Drawn After Nature: The Complete Botanical Watercolours of the 16th-Century Libri Picturati 9050112382, 9789050112383

Table of contents :
Title Page
Copyright Page
Table of Contents
Foreword
Introduction: an enquiry into the Libri Piƈturati A18-30
The making of the Libri Piƈturati A16-30
Technical description
The additions by the Count of Arenberg
From Kleve through Berlin to Grüssau
From Krzeszów to Kraków
Dramatis Personae
Sources cited in the annotations
The Libri Piƈturati and the early history of the Hortus botanicus Leiden
The Libri Piƈturati watercolours and early botanical illustrations
Algae, lichens, mosses, liverworts, ferns, and lycophytes
The flowering plants in the Libri Piƈturati
The morphology of illustrated plants
Phytogeography, synanthropic plants, and plant introductions
The beginnings of ecological thought
Plants depicted in the Flora Iberica and present in the Libri Piƈturati
Common names in Italian
Common names in French, German, and Dutch
Food plants
Medicinal plants, drugs, and kitchen herbs
Fodder plants
Technical plants
Ornamental plants
Fungi
Animals depicted in the Libri Piƈturati A18-30
The complete annotations & plates of the Libri Piƈturati A18-30
Introduction to the annotations on Libri Piƈturati A18-30
A18
A19
A20
A21
A22
A23
A24
A25
A26
A27
A28
A29
A30
Literature
Index
Appendix 1 Plants with a Caspar Bauhin name, arranged by plate number
Appendix 2 Scientific and other names of plants, animals and objects depicted in the Libri Picturati

Citation preview

The complete botanical watercolours

of the 16th-century Libri Picturati

Plates on cover: front A22.039

(Dracunculus vulgaris) (Digitalis ferruginea) (Digitalisferruginea) Garden tiger moth (Arctia caja) on Mullein (Verbascum) Dragon arum

back A2S.039v-40 Rusty foxglove and A18.oS8

Double plates on endpapers: front A27.043V-44 Bear's breech (Acanthus mollis) back A27.062V-63 Globe thistle (Echinops sphaerocephalus)

Editors Hortus botanicus Leiden (the Netherlands)

HoRus

botanicus

Dr. Ir. Jan de Koning, Dr. Gerda van Uffelen

Botanical Museum and Garden of Krak6w University (Poland) Dr. Alicja Zemanek, Dr. Bogdan Zemanek

LEI DEN

Text Dr. Florike Egmond (Rome, Italy and Leiden, the Netherlands) Prof. Dr. Lipke B. Holthuis (Leiden, the Netherlands) Dr. Piotr Hordynski (Krak6w, Poland) Dr. Ir. Jan de Koning (Leiden, the Netherlands) Prof. Dr. Tomasz Majewski (Krak6w, Poland) Dr. LUIs Ram6n-Laca (Madrid, Spain) Dr. Renate Schipke (Berlin, Germany) Prof. Dr. Andrea Ubrizsy Savoia (Rome, Italy) Dr. Gerda van Uffelen (Leiden, the Netherlands) Dr. Alicja Zemanek (Krak6w, Poland) Dr. Bogdan Zemanek (Krak6w, Poland)

Illustrations J1/ustrations and lithography

This publication was financially supported by: by:

Jagiellonian Library, Krak6w

Gratama Stichting

Copy editor

M.A.O.C. Gravin van Bylandt Stichting

Femke Frietema

Stichting Dioraphte

Graphic layout. layout, design and cover design x-hoogte· Hans Lodewijkx

Hortus botanicus Leiden

Universiteit Leiden / Stichting Leiden University Press Van der Mandele Stichting

f ioraPhte

Printed by Printer Trento • Italy

Universiteit Leiden

Printed on

I;s FSC

Mixed Sources

Product group from welHnaMged forests and other controUed sources

~~c:~~~.oooo'2

© KNNV Publishing, Zeist, the Netherlands 2008 ISBN

978 90 S011 238 3

NUR 941

www.knnvpublishing.nl

Discovering nature and getting close to it KNNV Publishing specialises in unique works on nature and landscape: easily accessible field guides, conservation manuals, distribution atlases and much more. KNNV Publishing also produces chronicles on nature conservation, beautifully illustrated books on natural, cultural and landscape history, travel guides, children's books and, last but not least, the journal 'Natura'. All these works help to make valuable knowledge gathered by scientists and amateur researchers available to a broad public. By producing these works, KNNV Publishing contributes to nature conservation and to the enjoyment of nature.

No part of this book may be reproduced in any form by print, photocopy, microfilm or any other means without the written permission from the publisher.

VAN DER MAN DELE STICHllNG STICHTING Gratama Stichting

Editors

Jan de Koning Gerda van Uffelen Alicja Zemanek Bogdan Zemanek

The complete botanical watercolours

of the 16th-century

Libri Picturati

KNNV Publishing

Contents 6

8

12

22

28

34

40

44

50

54

The lilni lifni 'Pitluraa 'PiCbtrati watercolours and early botanical illustrations Andrea Ubrizsy Savoia and lu(s lufs Ramon-laca

60

lichens, mosses, mosses,liverwons, ferns, and lycophytes Algae, lichens. liverworts. ferns. Thomasz Majewski

68

The flowering plants in the Libri 'Piltu.rari 'PiCbtrati Jan de Koning and Gerda van Uffelen

74

The morphology of illustrated plants Alicja Zemanek and Bogdan Zemanek

78

plant introductions Phytogeography, synanthropic plants, and plantintroductions Bogdan Zemanek

86

The beginnings of ecological thought Savoia, Alicja Zemanek. Zemanek, and Bogdan Zemanek Andrea Ubrizsy Savoia.

90

Plants depicted In 'Pitturad in the 110ra Flora Iberica.. and present in the Libri Libri'Pitlurati luis Ramon-laca

98

Common names in Italian Andrea Ubrizsy Savoia

106

Common names in French, German, and Dutch Gerda van Uffelen

110

Food plants Gerda van Uffelen

114

Medicinal plants, drugs, and kitchen herbs Jan de Koning

120

Fodder plants Gerda van Uffelen

134

Technical plants Jan de Koning

128

Ornamental plants Gerda van Uffelen

134

Fungi Thomasz Majewski

140

Animals depicted in the Libri Libn 1'itturati 'Pitturari A18-30 Lipke B. Holthuis

144

The complete annotations & plates of the Libri Libn 'Pitturari 1'itturati A18-30

150

Introduction to the annotations on Libri Libn 1'itturati 'Picrurari A18-30 Gerda van Uffelen

A18 Al8

154

A19 A20 Alo

A2l A22 Al2

212

A23 Al3

222

A24 Al4

244

AlS A2S

254

A26 AlG

266

A2l Al7 A28 Al8 A29 A300 A3 Literature

340

Index

342

Appendix

1

Plants with a Caspar Bauhin name, arranged by plate number

AppendiX Appendix

2

Scientific and other names of plants, animals and objects depicted in the Libri Picturati

ForeworcL ForeworLL When I first came to Krakow in the early 1990S, the purpose of my visit was not to see the main sights of the city but to study a totally unknown collection of watercolours of passion flowers by the famous plant illustrator Ferdinand Bauer, which were kept in the Jagiellonian Library under the shelfmark Libri Picturati A102. Once this work had been completed, Dr Piotr Hordynski, who was director of the department of manuscripts at the time, invited me to look at Libri Picturati A18-30 and had them placed on my desk. Although I was aware of the existence of this material in Krakow due to the recent publication of Peter Whitehead's paper in the Archives of Natural History, I was most impressed, spent the rest of the day down to the last moment of opening hours going over the thirteen large volumes, and actually postponed my return trip to Berlin to continue the next day. These were moments not to be forgotten, similar only to those a few years earlier when leafing through the fourteen volumes ofthe Codex Liechtenstein in the strongroom of Vaduz Castle, and a few years later when going over the equally famous nine massive volumes of the

Codex Fuchs in the department of manuscripts of the Austrian National Library in Vienna, which had not been analyzed at the time either. Although fascinated from the first, I soon realized that a proper analysis of Libri Picturati A18-30 could not seriously be undertaken by me alone and would require a team of experts familiar with a whole range of fields: botanical illustration and botanical nomenclature in general, the history of plant taxonomy and garden history with special reference to the sixteenth century, plus an in-depth knowledge of plant names in several languages spoken in Europe at that time. In addition, specialists in economic, medicinal and ornamental plants and cryptogams would be required, as well as a zoologist and a competent historian to deal with the successive transfers of the volumes from the Low Countries via Kleve and Berlin to Krakow. I am extremely happy to see this work now finished thanks to the combined efforts of a group of most dedicated and enthusiastic scholars, led by Jan de Koning and Gerda van Uffelen, both based in Leiden University and thus not far from the place where Libri Picturati A18-30 originated, and Alicja and Bogdan Zemanek, both based in Krakow University, in whose library the work is currently preserved. Based on earlier studies, notably by Helena Wille, a synthesis of our current knowledge has been provided. A wonderful job has been completed which contributes significantly to botanical iconography and widens our understanding of the history of botany.

Berlin, April 2008

H.W. Lack Director of the Library and Botanical Museum at Berlin - Dahlem (Free University Berlin)

Plate I1 (A25 (A2S .o69) Elecampane (lnula helenium) a garden plant

from southeastern Europe and member of the composite family (Asteraceae), (Asteraceae). one of the research interests of Walter Lack.

'Drawn after Namre Nature

*'*:

The complete watercoloufS of the 16th-ceRn,,)' complere botanical boranical warereolours ofrhe 16rh-century libri Libri Pictumti Picrurari

of the fungi, now a separate kingdom, apart from the plants and

t~

animals.

collection manager of the Hortus botanicus Leiden. She is involved

Dr. Gerda van Uffelen (Leiden, the Netherlands), botanist,

~ Dr. LUIs Ram6n-Laca (Madrid, Spain), architect and historian tOr. Lu fs Ramon-Laca

in the interpretation of the first plant list of the Leiden garden

at the Madrid Institute of Agriculture and Food Research. He is a

as established by Clusius in 1593-4. She contributed to this book

specialist on the relations between the Libri Picturati and the Iberian

especially a part ofthe plant identifications, and various chapters on

peninsula. He published on Clusius and Spain, and also contributes

botany and on the history of the Hortus botanicus Leiden. She is also

to the Clusius correspondence project. In this book he is responsible

one of the editors of this book.

for the description of various Dramatis Personae in the making of the

~ Dr. Alicja Zemanek (Poland), botanist, Head of the Botanical tOr.

Libri Picturati, and for the position of these watercolours in relation

Krak6w University. She is a specialist on the history of Museum of Krakow

to printed sixteenth-century books.

botany, and published on seventeenth-century botany and on the

t~ Dr. Renate Schipke (Berlin, Germany), art historian at the

importance of the Libri picturati. She is one of the editors of this

'Staatsbibliothek zu Berlin, Preugisches Kulturbesitz, Handschriften-

book, and contributed to the identification of the illustrations as well

abteilung'. She is the curator of the department where the Libri

as to various chapters.

Picturati where kept for more than three hundred years. She writes

about the history of the Libri during the centuries they were in Berlin.

t~

Prof. Dr. Andrea Ubrizsy Savoia (Rome, Italy), plant scientist,

professor at the Department of Plant Biology, university of Rome1.

t~ Dr. Bogdan Zemanek (Poland), botanist, Director of the Botanical Garden of Krakow Krak6w University. He headed the Polish identification

team, is one of the editors of this book and contributed to various chapters on botany.

