copper engravings, with an average of three plants per page, so that a total of species were depicted.

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. Eydtettensis 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 could detract from the botanical image.

Some of the drawings appear to be by another artist.

Details – Hortus Eystettensis [Vol. 2] – Biodiversity Heritage Library

This article may be expanded with text translated from the corresponding article in German. 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 eystettensia Augsburg, which further points to Wolfgang Kilian’s shop at Augsburg as responsible for the engravings cf.

Content in this edit is translated from the eystettennsis German Wikipedia article at [[: Exact name of German article]]; see its history for attribution.

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

If possible, verify the text with references provided in the foreign-language article.

The modern French translation of the herbal appears under the title Herbier des quatres saisonsand Italian version is L’erbario delle quattro stagioni. Despite much interest in the work and numerous documentary sources, much mystery still surrounds its publication.


The Hortus Eystettensis changed botanical art overnight.

The work generally reflected the four seasons, showing first the flowering and then the fruiting stages. Christie’s is grateful to Nicolas Barker for sharing his expertise on the edition and its colouring. 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, representing the specimen grown by Cardinal Farnese. Italian, probably Milanese, midth-century russet calf over pasteboard, border of gilt and blind fillets, large central lozenge of floral nortus and small stars, larger tool eyetettensis 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 eystfttensis, discreet repairs at extremities, clasp-leather renewed.

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 By using this site, you agree to the Terms of Use and Privacy Policy.

These were depicted near life-size, producing rich detail. Contemporary Italian colouring of c. The work was published twice more in Nuremberg, in andusing the same plates. 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.

The first edition was limited to copies, each of which carried a premium price. London 13 July The first edition printed copies, which took four years to sell. From Wikipedia, the free encyclopedia.