She is a well known specialist on the life and work of Clusius, especially with regard to the Mediterranean region. She wrote

The authors and editors wish to thank the following persons, who

various articles on this subject. With Ramon-Laca Ram6n-Laca she describes the

contributed to this book in various ways: Kees van Achterberg,

position of the Libri in relation to sixteenth-century printed works

Hans Adema, Andre Aptroot, Fred van Assen, letje Boukema,

and, together with a Polish colleague, she wrote about botanical

Wim van den Broek, Anna Bujakiewicz, Maarten Christenhusz,

aspects of the Libri Picturati: on ecology, and on contemporary

Maria Antonietta Colasante, Krystyna Czyiewska, Charles Fransen,

common names in Italian.

Edi Gittenberger, jacques de Groote, Chris Heesakkers, Bert Hoeksema, Peter Hovenkamp, Rienk de jong, Dieter Krausz, Sachiko Kusukawa, Walter Lack, Peter Mason, Ramon Ram6n Morales, Machiel Noordeloos, Ryszard Ochyra, Leen van Ofwegen, Giuseppe Olmi, jose Pardo Tomas, Gert-jan van Pelt, Willem Prud'homme van Reine, Nicolaas Schellevis, Wim van den Broek, jadwiga Sieminska, Herre Stegenga, Hanna Szymanska, jan van Tol, Lucia Tongiorgi Tomasi,

W. Vervoort, Helena Wille, Wtadystaw Wojewoda, Konrad Wotowski.

Plate 2 (A20.091) The Common fig (Ficus carica), a shrub of Mediterranean origin. origin, long cultivated for its edible fruits, 10

and a dried Sycamore fruit (Ficus sycomorus)

The making of the Libri 'Pitturati tpitturati A 16-30 Florike Egmond

Origins On account of both their quantity and their artistic and scientific

While the new evidence found since ca. 1990 contains crucial (albeit

quality Libri Picturati A16-30 have been recognized at least since the

fragmented) information, the main questions concerning the Libri

1930S as one of the largest and most important European collections

Picturati watercolours have not changed very much during the

of sixteenth-century watercolours depicting natural history. The

seventy or more years since the first publications by Wegener.

more than 1400 sheets of the volumes A18-30 show a large variety of

They are the basic questions of what, who, what for, where and when.

beautifully depicted plants and flowers while the first two volumes

Did the Libri Picturati A16-30 indeed originate as one collection or

(A16 and A17) are exclusively devoted to animals.

are they rather a set of collections (gradually brought together)

Since the 1930S it has also been more or less generally accepted that

which may have originated in different periods within the sixteenth

the famous Flemish botanist Carolus Clusius or Charles de l'Eciuse

century? Could such subsections have been made for different

(1526-1609) was closely involved in the creation of this collection.

purposes and by different people?

In 1936 Wegener already denoted these Libri Picturati volumes as the

Who were involved in the making, either as collector/patron, auctor

Clusius drawings (Wegener, 1936). Here we are not concerned with volume A31, since many of the gouaches contained in it are copies of

intellectualis, artist, or annotator? Why was the collection created,

the illustrations in the preceding volumes. They were produced only

those purposes may have changed over time? Finally, where and

during the early years of the seventeenth century and are not directly

when did it originate - in which social and cultural context - and

relevant to the origins of the collection (Whitehead et ai, 1989).

can information about such a context tell us something about its

In fact, Libri Picturati A16-30 have often been denoted as the 'Clusius

functions or meaning?

and what purposes did it actually serve - taking into account that

collection'. However, in the course of the 1990S new research has led several scholars to modify this point of view, giving rise to some

The questions themselves are simple, but not at all easy to answer

controversy as to the respective roles of Clusius himself, the

- in spite of the efforts of an increasing number of scholars. This is

pharmacist-botanist Dirck Cluyt (Clusius's collaborator in Leiden

partly because the Libri Picturati A16-30 contain no contemporary

during the late sixteenth century), and Charles de Saint Omer,

introduction, while the total amount of written information in the

the aristocratic lord of Moerkerke near Bruges, one of Clusius's first

albums is limited and mainly comprises information about many of

patrons. His Dutch and Latin names also occur in several sources

the plants (and some ofthe animals) depicted. Thus, every answer

(an archival inventory of his possessions, and a letter to Clusius):

suggested up till now has been based upon clues contained by this

Karel van Sint Omaars, lord of Re(y)nouteren (also Dranoutre) and

annotation, the visual evidence provided by the illustrations, the

Moerkerke; in Latin Carolus a divo Odomaro.

paper and watermarks, or by historical evidence 'external' to the

The Belgian art historian and historian of science Helena Wille has

collection itself, such as printed works by sixteenth-century bota-

been the first to argue that Charles de Saint Omer played a crucial

nists and archival evidence concerning the persons involved and

role in the origins ofthe collection. Wille has, moreover, done more

the context.

than anyone else during the past decades to uncover new evidence

Research in the latter type of sources has been particularly laborious,

(Wille, 1993; 1996a; 1996b; 1997 and 2001). The Belgian researcher

given the fact that Sixteenth-century archival material is abundant,

Jacques de Groote argues that the Libri Picturati should be renamed

remains largely unpublished and is almost never indexed. In the past

the Karel van Sint Omaars (or Charles de Saint Omer) collection and

decade the improved access to European archives and contemporary

states that Clusius was certainly not the auctor intellectualis of this

correspondence has greatly facilitated the discovery of new evidence

collection (see De Groote, wwwtzwin.be, with sections on Sint Omaars

concerning the Libri Picturati in such material.

and on the Libri Picturati).

For instance, in 2001 the Spanish expert in garden history, LUIS Ramon-Laca, published the (almost) complete annotation on the sheets ofthe botanical volumes ofthe Libri Picturati. This enabled researchers for the first time ever to probe its value as historical (as well as botanical) evidence, without physically going to Krakow and reading through the original volumes (Ram6n-Laca, 2001; Zemanek & De Koning, 1998). Improved and free access to the massive Clusius correspondence in the University Library of Leiden (which has been digitized; Egmond et ai, 2007) has already rendered some new results and promises more.

Plate 1I (A22.044) Sowbread (Cyclamen hederifolium) and C. cf purpurascens,

However, the formulation of new research hypotheses has been at

where a cartouche with the names in several languages is incorporated in

least as important by providing a focus for research. Thus Helena

the drawing

Wille's hypothesis concerning Charles de Saint Omer has inspired

13

'Drawn after Nature

new archival research concerning his life, castle, and collections, which has yielded important evidence that will be discussed below. The main questions mentioned above have by no means all been answered yet - even for the first phase (the sixteenth century) in the

*: *-'

The complete complere botanical boranical warereolours watercoloufS of ofrhe the 16th-ceRn,,)' 16rh-century libri Libri Pictumti Picrurari

4. External (archival/documentary) evidence about collecting and collectors 5. Annotation on the sheets: a) graphology: made by whom and in which period;

long life ofthis collection on which this essay concentrates. We will,

b) language (Latin, Dutch etc.);

however, attempt to summarize the current state of research, taking

c) geographical locations mentioned;

into account the technical evidence concerning watermarks, paper,

d) dates mentioned;

and annotation, as well as archival findings of the period 1995-2006,

e) names of individual donors of plants (or their pictures) mentioned.

and to draw conclusions as to the controversy concerning the respective roles of Clusius, Cluyt, and Saint Omer (Egmond, 2005).

Annotation

While the 'historical' essays concerning the Libri Picturati in this

The Libri Picturati contain various types of annotation (for further

volume discuss all of the volumes A16-30 together, given their joint

details see the technical description) and only one of them - the

history as a collection, the rest of this volume concentrates on

annotations in the 'professional hand' - is relevant to their origin.

the botanical volumes A18-30. Hopefully the zoological volumes

All other types of annotation contain clues which indicate that they

A16-17, on which far less research has been done as yet, will be fully

were written on the watercolours long after these had been created.

published as well.

For instance, the most 'modern' annotations refer to Caspar Bauhin's Pinax, published in Basel in 1596. Small and short inscriptions 'in

One collection?

the second hand' refer to Jacques Dalechamps's Historia generalis

Until 2001 no hard evidence was known supporting Wegener's thesis

plantarum (Lyon, 1586-87) and to Rembertus Dodonaeus's Stirpium

that the majority of the watercolours contained in volumes A16-30

Historiae (Antwerp, 1583), while the third type of annotation consists

already formed part of one collection during the sixteenth century. In

of brief references to Clusius's Rariorum aliquot stirpium per Hispanias

2001 Ramon-Laca showed on the basis of an analysis of the watermarks

observatarum Historia (Antwerp, 1576) or even to his Rariorum

that 1115 out of the total of 1400-1500 sheets of paper in this collection

Plantarum Historia (1601). References to Lobelius, or Matthias de

bear the same watermark (an arrows-and-star). This paper was

l'Obel, are probably to his Kruydtboeck of 1581.

produced in Fabriano, Italy, starting in the year 1554, which tells us

The oldest annotations in the 'professional hand' were undoubtedly

that the drawings can not be dated before 1554. He demonstrates,

made by one person. They comprise handwriting in capitals and the

moreover, that this particular type of paper (referred to as Paper A)

names of plants at the top of (approximately 625) botanical water-

was used frequently in both animal volumes (A16-17) and throughout all

colours, occasional citations of published authors, and lengthier

of the botanical volumes. Thus, 1115 out of the total of more than 1400

inscriptions on the lower half of the sheets. These longer inscriptions

sheets of watercolours contained in the Libri Picturati A16-30 indeed

are all in Latin, go far beyond a reproduction of standard names and

belong together and originated as one Sixteenth-century collection.

characteristics, and often provide quite specific information about

Moreover, the watercolours on these particular 1115 sheets belong

where these plants grew and when they flowered.

to only two categories: a group of 625 watercolours annotated in a

On a very small number of sheets the writing at the top in capitals -

'professional hand' (more about which below), and a smaller group

which gives the names of the plant in Latin and Greek - and a short

of watercolours, many of which match the engravings in some of

list of the names of the plant in Italian, French, German and Dutch

Clusius's publications (see Ramon-Laca's chapter on this subject).

is set in a cartouche, completely integrated and incorporated in the

A single sheet of paper with a different watermark in volume A30

drawing, The drawing of the plant stops where there is a cartouche,

comes from Basel and was produced around 1595, demonstrating

and on A22.044 we even see how the cartouche is superimposed on

that at least one and probably more watercolours (on the as yet

the tuber of the uppermost Cyclamen while the petals of the lower

undated other types of paper) were inserted into the collection in

Cyclamen overlap the bottom edge of the cartouche (Plate 1).

the course of the last decades of the sixteenth century (Ramon-Laca,

Obviously, therefore, the draughtsman/artist left room for this

2001, pp. 199-200; see also the technical description in this volume by

inscription while designing the watercolour, and superimposed other

Hordyr'lski).

parts of his drawing on it, which indicates that this annotation was

When we speak of 'the making of the Libri Picturati A16-30' collection,

made at the same time as the watercolours themselves and by a

we are referring primarily to its core (circa 1115 out of over 1400 sheets)

person who was very closely connected with the production of these

which we can roughly date to the sixteenth century, but not before

particular watercolours.

1554. This core includes both botanical and zoological watercolours. Although the other watermarks on the remaining circa 300 sheets have been described by Ramon-Laca, it has not yet been possible to date them (see the technical description), and the question must

In the 1930S Wegener assumed that Clusius was the Autor of the Libri

remain unanswered for now whether these sheets too already

Picturati A16-30, by which he meant the figure who dealt with both

belonged to this old core of the collection, or were added later, in

the intellectual enterprise and coordination, who inspired, perhaps

the course of the sixteenth century.

ordered, and certainly brought together all (or most) of the water-

The hard evidence of the watermarks underpins the coherence of the

colours. In the first important publication after the rediscovery of

core collection of watercolours and supports other types of evidence

the Libri Picturati during the 1970S in the Jagiellon Library of Krak6w

that point in the same direction:

(see the chapter on this subject in this volume), Whitehead, Van Vliet

1, Artistic/stylistiC similarity of the botanical watercolours (that is,

& Stearn (1989) amended Wegener's interpretation of Clusius's role.

four or five different hands can be discerned throughout the plant

They suggested that Clusius was involved as a source of inspiration

collection)

in the creation of a part of the collection, but that the famous printer

2. Types of plants depicted and their association with particular persons, gardens, regions, or journeys 3. Similarity of the watercolours to printed illustrations in the works 14

Who and when? Clusius and Saint Omer

of some famous sixteenth-century botanists

and publisher Plantin in Antwerp, who published Clusius's works and those of several other contemporary botanists, could have assembled the entire set as a source for woodcuts. During the late 1990S Helena Wille argued that Clusius was certainly

The making ofthe of the Libri 'Pillurari 'Picturati A16-30 A 16'3 0

A16-30, but the

not the owner or collector of the watercolours of the Libri Picturati auctor intel/ectualis, intellectualis, source of inspiration and infor-

While the roles of both Clusius and Saint Omer were being revised

mation for its actual owner, whom she identified as the sixteenth-

by Wille, the North-American art historian Claudia Swan published

Cluyt

Libri Picturati

century southern-Netherlandish nobleman Charles de Saint Omer,

her claim that Clusius has nothing at all to do with the

seigneur de Dranoutre and Moerkerke, a patron and friend of Clusius

and that it was instead Dirck Cluyt who collected and owned the

(Wille, 1996a; 1996b and 1997).

larger part of the sixteenth-century botanical watercolours

During the period November 1565 - early December 1567 Clusius

comprised in these volumes. She also argued that he personally

spent many months as a guest at Saint Omer's castle and estate at

annotated the set of around 625 drawings (in the 'professional hand'),

Moerkerke near Bruges and the two men corresponded about plants

and possibly even painted some of them himself. She boldly named

(Hunger, 1927, pp. 85-110 85'110 and appendix X for a full transcription of Saint

her edition of selected watercolours after Clutius:

Omer's letter of December

14th ,

1567, written at Moerkerke to Clusius,

who was staying with Dodonaeus at Malines).

The Clutius botanical

watercolors. Plants and flowers of the Renaissance (Swan, 1998 and 2000).

Wille's interpretation greatly narrows down the period during which

Dirck Cluyt (or Theodorus Clutius) spent most of his life in the towns

the core of the collection could have been produced and brought

of Delft and Leiden in Holland. He was renowned as an apothecary

together. Given the dating of much of the paper, they cannot have

and widely known as a botanical expert. He exchanged information

been produced before 1554, and if she is right in supposing that the

about natural history with botanists like Lobelius and Clusius.

bulk of these watercolours were brought together by Saint Omer

In 1594 Cluyt was appointed to the position of keeper of the Leiden

in close co-operation with Clusius, the most likely period would be In June 1565 Clusius returned to the Southern Netherlands from his

Hortus botanicus. During the last years of his life (he died in 1598) he worked closely with Clusius to organize the Leiden Hortus, donating (Bosman· his enormous personal collection of simplicia to the Hortus (Bosman-

journey to Spain, whereas on February 12th, 1569 Saint Omer died

Jelgersma, 1976; 1991).

at the early age of 36 (Hunger, 1927, p. 105). The date of Saint Omer's

Swan's hypothesis excludes both Clusius and Saint Omer, shifts the

between the summer or autumn of 1565 and the winter of 1568-69.

death is sometimes given as February

12th ,

1568 (old style), which is

period of the making of the collection to a slightly later date (the

identical with February 12th , 1569 new style.

1570S and 1580s rather than the 1560s), moves it from aristocratic

Interestingly, the very few dates mentioned in the annotation in the

to urban and university circles, and especially moves it from the

'professional hand' discussed above perfectly concur with this period:

Spanish Southern Netherlands to Holland, which was by then in full

volume A16 (one of the two animal volumes) contains a picture of

revolt against Habsburg rule.

a dog without a tail, accompanied by an annotation mentioning

Cluyt undoubtedly owned a large collection of botanical water-

A23.020v contains the year 1565 (Fig. 1), while the annotation on A23.o2ov

colours, but Swan's identification of these watercolours as the

a reference to the year 1564. (Fig. 2) This leads to the preliminary conclusion that the origins of the core of the

Libri Picturati water-

ones contained in the

Libri Picturati - which rests completely on

an unproven identification of the 'professional hand' as Cluyt's -

colours should be looked for not earlier than 1554 and not later than

remains as unconvincing as her efforts to disprove the connections

the late sixteenth century, while the available dates in the annotation

between Clusius, Saint Omer and the

point to the mid-1560s.

Cluyt may not even have had more than elementary Latin.

r

Libri Picturati (Egmond, 2005). 20°5).

.....

_ .... .J..,.,.

•" Figure 1 I (A16.042) (AI6 .042) Dog without w thout tail, from one of the two animal volumes, where the year 1565 is mentioned In in the annotation

Figure 2 (A23.020V) Various nuts, with a reference to the year 1564 1564:

'Nux ex Pennon de Velez al/ata 1564'

""-,.,. .. .................

CU'I\S .1~.4.,..L.

,~

•• ca

-,., ...... ,.. ....

15

tion of both the fish volume and the botanical volumes), while Pierre Yet, the links between Clusius and the

Libri Picturati were not as simple

Belon's famous work on birds

L'Histoire de la Nature des Oijseaux, first

and straightforward as Wegener had assumed. His conclusion that

published (in French) in 1555, is mentioned once in the annotation of

the locations and persons mentioned in the annotation in the

the bird volume.

'professional hand' in the

Libri Picturati were all connected with

Conrad Gessner's work

De Hortis Germaniae (on German gardens)

Clusius should be modified to the extent that they are all connected

occurs several times in the botanical volumes. It was first published

with either Clusius or Saint Omer, or both. A few examples show the

in Valerius Cordus, Annotationes in Pedacii Dioscorides Anazarbei de Medica materia libri V (1561).

importance of such details. The annotation contains references to a large number of countries

Finally, a reference in volume A27 on the sheet depicting a fungus

and towns as locations where these particular plants could be found:

('Phallus exfungorum genere', A27.099) states that this fungus was

Flanders, Holland, France, Montpellier, Italy, Germany, Provence,

described by the famous Dutch humanist and physician Hadrianus

Spain, England, and more specifically Malines (Mechelen), Louvain,

junius. That description first appeared in 1564: 'Quem

Mons Garganus, Moerkerke, etc. Ongoing research on the Clusius

cum oratione sol uta tum carmine elegantissimo exacte descripsit Hadrianus Junius medicus eximius' (junius, 1564).

correspondence at Leiden University shows that Clusius either

Taken together these publication dates indicate that the annotator

personally visited these places, or was connected to them by

writing in the 'professional hand' probably did not start work much

Vilvoorde, Bruges, Heijst, Scheveningen, Arras, Marseille, Salamanca,

correspondence (Egmond, 2oo7a; 2007b).

earlier than 1561 and must still have been at work after 1564.

A patent contrast is made between 'here' in our regions and 'there'

All works could, moreover, easily have been known to Clusius.

in Italy, other parts of southern Europe, Germany, England, Friesland,

The category of friends or donors of plants or their pictures is small.

northern Germany and a large part of France. Similar indications in

Until recently it was thought that only five persons are mentioned by

the annotation leave us with a limited section of the Dutch-speaking

name. These are the wealthy Matthias Laurin and Guy Laurin (circa

part of the Southern Netherlands as the most likely region for the

1532-1589) - who lived at or near Bruges and are known as friends or

origins of the

Libri Picturati collection: the area of Louvain, Antwerp,

connections of both Charles de Saint Omer and Clusius.

and Bruges. Both Wegener and Wille have also rightly pointed out

jacques de Groote is correct in stating that not Marcus Laurin

that anyone can mention Italy, Germany, Marseille or even Bruges

(Guy's brother) was intended here, as was supposed by Hunger in

and Malines. But only someone who personally knew them would

his research notes (Egmond, 2005), but Matthias Laurin, treasurer of

refer to villages like Vilvoorde, Heijst, or Scheveningen, let alone a

Flanders, who also acted as executor of Saint Omer's last will; the

hamlet like Moerkerke near Bruges.

apothecary Peeter van Coudenberghe (1517-1599), likewise a friend

The same applies to a reference (in

to the

'Wulpian insulam'.

of Clusius (De Munck & Wille, 1996; De Nave & Imhof, 1993), whose

The island of Wulpen, as pointed out by jacques de Groote, was

famous garden in the outskirts of Antwerp was visited among others

located in the former estuary of the Zwin, which in past times

by Lodovico Guicciardini; a certain johannes van Eede, citizen of

connected Bruges with the North Sea and has since then silted up

Bruges, tentatively identified by Whitehead et al. (1989) as johannes

and almost completely disappeared (Jacques de Groote, pers. comm,

van Heeden; and a certain jacobus.

2002). It is not, moreover, as if Moerkerke was known to a large

Three more names have recently come to my attention, not included

number of botanical experts: its principal claim to historical relevance

in this list of donors. They figure on an unusual sheet of the

is precisely the fact that Charles de Saint Omer created special

Picturati •v_____ _ . __ #~.- Judged by the watermark it does not seem to

Libri

gardens and a collection of botanical and zoological drawings there

belong to the old core of the collection, and it may have been added

and that Clusius was his guest at Moerkerke.

to the collection at any moment in the sixteenth century after the

The only geographical reference that seemed to have no connection

1560s. It is the only sheet in the entire collection which does not

with Clusius or Saint Omer was the single one to the village of

present pictures of plants, but the plants themselves. Four small

'Nascitur in Hollandiae littoribus prope oppidum Sceveninghe,folio crassisimo'(A27.098)' crassisimo'(A27.098}. However, it turns

Cyclamen leaves have been sewn onto the paper. judging from the

out that there was indeed a link after all: between Saint Omer and

leaves may have been there in the past. Above each of the three

Scheveningen in Holland:

small holes, stains, and the names written on the page, a few more

Adriaen Coenen (1514-1587), who lived in Scheveningen during the

cyclamen leaves at the top the name 'Boysot' is written (FIg. 3).

larger part of his life and is known as the author and illustrator of two

just below, we see only one leaf, but three times the name 'Aren:' and

large and one smaller richly illustrated encyclopaedic manuscripts

further below, the leaves are missing, but we find the name 'Meytens'

(created between 1577 and 1585) about marine natural history in the

(once spelt as 'Mentens') repeated three times. There is much more

widest sense (Egmond & Mason, 2003; Egmond, 2005, both with further

space on the page, perhaps to put in more cyclamen leaves in order

bibliographical references).

to compare them. We do not know who created this page, but there

Authors and friends

and Clusius's correspondent Jean Boisot. The abbreviation 'Aren:'

is little doubt that the name 'Boysot' refers to the Brussels nobleman Among the persons mentioned in the annotation in the 'professional

must refer to the Count of Arenberg, who became the owner of

hand' two groups can be distinguished: expert authors of botanical

the

works, and friends cum donors of plants or their pictures.

chapter on the additions by the Count of Arenberg in this volume).

Among the first category, the names of contemporary authors

Finally, 'Meytens', may refer to the Brussels physician and garden

Libri Picturati were created. The author most frequently referred to is the

jean Boisot in his letters to Clusius as sending greetings to Clusius.

famous Flemish botanist Rembertus Dodonaeus (1517-1585), for forty

Thus, the three men whose names can now be added to the short

contain some clues as to the intellectual context in which the

years a close friend of Clusius and author of the famous

Cruydt-boeck,

Libri Picturati around the end of the sixteenth century (see the

owner Jan Mijtens or Mytens: he is mentioned several times by

list of donors of plants or plant portraits to the

Libri Picturati collec-

which was first published in Dutch in 1554. The first Latin edition,

tion conform to the pattern as established earlier. All of these names

Stirpium historiae pemptades sex, appeared in 1583. Further references are to Andre Thevet's Les Singularitez de la France antarctique, autrement nommee Amerique, Paris, 1557 (in the annota-

fit in perfectly with the geography discussed above, the chronology proposed for the creation of the collection (1560s, with a possible focus on 1564-69) and the collaboration between Clusius and Saint Omer.

The making ofthe of the Libri 1'iCIurari 'PiClurari A16-30 A16 - 30

.'.r

J.,I-1'

Whether the presence of these volumes in Anne d'Ongnies' cabinet indicates her special involvement with this collection must remain unanswered for the moment. Her possessions may have been listed separately partly for legal reasons. A short reference to Saint Omer (long after his death) in the

I""

published work of Clusius aptly characterizes him as a great collector and student of nature in all its forms, and also refers to the albums with pictures of plants, birds and beasts that Saint Omer commissioned:

'Cinnamomi vero duos ramulos in Belgio vidi: alterum apud Generosum Dominum Carolum a D. Audomaro, pia memoria, virum non modo rei herbarie peritissimum, et qui plantas ipsas, aves, quadrupesque insigni artificio vivisque coloribus exprimi curabat, sed omnium etiam natura miraculorum studiossissimum' ('I saw two small branches of true cinnamon in Belgium: one in the house of the late generous Lord Charles de Saint Omer, a man not only most expert in matters of plants and who had the plants themselves, birds, and quadrupeds depicted with outstanding skill in lively colours, but also very interested in the nature of all sorts of wonderful things'). To my knowledge this passage has not been quoted before in connection with the

Libri Picturati. It can be found in the annotation by Clusius in his Latin (Aromatum et simplicium aliquot medicamentorum apud Indos nascentium historia) which is included in Clusius's Exoticorum Libri Decem (Leiden, 1605, p. 171).

translation of the work of Garcia da Orta

De Groote has rightly argued that Saint Omer's interest in nature, collecting, and having naturalia depicted dated from

before Clusius's

return from Spain in june 1565. A contemporary source proves that Figure 3 (A21.094) Sow Sowbread breild

(Cyclamen hedenJolium), hederifolium), four

dned dried leaves attached to paper, with the names of the donors

the aforementioned Guy Laurin and Saint Omer were busy in the middle of winter at Moerkerke identifying 'simples' and arranging 'that wonderful book, of which I believe you have seen a sample, according to the Dioscoridean method' (Letter from Guy Laurin in

The respective roles of Clusius and Saint Omer Saint Omer as collector

it is quoted in full by Hunger, 1927, pp. 407-408, and in excerpt by

Wille's thesis concerning the crucial role of Saint Omer has triggered

Ramon-Laca, 2001, p. 204).

new research and led to the discovery of some important new infor-

Thus Laurin and Saint Omer must have been ordering loose sheets

mation, especially jacques de Groote's find of an extensive inventory

of paper with illustrations of plants on them according to the

Latin, November 25th, 1564, sent from Bruges to Clusius in Spain;

detailing the possessions of Charles de Saint Omer upon his death in

Dioscoridean method - incidentally showing that the making of the

1569. It shows that he was an even more important and rich collector

Libri Picturati was in some ways a collective project in which friends

than had been assumed (see De Groote, WWw.tzwln.be and the original

were involved as well. However, I do not think that we can conclude

in RiJksarchief Bruges, Family Archive 367).

(as De Groote does) from this quotation that the albums were

This inventory was presented on july 25th , 1569 by Saint Omer's

already completed by the winter of 1564, and that Clusius - who was

widow Anne d'Ongnies to the court of the Vrije of Bruges, the

away in Spain - had nothing whatsoever to do with the making of

district surrounding Bruges. Saint Omer owned extensive gardens

the

and parks, besides the estate and castle of Moerkerke, farms, mills,

In fact, we might deduce exactly the opposite: that Clusius must

various feudal landholdings and rights, a town house in Bruges,

actually have seen a number ofthese watercolours before he left for

et cetera. Around the castle of Moerkerke there were gardens, an

Spain in February 1564, was already known to Saint Omer, and was

orchard, and a menagerie with horses, a mule, sheep, goats, swans,

probably already involved in this project before his Spanish journey.

pheasants, 'african chickens'

Libri Picturati A16-30.

('poiles dafrique', possibly guineafowl),

an eagle, a stork, a bear, a parrot, and some other animals. Indoors a

Clusius's involvement

rich wardrobe, jewellery, many tapestries (including verdures), silver-

Another passage in the same letter has more information to offer.

ware, and paintings testify to his wealth.

It suggests that Clusius may have actually triggered Saint Omer's

Possessions specifically pointing to Saint Omer's interests as a

interest in

collector were his cabinet, containing singularites, his collection

passed on seeds and a letter from Clusius to Saint Omer: 'Seminum

of weapons and books and the 'cabinet' that is listed explicitly as

fasciculum una cum literis ad c1arissimum clarissimum virum D. a Dranoutere ipsemet Moerkerckam detuli, quam ei hoc gratum fuerit, ex eius ad te literis cognoces, et nescio quo modo occasio haec litera rum in botanofilian pel/exit, et iam dies quindecim nichif nichil Dominus et ego agimus, quam quod ifle ille in cognoscendis simplicibus (/icet hyeme altissima) me exerceat, librum il/um pulcherrimum cuius specimen te vidisse credo in certum ordinem ad Dioscoridis methodum digerentes' ('I [=Guy Laurin] have

belonging to his wife Anne d'Ongnies. This cabinet included several (unnamed) paintings, and - most interesting to our present interests:

'ung couffre ou ifiI y a dedens quatre livres dherbes paintes ung commenchement dung livre de oyseaulx ung commenchement dung livre des pOissons et aultres animaulx' as well as a large chest in which seeds were kept. This evidence leaves no doubt that the core of the zoological and botanical watercolours now contained in

Libri Picturati A16-30 did indeed form part

of the Saint Omer collection.

naturalia. Guy Laurin wrote to Clusius in Spain that he had

delivered a bunch of seeds together with a letter to the illustrious lord

the opportunity provided by this letter enormously seduced him to the love of botany, and now

of Dranoutere in Moerkerke and somehow

17

for a fortnight the Lord [of Moerkerke] and myself are doing nothing

a number of plant drawings which later came into the possession

Libri it is likely that the

but that he keeps me occupied in identifying the simples (although

of Arenberg. Given the later history of the

it is the heart of winter), arranging into a certain order that wonder-

'Arenberg / Saint Omer watercolours' are identical with the core of

ful book of which I believe you have seen a sample according to the

the botanical watercolours in the

Libri Picturati A18-30.

Dioscoridean method'; the italics are mine). The single remaining letter, dated December 14th , 1567, from Saint Omer (written on his behalf by a servant) to Clusius (Hunger, 1927, pp. 413-414) contains a similarly interesting indication:

The question ofthe artists involved in the making of the core group

'Quod ad operis illius de plantis rarioribus vel nondum exhibitis a te instituti inscriptionem attinet, salvo iudicio tum tuo tum aliorum meliori, quando nulli certo ordini aut methodo hac in re te astringere velie videris, non alio titulo inscribi posse censet, quam Centuriae plantarum rariorum etc. ita ut opus in Centurias primam, secundam, tertiam, etc. distinguatur.' ('Concerning the title of that work on rare or previously unseen plants that you have started, unless you or others have a

of this collection is a field in which new research still needs to be done. On stylistic grounds the hands of at least five different artists have been distinguished. It seems very likely indeed, as suggested by Wille, that one of the principal artists was jacques vanden Corenhuyse. The main evidence for his identification are the occurrence of the monogram

IC

(all of them on sheets with the crown-and-arrows

watermark) on a few of the watercolours in the bird volume, water-

better recommendation, since you do not seem to want to tie

marks, and some references in contemporary printed and archival

yourself down to a fixed sequence or method in this matter, he

sources. The monogram

[= Saint Omer] considers that the most appropriate title is Centuriae

(another gull?) of the bird volume A17.

Plantarum rariorum etc., so that the work can be broken down into

The as yet unidentified monogram

first, second, third etc. centuria.').

85 of the same volume. Vanden Corenhuyse belonged to the circles

De Groote thinks that the

Centuriae Plantarum rariorum refer to a book

that Clusius was working on and not to the albums that Saint Omer

IC

occurs on folios 7 (hawk), 29 (gull) and 31 LMPT

occurs only once, on folio

around Clusius and Saint Omer, was admitted to the St. Lucas guild of Bruges in 1554, and is also mentioned in the register of deaths

was possibly thinking of publishing (De Groote, pers. comm). The

of Bruges after 1584. Wille (1995; 1996a, p. 431; 1997, pp. 75"78) also

words 'that you have started' obviously take on a different meaning

tentatively points to both jacques de Gheyn II and joris Hoefnagel as

depending on the identification of this work. If it was Clusius's own, this passage tells us nothing much about the making of the

Libri

possible contributors to the collection, but the evidence is thin, and chronology suggests that - if they were involved at all - they cannot

Picturati, but it still throws light on the 'botanical' collaboration between the two men. If it does refer to the Libri Picturati, as Wille

the

and I assume, then it fits in with the passage quoted just above it.

The comparison of Lobelius's famous

For the moment we may at least conclude that these quotations

botanical volumes of the

support the notion of close cooperation between Saint Omer and

Wegener - proves to be fruitful. As Wille shows, Lobelius explicitly

Clusius, and ofthe participation of various persons (friends) in the creation of the

Libri. Clusius, who was already in contact with Saint

have been among the artists who contributed to the oldest core of

Libri Picturati collection. Kruydtboeck (1581) and the Libri Picturati - already suggested by

mentions that Charles de Saint Omer observed two of the illustrated plants and that the skilful artist jacques vanden Corenhuyse painted

fungi favaginosi and sonchus

Omer before his departure to Spain, seems to have been closely

them. Illustrations of two examples -

involved in the way the collection was organized, and it looks as if he

the botanical collection. Above we have seen that these annotations

laevis Matth. - in Lobelius's printed work are evidently based on two _._ ......., and . __ ._~_ Libri Picturati: . __ ._ .... _,_ respectively. A third example - archangelica - concerns an illustration in Lobelius which likewise is derived from a watercolour in Libri Picturati (-'29·019\'), (A2g.01gV), while the accompanying text informs us that jacques

were not made by Dirck Cluyt, the apothecary who was Clusius's

vanden Corenhuyse painted this plant under commission to Saint

principal assistant in the creation ofthe Leiden botanical garden.

Omer. Helena Wille gives a more detailed description of the

stimulated Saint Omer to set the step from collecting to publishing. This fits in well with the evidence about the annotations in the 'professional hand' on 625 of the botanical watercolours, the core of

Although graphological evidence remains inconclusive,

none of the

watercolours in the

evidence and depicts Lobelius's illustrations of these plants (Wille,

'circumstantial' evidence about chronology, geography, or personal

1996a, pp. 68-69 and 7475; cf Wille, 1997 pp. 426'427).

connections, as discussed above, contradicts the personal involvement

This is straightforward, written and contemporary proof of a close

of Clusius as author of these annotations.

cooperation between Saint Omer and Vanden Corenhuyse, of the

A single piece of more direct proof pointing in the same direction

artist's role, as well as visual proof of the close connection between

Libri Picturati and the printed

was first discussed in this context by Helena Wille in 1997. In a letter

some watercolours contained in the

written by the nobleman and botanical enthusiast Charles, prince

illustrations in Lobelius's work. De Groote's research shows that

and count of Arenberg, duke of Aarschot etc. (1550-1616) to Clusius

Vanden Corenhuyse must have been very close indeed to the Saint

in Leiden, dated january 27'h, 1595 and sent from Brussels, Arenberg

Omerfamily.

'Ie livre de feu Monsieur Ranoutre' and that all its sheets are annotated by the person whom he is addressing (my italics): 'J'ay achapte Ie livre de feu Monsieur Ranoutre, lequel je desireroys mectre en bon ordre selon la methode de L:4lecampus et que j'ay ja commenche a faire aincy que Ie porteur de ceste vous dira mieulx et que je voy qu'avez rendu grand debvoir audit livre dont tous les feuilletz sont inscriptz et quotisez de vostre main' (Wille, 1997, pp. 435 and 429-430;

The inventory made up after Saint Omer's death states that Vanden

Ram6n-Laca, 2001, pp. 197, 203; Roeglers, 2002).

painter jacques vanden Corenhuyse perhaps remotely related?

states that he has bought

Corenhuyse painted the blazons for the funeral (De Groote, pers. comm.). Perhaps this closeness had something to do with kinship. Some sixty or seventy years before Charles de Saint Omer's death, a daughter of a certain Maillard van Corenhuyse (the local lord of that town) married the son of a certain jeanne de Saint Omer, who must be related to Charles (Gaillard, 1857-1864,11161). Were Charles and his

Arenberg's remark that he wants to reorganize the book according to

18

D'Alechamps method shows that he is referring to a botanical collec-

Pleter Yltn van derlorcbt der Borcht

tion, and his last sentence indubitably states that Clusius inscribed

A second, but less strong, candidate is the Southern-Netherlandish

each of the leaves of this book or album in his own hand. Thus, the

painter Pieter van der Borcht. Hunger's biography of Clusius states

quotation leaves no room for doubt that Clusius personally annotated

that Van der Borcht made the illustrations for Clusius's translation

'Drawn after Nature

*: *-'

The complete complere botanical boranical warereolours watercoloufS of ofrhe the 16th-ceRn,,)' 16rh-century libri Libri Pictumti Picrurari

Yet, they did form an integral part of Saint Omer's collection of

themselves, and the loss of their rich collection of antique coins).

naturalia themselves: as a painted collection on paper they comple-

Another example is the famous garden of Peeter van Coudenberghe

mented his live and dead animals and plants on the one hand and

just outside Antwerp, which was destroyed in 1584-85, probably by

his printed works about natural history on the other hand. Thus they

general Alexander Farnese (Harting, 2000, p. 10; De Nave & Imhof,

preserved Saint Omer's collection and name for posterity. Finally, the

1993, pp. 23-31).

watercolours may also have served as a kind of home encyclopaedia:

These circumstances deeply affected both the lives of the collectors

a collection in which pictures, copies of pamphlets about curious

themselves and the 'lives' of the collections they created, while they

animals and exotic plants sent to Saint Omer, Clusius or one of their

certainly contributed to the departure of Clusius from the Southern

friends, could be included.

Netherlands - to name only a few related events.

The rare cases in which the annotations reveal anything about the

They are also the main reason why we still do not know what exactly

type of interest the collector (and his circle) took in these plants,

happened to the core of the collection after the early death of

tend to confirm these impressions. The annotations point to an

Charles de Saint Omer in 1569. Did Clusius have anything to do with

interest in the medicinal use of plants in only a very few cases; see

the collection after Saint Omer's death? Clusius, after all, died almost

for instance A20.052 (G/ycyrrhiza g/abra, a source of liquorice) and

40 years later. And what was the role of Charles of Arenberg during

A23.024V (Cassiafistu/a, still applied against constipation). A23-024V

the late sixteenth century? According to Clusius's biographer Hunger

Instead, the inscriptions mainly express an interest in the natural

Saint Omer's four botanical albums came into the possession of

habitat of these plants and provide 'information of an ecological

Antonius Sanderus, who donated them to the Collegium Medicum in

character' concerning the parts of Europe where they could be found

Louvain (Hunger, 1927, p. 88; Van Hulthem, 1817, pp. 11-49).

and the best ways of growing these plants in gardens (Zemanek

But his evidence seems vague and the question of how they arrived

and De Koning, 1998); see A30.028 (Muscari and other small bulbs),

there from Saint Omer's household remains as yet unanswered. If

A30.067 (Crocus sativus), and A28.083 (Capsicum annuum).

this Antonius Sanderus is the same person as the Antonius Sanderus

Therefore, they look more like personal observations by a commen-

who published De Scriptoribus F/andriae in Antwerp in 1624, as Wille

tator who knew about horticultural practice, a person who was first

and perhaps Hunger assume, I wonder when exactly he came into

and foremost interested in how and where plants grew and how

the possession of the four albums.

they could be identified by their flowers, roots and leaves. In fact the

Saint Omer was married twice - first to Fran~oise de Blois de Treslong,

repeated references to 'experts in botanical matters' ('a rei herbarie

second (probably in 1562) to Anne d'Ongnies - but died childless.

studiosis in hortis,) indicate that the annotator was familiar with the

Since Anne's parents were called Claude de st. Omer and Jacqueline jacqueline

horticultural practices of sixteenth-century collectors, curiosi and

Malet, she was probably related to her husband. The latter's parents

botanical enthousiasts.

were Josse josse de Saint Omer and Anne van Praet. The Van Praet family belonged to the highest circles of the aristocracy of the Southern

20

Clusius and the Libri Picturati after Saint Omer's Orner's death

Since both the botanical albums and the bird and fish ones were

The evidence that is at present available thus leads to the conclusion

explicitly listed among the possessions of Anne d'Ongnies in the

that the core of the Libri Picturati A16-30 collection - consisting of

inventory made upon his death in 1569, it is possible that the albums

Netherlands (Gaillard, 1,1857, p. 385).

the majority of the zoological watercolours (painted on paper A) and

were never included in Saint Omer's own legacy, but remained with his

a large part (625, possibly even 1115) of the botanical watercolours -

jean d'Estourmel, lord ofVendeville, and may widow. She remarried, to Jean

was brought together and owned by Charles de Saint Omer, with the

have brought the albums into her new household. She died while still

assistance and advice of Clusius during the 1560s (probably between

married to d'Estourmel, who later remarried (Gaillard, VI, 1864, p. 207).

1562-63 and 1568). Clusius stimulated and may even have triggered

The watercolours may therefore have ended up among her new hus-

Saint Omer's interest in naturalia, and it is likely that he encouraged

band's possessions, but they may also have been returned to Anne's

Saint Omer to have his botanical watercolours published - for which

family upon her death, and we cannot completely exclude the possi-

woodcuts would have had to be made after the watercolours.

bility that they did, after all, form part of Saint Omer's legacy. A

A considerable number of watercolours belonging to the core of the

considerable amount of contemporary evidence shows that this legacy

collection were probably painted by Vanden Corenhuyse and possibly

gave rise to a number of complications. Difficulties arose between

Van der Borcht. The annotations in the 'professional hand' on the

Anne d'Ongnies's new husband and the consanguineal kin of Saint

group of 625 botanical watercolours were probably made by Clusius

Omer about the marriage settlement and the division of his legacy,

himself. The collection originated in the social and cultural context

which led to two civil cases dealt with by the Grand Conseil de Malines

of Bruges humanism, in a Southern Netherlandish circle uniting

- the Supreme Court of the Southern and Northern Netherlands.

aristocratic patrons-collectors, artists and scholars, and in a cultural

However, no further details about the watercolours have been found

context dominated by elite collecting of both naturalia and antiquities.

in the relevant documents in the National Archive of Belgium at

It was part of the culture of collecting in these circles to have one's

Brussels, i.e. Geextendeerde Sententies van de Grote Raad te Meche/en

collection or special items in it depicted (painted and occasionally

(Sentences of the Grand Conseil deMalines).VI. sentence 4475

printed) and thus preserved for posterity.

(March 2nd , 1577): Jehan jehan d'Estourmel, lord of Vendeville on behalf of

Two factors have been crucial in hiding the origins of the collection

his wife Anne d'Oignies, formerly widow of Charles de Sainct-Omer,

from the sight of modern scholars for a long time. First the early

(July 13th , 1577), contra Jehan de Sainct Omer; and sentence 4520 (july

death of Saint Omer, which prevented him from completing and

between Jehan jehan d' Estourmel on behalf of his wife contra Cornille van

possibly from publishing his albums. The fact that he died without

Praet, lord of Moerkerke.

issue and that a complicated and conflictual situation arose with

It should not be forgotten, however, that circa 300 watercolours out

respect to his legacy did not help.

of the 1400-1500 contained in the Libri Picturati volumes may never

Secondly, the political context ofthe 156os-70s in the Southern

have formed part of the collection owned by Saint Omer, and may

Netherlands was one of warfare and plundering, of inCipient civil

have been added to it only later, after his death. That only goes to

war and religious strife. It was the main cause ofthe demise of

show how important it still is to answer the questions as to who

the Laurins's printing press (as well as the flight of the Laurins

owned the collection between 1569 and the mid 15905, and who else

The making ofthe of the Libri 'Pillurari 'Picturati A16-30 A 16-3 0

could be identified as an artist involved. involved_ We do know, however, what

More intriguingly, there is some possible evidence of an earlier

happened afterwards. afterwards_

involvement of Clusius with the collection, which must have

As Helena Wille has demonstrated on the basis of the letter from

taken place after Saint Orner's death and before the acquisition

Arenberg to Clusius dated january 27th, 1595 and quoted above, the

by Arenberg. Arenberg_ It is hard to interpret, however. however_ As Ramon-Laca has

Libri Picturati watercolours came into the possession of the Duke of

demonstrated, Libri Picturati A21.014 A21_014 is an engraving(!) depicting

Arenberg in the 1590S (Wille, 1996a, pp. 429-430, and 1997). 1997)- It seems

Astragalus glaux L L. from Clusius's Spanish Flora (Rariorum aliquot

possible that Clusius had access to them and both Clusius and

stirpium per Hispanias observatarum historia, 1576).

Arenberg probably contributed some illustrations to the collection

As could almost be expected, neither the jacobean Lily nor the

century_ during the last years of the sixteenth century.

Astragalus is on paper type A with the arrows-and-star watermark. watermark_

An unusually well documented example is the case of the West

The jacobean Lily is painted on undated paper produced in Alsace-

A21_o85)_ Indian daffodil or jacobean Lily (Sprekelia formosissima, A21.085).

Lorraine with a watermark with a double eagle and crown, while

This preparatory drawing (which can be found in a printed form

no further information is recorded about the paper of the other

in Clusius's Rariorum plantarum historia, Antwerp, 1601) had been

illustration_ illustration.

Rariorum_ sent to Clusius by Arenberg, as Clusius describes in his Rariorum.

Ramon-Laca regards this last engraving as a preliminary proof for

Arenberg had received the plant in question accompanied by its

the illustration in Clusius's book. book_ Could it mean that Clusius gave

very detailed description from Simon de Tovar (a Spanish friend of

this engraving to the then owner of the watercolours, thus - again

Clusius) in 1596 (Ram6n-Laca, 2001, pp. 202-203). 202-203)_

- contributing to the Libri Picturati collection? And when did this

Each year De Tovar published a catalogue ofthe plants he grew in

exactly happen? The date of publication of Clusius's work does

his garden and he corresponded with several other botanists in the

not, after all, tell us when the preliminary engraving ended up in a

northern part of Europe, among them the Dutch doctor and collector

collection_ collection.

of naturalia Bernardus Paludanus (Pardo Tomas, pers. comm.)

Taken together, this evidence raises more questions than it answers,

Arenberg had a portrait of Tovar's plant painted and sent this picture

inviting new research in the rich field of sixteenth-century botany

work, Perhaps he asked on to Clusius to be included in the latter's work.

and its illustrations. illustrations_ It is to be hoped that this publication - especially

the painter to make two copies and included the other one in the

by showing how many questions concerning the Libri Picturati water-

watercolours_ collection of watercolours.

colours still remain to be answered - will stimulate such research. research_ welll as I would like to thank all contributors to this volume as wel Giuseppe Olmi, Lucia Tongiorgi Tomasi, and above all Peter Mason. Mason_ available lable archiva archivall I am grateful to jacques de Groote for making avai material to me for research purposes, and for various notes and comments, and especially to Helena Wille who generously sent me manuscript versions and offprints of her articles. articles_ Chris Heesakkers provided me with information on the connection between junius Hadrianus and Phallus impudicus, and Peter Mason and Chris Heesakkers kindly translated several Latin texts into English. English_ I also want to thank jacques de Groote who has kindly made a copy of the inventory list of Anne d'Ongnies available to me for research purposes, purposes.

21

Technical description Piotr Hordynski

there are several pages dedicated exclUSively to the animal world. In volume A21 Az, there are ca. 10 sheets where we find insects and molluscs exclusively, without any plant to be found anywhere on the sheets. Occasionally plants are drawn on a double page, i.e. on the verso side of one sheet and continued on the recto side of the following sheet. As the titles on the bindings and the annotations of the interleaved sheets are made in French only, we suppose that the annotations Figure 1 Libri Picturat Picturatii volumes A18-31 A18 -31 in the Jagiellonian Library in Krak6w Krakow

have been made before the collection came to the library in Berlin. It seems probable that the archivist there would have annotated in the German language. It seems probable therefore, that these anno-

Scientific information on the Libri Picturati watercolours can not only

tations were made before they came to Berlin, i.e. when they were

be derived from the illustrations of the plants and animals, and from

still in Kleve.

the annotations contained within the volumes. The sheets of the volumes themselves prove to be a treasure-trove of information, as

Spines

is shown in this contribution.

The spines of the bindings have the following short descriptions of

The whole collection of the 16 volumes, with shelf numbers Libri

the contents in French:

Picturati A16-31 A,6-3' is bound in white vellum over pasteboard, with gold

A16 A,6

Litt. A et B des poissons et bestes Miniature

tooling. The bindings are all identical: their size is 51.5-5z x 36.5-37cm.

(fishes and beasts, in miniature);

Both covers of each volume are similarly decorated with frames of

A17 A'7

lines, bridged at the corners, a floral tool in the corners of the inner

(of all kinds of birds, in miniature);

one and a large block with an interlacing pattern and leaves in the

A,8 Ala

centre. Each spine has seven double raised cords; the compartments are decorated with small roses and lilies.

(all kinds of roots, flowers, and fruits, in miniature); A19 Litt_ A'9 Litt. Edes fleurs et herbages Miniature

Most volumes have traces of green textile straps for closing the book.

(flowers and herbs, in miniature);

Volume A31 A3' has been illustrated later and in a completely different

Azo A20

Litt. C de toutes sortes d'oiseaus Miniature Litt. D des toutes sortes des racines,fleurs raeines, fleurs et etfruits frUits Miniature

[Litt. FJ et et G des fleurs fruits et arbres Miniature {Litt.

manner, and can therefore be eliminated from our considerations.

(flowers, fruits, and trees, in miniature);

The bindings were possibly made in the Netherlands and can be dated

Az, A2l

CCl.

1660 ,660 or a little later, see note 1.

This collection of 15 volumes, the 'animal' and the 'botanical' volumes, in its actual state including the additions as conserved in the Biblioteka jagiellonska of the University of Krak6w, seems to be complete and jagiel/onska

Litt. H H des toutes sortes des fleurs Miniature

(all kinds of flowers, in miniature); Al2 Azz Litt. ,I des toutes sortes des Fleurs. Fleurs,

raeines racines et fruits Miniature

(all kinds of flowers, roots, and fruits, in miniature); A23 AZ3 Litt. K. K. L. M. des fleurs et fruits Miniature

seems to represent the totality of the botanical watercolours that

(flowers and fruits, in miniature);

were made for Charles de Saint Omer (see previous chapter), and is

AZ4 A24

Litt N. des toutes sortes des fleurs fruicts et racines Miniature

carefully organized. Throughout the fifteen volumes we find twenty-

(all kinds of flowers, fruits, and roots, in miniature);

three parts, indicated with the letters of the alphabet, from A to Y,

Az 5 Litt. 0 des toutes sortes des fleurs Miniature Al5

which we find mentioned on the spines of the bindings as well.

(all kinds of flowers, in miniature);

Volumes A16 and A17 are devoted to the animal world. The The'3 13 botanical

A26

114Z illustrated sheets, of which 287 z87 present volumes A18-30 A,8-30 contain 1142

(all kinds of herbs and flowers, in miniature);

illustrations on both sides. This makes a total of 1429 '4Z9 illustrated

AZ7 A27

Litt. P des toutes sortes d'herbes et des fleurs Miniature

pages. The number of represented plant taxa is even higher (ca 1860), ,860),

Litt. Q. Q, R. R, S et T Des toutes sortes des /leurs. fleurs, fruicts. fruicts, herbes et Litt. choses rares Miniature

as sometimes several different plant species are drawn on a single

(all kinds of flowers, fruits, herbs, and rare objects, in miniature);

racines, /leurs fleurs et fruicts Miniature Lit. V des toutes sortes des raeines.

page. Zemanek & De Koning (1998, p. 181) and Ram6n-Laca Ramon-Laca (2001, p.

Az8 A28

200) mention a number of"'5 sheets of paper A; this concerns all

(all kinds of roots, flowers, and fruits, in miniature);

16 volumes, including the two 'zoological' ones.

A29 Litt. W des toutes sortes des raeines./leurs racines, fleurs etfruicts et fruicts Miniature

In the botanical volumes we find animals represented as well, and

(all kinds of roots, flowers, and fruits, in miniature);

A30

Litt. X et Y des toutes sortes des /leurs fleurs Miniature

(all kinds of flowers, in miniature). Plate 1 (A18.047V) (A18.047v) Lady's mantle (Alchemilla xanthochlora), showing various types of annotations

23

'Drawn after Nature

*: *-'

The complete watercoloufS of the 16th-ceRn,,)' complere botanical boranical warereolours ofrhe 16rh-century libri Libri Pictumti Picrurari

Contents At the top of the first sheet of these twenty-three parts the contents are indicated by short descriptions in French:

A16 A16

Lit. A. Contenant ce livre Ie nombre de trente septfueilles sept fueilles de toutes sortes de poissons Lit. B contenant ce livre veingt sept fueilles des toutes sortes des bestes Lit A. This book contains thirty-seven sheets with all kinds of fishes Lit. B this book contains twenty-seven sheets with all kinds of animals

A17 -

Lit. C contenant ce livre cent quatorze fueilles de toutes sortes d'oiseaux Lit. C this book contains one hundred and fourteen sheets with all kinds of birds

A18 - Lit. D contenant ce livre cent et deux fueifles fleurs et fruits fueilles de toutes sortes de racines, f1eurs Lit. D this book contains one hundred and two sheets with all kinds of roots, flowers, and fruits

A19 -

Lit. Econ contenant tenant ce livre soixante et huit feuilles de toutes sortes de racines, f1eurs fleurs et fruits Lit. E this book contains sixty-eight sheets with all kinds of roots, flowers, and fruits

A20 -

Lit. Fcontenant con tenant ce livre septante fueilles de toutes sortes de racines, f1eurs fleurs et fruits Lit. G contenant ce livre vingt et quatre fueilles de toutes to utes sortes de fruits Lit. F this book contains seventy sheets with all kinds of roots, flowers, and fruits Lit. G this book contains twenty-four sheets of all kinds of fruits

A21 -

Lit. H H Contenant ce livre cent et dixneuffueilles de toutes sortes de f1eurs fleurs Lit. H this book contains one hundred and nineteen sheets with all kinds of flowers

A22 -

Lit. Jcontient soixante et douze fueilles de toutes sortes de racines, fleurs f1eurs et fruits Lit. J contains seventy-two sheets with all kinds of roots, flowers, and fruits

A23 -

Lit. K. Contenant ce livre dixhuit fueilles de toutes sortes de fruits Lit. Lcontenant ce livre quinze fueilles la pluspart estant choses des Indes Lit. M contenant ce livre quatre vingt et huit fueilles de toutes sortes de f1eurs fleurs Lit. K. This book contains eighteen sheets with all kinds of fruits Lit. L this book contains fifteen sheets, the majority being objects from the Indies Lit. M this book contains eighty-eight sheets with all kinds of flowers

A24 -

Lit. N N contenant soixante et quatre feuilles de toutes sortes de f1eurs fleurs fruits et racines Lit. N contains sixty-four sheets of all kinds of flowers, fruits, and roots

A25 -

Lit. 0 contenant soixante et dix feuilles de toutes sortes de fleurs f1eurs Lit. 0 contains seventy sheets with all kinds of flowers

A26 -

Lit. P con contenant tenant ce livre quatre vingt et dix fueilles de toutes sortes d'herbes et de fleurs f1eurs Lit. P this book contains ninety sheets with all kinds of herbs and flowers

A27 -

Lit. Q contenant con tenant ce livre trente huit fueilles de toutes sortes de branches d'arbres to utes sortes de racines Lit. R contenant ce livre vingt et huit fueilles de toutes Lit. S contenant ce livre veingt trois fueilles de toutes sortes de racines, f1eurs fleurs et fruits Lit. T con contenant tenant ce livre dix fueilles de diuerses sortes de choses de mer Lit. Q this book contains thirty-eight sheets of all kinds of tree branches Lit. R this book contains twenty-eight sheets with all kinds of roots Lit. 5 this book contains twenty-three sheets with all kinds of roots, flowers, and fruits Lit. T this book contains ten sheets with various objects from the sea

A28 -

Lit. V contenant ce livre cent et seize fueilles de toutes sortes de racines, f1eurs fleurs et fruits Lit. V this book contains one hundred and seventeen sheets with all kinds of roots, flowers, and fruits

A29 -

Lit W. Contenant Con tenant ce livre quarante et sept fueilles de toutes sortes de racines f1eurs fleurs et fruits Lit. W this book contains fourty-seven sheets with all kinds of roots, flowers, and fruits

A30 -

Lit. X con tenant ce livre soixante et douze fueilles de toutes sortes de f1eurs fleurs Lit. Y contenant ce livre dix.huits fueilles de toutes sortes de f1eurs fleurs Lit. X this book contains seventy-two sheets with all kinds of flowers

24

Lit. Y this book contains eighteen sheets with all kinds of flowers

Technical description

Watermarks

Numeration

In all 15 volumes we consider at this point (A16-30), the watercolours

The sheets are numbered in various ways in the different volumes.

are interleaved with folios that are ca 50.5 x 35.5cm. These folios

All published contributions about these Libri Picturati so far, use

carry a watermark showing a 'fIeur de lis' on a crowned shield with

those numbers written in (lead) pencil at the base of the folios for

the letters WR at the bottom (Fig. 2) on one half of the sheet. On

numeration of the watercolours. This is the most recent numeration,

the other half of the sheet a monogram can be seen with the letters

made in 1900.

IHS and a cross. This type of watermark was very common from

The sheets bearing watercolours may show two or three, or sometimes

the last quarter of the sixteenth century until the beginning of the

even more, different numbers written in ink. All the drawings show

eighteenth century. This watermark has been used by paper maker

numbers in the upper right corner, and this seems to be the definitive

Wendelin Riehl from Strasbourg, and by his heirs and imitators.

arrangement for the collection. Nearly all watercolours also carry

Similar but not identical watermarks may also be found in Elsholz's

numbers at the lower right corner, and this cataloguing system seems

Tulip volume (Whitehead, Van Vliet & Stearn, 1989), and elsewhere,

to be the oldest, or the original. Some sheets have a third number at

e.g, the 'Handbooks of Count Maurits Nassau Siegen' (Libri Picturati

the bottom, and sometimes the sheets have letter markings as well.

A36 and 37) or in many prints from the Netherlands. This means that

All twenty parts of the botanical collection (marked with the

this particular watermark is far too common to be useful for our

letters D to Y) have their own upper right corner numeration of

purposes (Motyka, 2003, 2003, p. 129).

sheets, beginning with the number 1. The implication is that some

The majority (over 960) of the watercolours is painted on paper

volumes show two or three or even, for example in A27, four series

with a watermark showing two crossed arrows and a star (Fig. 3), as

of numbers. Quite often the numbers at the top and bottom are the

reproduced by Ram6n-Laca (2001, (2001, fig 02) and marked 'A' by him. This

same or differ only slightly. This is, however, not the case for volume

watermark has been identified as Briquet 6299, paper size ca. 44-45

A22 where the numeration in the lower right corner starts with 73,

x 30-31.5cm. This type of paper appears in all volumes. In six of them,

and for volume A21 where it is hard to find any order at all.

i.e. A18, 19, 23, 26, 27, and 29, it is the only type of paper used.

There are no artist signatures in the 'botanical' part ofthe collection

Another type of paper, appearing in ca. 130 sheets, shows a bunch of

but one - the letter L in A21.103, where it can be found accompanying

grapes as its watermark (Fig. 4)4). Ram6n-Laca (2001) (2001) marks this type of

an illustration representing a Heart-urchin. In the zoological volume

paper as 'B', and suggests that this might be a type defined as Briquet

A17 various artist monograms are found: LP or L (probably the same

13192. This paper is slightly smaller than the aforementioned, ca. 40-41

person), Ie and - just once - LMPT (see first chapter).

x 23.5-27cm, and appears in the volumes A20, 21, 22, 28, and 30. The other five types of paper found in these Libri Picturati only appear

Regular annotations

rarely. They are as follows: with a watermark showing the letter B on a

The majority of sheets have drawings accompanied by annotations

shield (Ram6n-Laca type C, Briquet 8078); with a double-headed eagle

made in different hands. These various kinds of hands appear in all

with a crown (Ram6n-Laca type D, Briquet 304); with a watermark

volumes.

showing a basilisk with a Basle shield (Ram6n-Laca type E, Briquet 1389);

The most common hand is what has been described as the 'professional

with a watermark showing the letter F in a circle (Ram6n-Laca type F,

hand' (Fig. (Fig. 5), of which Ram6n-Laca and others suggested that this

Briquet 8154); and with as a watermark a sign with the number 4 and

were the handwriting of Clusius himself (Ram6n-Laca, 2001, p. 197).

the letters Band E on a shield (Ram6n-Laca type G, Briquet 9812).

The annotations in this hand are made in the same format throughout

There is also one single sheet bearing a watermark with lilies on a

the Libri. At the top of the page the names of the plants are given in

small shield (A22.034), not mentioned by Ram6n-Laca. Furthermore

several languages: at the very top the name in Greek in red ink, under

there are papers without a visible watermark, i.e. in the volumes

which the name in Latin, in capital letters, can be found.

A22 and A30. Especially in volume A21 we find drawings on papers

Generally not directly under the Latin name, and sometimes more to

of irregular sizes (the size of the smallest of which is 15.7 x 10.8cm).

the left or right but generally not at the centre or bottom,local names

There are even a few paintings on vellum, or on grey paper, and the

may be noted in lower case in Italian (ita/.), (ital.), Dutch (Be/g.), (Belg.), German

like.

(Germ.) and French (Gall.). At the centre or at the bottom of the page

Figure 2 Watermark on the

Figure 3 (A20.oo6) Watermark

Figure 4 (A21.048) Watermark on

interleaving folios: a 'fleur de lis' on

on paper type A, the main part

paper type B, a bunch of grapes;

a crowned shield with the letters WR

of the collection: two crossed

detail of Quill (Scilla cf bifolia)

at the t he bottom

arrows and a star; detail of the Musk rose (Rosa moschata plena)

25

*: *-'

'Drawn after Nature

5

((

.. f

~ P.J(~t m !qilM i;,.~ ,I r:.J '\I,m':", .sdHAt'um~ 'N j(lt"r m ~ ",'"''''''' .sdKA"~V ?flIt. ..m-tn- 'l'lt1'u,. mlJj 1 fMtttn.. rlrlfori.""",

.CI ..... (,...~

f.,

OJ..O&ANCHt "4",1,

A21.0S0

206

A21,OS1

#

A21.o72

Left: Popover rhoeos , right: P. somniferum, cultivar

#

A21.o73

Veratrum nigrum

#

A21.074

From left to right: Verboscum blottorio (2 colours),

*

A21.07S

Ornithogolum c[. orobicum

Verboscum phoeniceum

*

A21.o79

Ulium pyrenofcum

#

A21.075

Friti/lorio imperioUs

*

A21.0S0

Toxus baccota

+ "'

A21.076

Fritillorio imperialis

*

A21.0S1

Poncrotium moritimum

#m

A21.o77

Phlomis !ruticoso

*

A21.0S2

Viola odorota 'Albo'

A21.0S4

*:

'Drawn after Nature

The complete botanical watercoloufS of the 16th-ceRn,,)' libri Pictumti

A2l.l0l

A2l.l02

A2l.l02 verso

A21. 103

A2l.l04

A21.l09

A2.l .no

A2l.l1l

A2l.112

A2l.n3

A2l.l0l

rKO/\HK'OEIt:.Hr 'H l 'E/\MIN8'OEIt:.Hr I VERMICVLARIA, aut

LVMBRICARIA I A similitudine quam cum ver- I mibus seu

I

lumbricis habet I sic nobis denominata. I Reperitur in vadosa

*m A2l.l06

Lithothamnium or related genus, or Lecanoro muro/is

*m A2l.l0Y

Viva (Enteromorpho) spec.

*m A2l.108

possibly fossils

maris Oceani parte, qUGe Wulpiam insulam temlmq. continentem

I Flandri~ interluit: quibusuis rebus temere I ad instar Cuscut~ adherens, et superne aquis I innatans.

A2l.l08 v

possibly stones

Chordofilum and V-shaped piece of Himanthalia elongata Red algae or lichen on pebble:

*m A2l.l02

•

Beta vulgaris subsp. vulgaris, root

Uthothamnion or cf Phymotolithon

lenormandii, or cf Acarospora

A2l.l02V

Root and wood

A2l.l03

Echinocardium cordatum, 3 shells

Plin. lob, xxxii cap. xviii Gal. lib. xi simplicium I Alcyonium per

Dendrite on a piece of stone

Lib. 1 De composit. 1med. secundum locos

A2l.no

*m A2l.l04

Alcyonij prior, vt videtur, species I de quo Diose. lib. v. cap. xciiii medium sectum, lI rcj>aipa 9aAaooia, Pila marina I de qua Gal.

11 Pila marina minor

Top: chorals or bezoar stones, 2 specimens, bottom: debris from 210

A2l.l0S

fungus?

Phoenix, or Posidonia, made into balls by the sea

A22

Litt. Ides toutes sortes des Fleurs, racines et fruits Miniature .&.22.001

A22.002

A22.002 verso

A22.003

A22.004

A22.004 verso

All.OOS

A22.00S verso

.&.22.006

All.006 verso

*m

A22.003

I

ALLlVM VRSINVM forte SCORODOPRASVM Diose. lib. 2. cap. 145. 1Vmbrosis gaudet et sponte nascitur in prator. 1marginibus.

I Floret mense AprilL 1I OIOIKOPOAON ALLlVM ANGVINVM 1seu SILVESTRE I CANINVM PRIMVM TragL I Innascitur alicubi segetib. ingratum agri I colis, reperiturq. ad sepes et in pratis I siccioribus. 1Floret semenq. fert mense lunio 1 lulioq. Left:

f. I Lit J con tenant ce livre soixante et douze fueilles

*

de toutes sortes de raeines, fleurs et fruits

* *m

A22.001

I

CEPA ASCALONICA 1Matthioli fissilis et sterilis

I

A22.004 A22.004 v A22.oo5

Allium ampeloprosum Allium ompeloprosum

I

~KOPOAON ALLlVM I Diose. lib. 2. cap. 145. 1Theophr. de nat.

I

plant. lib. 7. cap. 4. 1Galen. lib. 2. de alim. facult. Seritur

11 BVLBVS

nucleatim diuisum in hortis. 1 Floret A22.005V

Allium sotivum Allium vineole

A22.oo6

ORCHIS 1Flore purp. maculoso I minor 11 ORCHIS Flore puniceo,

AGRESTIS Tragi, ac SILVESTRIS Dodont;0. 1I BVLBVS

I

Allium ursinum, right: Allium vineole

SILVESTRIS ALTER, f10re candido. From left to right: Allium oseolonicum, Gogeo lutea, Allium ef

neapolitonum

*

A22.002

*

ORCHIOS secundum genus 1Dodont;o. 11 ORCHIOS SPECIES

quibusdam SECTIVVM 1Seritur inter olera. 1Floret Maio luni6q.

From left to right: Doctylorhizo moeulato, Orchis mosculo, Orchis morio, 3 specimens From left to right: Orchis moria, Orchis militoris, Orchis moria, Anocomptis pyromidolis, Orchis ustuloto

I

mensibus, altero quam satum aut transplantatum est anno. A22.002 v

I folijs maculosis sessilibus maio- I ribus et obtusioribus I

~:XOINonpAWN, Dodont;o. 1 PORRVM IVNCEVM et 1

Allium schoenoprosum Allium cepa

A22.oo6v

21 3

A22

*:

'Drawn after Nature

A22.00?

A22.014

verso

The complete botanical watercoloufS of the 16th-ceRn,,)' libri Pictumti

All.ooS

A22.009

Al2.0l0

All.Oll

A22.015

A22.015 verso

A22.016

AU.Ol?

•

A22.010

I

I

KOI\XIKON: COLCHICVM, seu BVLBVS AGRESTIS Diosc. lib.

4. cap. ?2. 1Galen. lib. 6. simp. medic. I Nascitur in pratis

vliginosis, circa Viluordiam I Brabanti~ oppidum, frequens. 1

I

Florere incipit paulo ante autumnate ~quinoctium: sed folia *m A22.00?

SATYRIUM BASILlCVM seu I PALMA CHRISTI I flore purpureo PALMA CHRISTI I flore candido

11 PALMA CHRISTI I Flore

purpurascente. 1 H~c. vt et superiora, locis siluosis et in pratis

I

11

proximo post vere prodeunt, semine mense lunio maturescente.

I

Colchicum autumnale

frequentia nobis sunt. 1 Florent mense Maio lunioq. lI ORCHIS

SERAPIAS FEMINA seu I TRIORCHIS ALTERA, Dodon~o. 1 Flore

#

A22.0ll

Left:

Colchicum autumnale 'Plenum', right: C. autumnale

#

A22.0l2

Left:

Colchicum autumnale 'Album', right: C. a. 'Roseo·violaceus'

Crabronem referente. From left to right: Coeloglossum viride, DoctylorhiZO mOjolis subsp. praetermissa, Dactylorhiza maculata, 2 specimens, Ophrys apijera, Ophrys sphegodes

*m A22·013

COLCHICVM florens.

Colchicum autumnale

*

A22.008

SATYRIVM TRIFOLlVM, Dodon~o. 1 Hoc in Germania sponte

I

prouenit in 1 siluis: nobis in hortis seritur. Floret mense Martio.

Scilla cf bijolia *m

A22.oo9

ORCHIS flore raro I muscam imitante. lI TESTICVLVS

11 ORCH IS flore I candido 11

TRAGORCHIS I Dodon~o. 1 Locis vmbrosis et pratensibus gaudet. 1Floret Maio luni6q.

Spiranthes spiralis, Ophrys insectijera, 2 specimens, Platanthera bijolia, 2 specimens, Himantoglo55um hircinum From left to right:

214

A22.014 A22.014 v

ODORATVS I Dodon~o I Hic pr~ c~teris locis apricis gaudet. 1 Floret mense Augusto.

*

*m A22.01 5

A22.015v *m A22.016

Urginea maritima, bulb Scilla peruviana, bulb Gynandriris sisyrinchium 'ris xiphium OPNI80rAI\ON I ORNITHOGALVM I Nascitur inter segetes, macro potissimum et I sabuloso 5010. 1Folia prodeunt Martio

Aprilfq.: flores vero Maio: 1post lunium autem, herba ipsa disparet.

Ornithogalum umbellatum

'Drawn after Nature

A22.020 verso

*:

The complete botanical watercoloufS of the 16th-ceRn,,)' libri Pictumti

A22.021

A22.022

A22.023

A22.024

AZZ.029

AZ2.03°

AZ2.03 '

AZZ.OF

...

*m A22.020 A22.020V

I

I

A1:'Ol:.EAGr ASPHODELVS ALBVCVS seu HASTVLA REGIA

I

I

*

A22.024

L1L1AGO Cordi. lib. histor. plant. cap.l06 1ASPHODELI, vt

I

Diosc. lib. 2. cap. 161. 1Galen. lib. 6. simp. medic. Plin. lib. 21. cap.

apparet, SPECIES Nascitur editis apricisque locis, iuxta rara et

17. 1 Montes siluosos amat, seriturq. in hortis. 1 Radix eius Napis

parua arbusta.

modicis similis est, l vt ait Plinius: neq. alia numerosior, l LXXX

Anthericum liIiago

sE:pe simul accruatis bulbis.

Asphodeline lutea or A. liburnica

Asphodelus albus *

A22.021

ASPHODELI CAVLlS 1Quem Theophrastus, et fere Graeci princepsq. Pytha- I goras AN0'EPIKON, Latini verb ALBVCVM, I vt Plinius ait, appeliauere. 1 Floret mense Maio: semenq. in lunio

*

A22.026

Hemerocallis fulva

•

A22.027

ASPHODELVS LVTEVS DodonE:o I folijs non decidu is .

Asphodeline /utea

maturescit.

Asphode/us a/bus *m

*

A22.022

A22.023

#

A22.028

Hemerocallis Ii/ioasphode/us

Asphode/us a/bus

#m

A22.029

Hemerocallis fulva

ASPHODELVS FEMINA Galeni in libr. de alim. facult. DodonE:o. 1

•

A22.030

Hemerocallis lilioosphode/us

#m

A22.031

Lathyrus tuberosus

I

ASPHODELVS ex candido purpurascens.

Quibusdam nunc BVLBVS VOMITORIVS

Ornithoga/um pyrenaicum

I

'Drawn after Nature

*:

The complete botanical watercoloufS of the 16th-ceRn,,)' libri Pictumti

A22.03?

A22.039

A22.040

A2.2.045

A22.046 verso

A22.04?

•

A22.052

A22.0S'

A22.0S3

ARI SEMEN I tam viride quam maturum.

Arum spec. , fruit

*

A22.03?

ARON MACVLOSVM

*m

A22.040

l1PAKONT"IA MIKPA I DRACVNCVLVS seu SERPENTARIA

I

,6, I I Nascitur alicubi sponte in

MINOR Matthioli et MAIOR Dodon~i. 1 Diosc.lib. 2 cap.

I ... Vide Tragum, qui plures huius enumerat

Theophr. de nat. plant. lib. ? cap."

species I Nascuntur ari omnes frigidis atq. vmbrosis 10cis. 1Folia

sepibus: at nobis seritur 1in hortis. 1Floret mense lulio,

I

mense Martio Apriliq. prodeunt: qu~ in lunio marcescunt,

fructumq. perficit Augusto.

cauliculum nudum reliquentes, in quo semina mense Augusto

Dracunculus vulgaris

I

maturescunt.

Cyclamen hederifolium

Arum maculatum

*

A22.038

Biarum tenuifolium

#

A22.042

Top:

Cyclamen hederifolium, bottom: C. purpurascens.

plus another cyclamen picture pasted next to it

I

DRACVNCVLI MINORIS FLOS 218

Dracunculus vulgaris

#

A22.o43

Cye/amen hederifolium

Annotations

A22.0S9

A22.o60

A22.o61

A22.o67

A22.o67 verso

A22.o68

*

A22.066

Floret quando lutea.

Iris spuria subsp. spuria, flowers *m A22.o67

IRIS LVTEA I pro ACORO a pharmacop~is I nostratib. perperam

I

I

hactenus habita Floret mense Maio, et semen maturat mense

Augusto. I Val. Cordus lib. plantar. 12 cap. 44. I Nascitur passim

I

I

apud nos, palustribus et vliginosis locis: sed inutilis plane atq. inodora.

Iris pseudacorus A22.067v

CHAMA:IRIS LVTEA I Calamus aromaticus officinarum. 1Acorum

verum Monardo

Iris lutescens and roots of Acarus calamus *m A22.068

Floret serius priori

Iris cf. pumila 'Alba'

*

*

A22.069

A22.071

Iris pseudacorus

=YPII: I XYRIS et IRIS SILVESTRIS 1SPATVLA FOETIDA, vulgb. 1

I

I

Diose. lib. 4. cap. 20. Galen. lib. 8. simp. medic. Floret mense Augusto, semenq. perficit Septembri. 1Seritur nobis plerumq. in

*

hortis: I reperitur tamen alicubi sponte proueniens, I in locis

CHAMAIERIS Dodon~i lib.... cap .... 1SILVESTRIS ALTERA

aquosis ac iuxta sepes, et in siluarum I marginibus.

Matthioli lib.... cap .... 1H~c in icanibus Matthioli caule longiori

quam oportebat I expressa est, quum ipse eandem contra in

commentarijs I suis caule breui esse testetur.lnter folia n. floret, vt humilis non immeritb dici possit. 1Hanc verb IIlyricam esse

I

quidam perperam contendunt, quum ilia

a nostrate, non forma

aut specie, sed viribus I tantum differat. 1Floret mensibus Maio

Iris !aetidissima

I *m A22.072

IRIS MARITIMA forte, et I RIZOTOMOS Plinij. I H~c ob

I

flacciditatem et humoris abundantiam improbatur: et sane tam ex florum quam I radicis et foliorum colore lacustris apparet. 1

lunioq.

Floret

Iris graminea

Iris )( sambucina

221

A22

Litt. K. L. M. des f1eurs et fruits Miniature

A23

A23·oo 1

A23·o02

A23·oo3

A23·o04

A23.o04 verso

A23-00S

A23·oo6

A2J.oo6 ve"o

A2lo07

A23-008

f. I Lit K contenant ce livre dixhuit fueilles de toutes sortes de fruits

'EAAriNH quibusdam. 1HEDERA TERRESTRIS et CORONA TERRAE vulg6. 1Nascitur passim in sepibus ac locis vmbrosis.

I

I

Floret ab Aprili mense per totam fere E:statem, herbaq. et folia

*

per totum annum plerumq. virent.

A23·oo6 A23.006v

Glechoma hederacea

*

A23·002

AMnEAm: OINOAI\'IHTPON Cl>AI\·IHTPON

simp. medic. Val. Cordus in annot. in Diose. lib. 3 cap. 106.

I

I THALlETRVM seu THALlCTRVM, Dod. ISOPHIA,

quibusdam. 1Nascitur locis incultis, iuxta semitas et inter

et Hist. Plantar. lib. 2 cap. 25. 1Floret mense lunio, semine

rudera. 1Floret et semen perficit

Augusto mense maturescente. 1Nascitur montanis, calculosis,

~statem.

saxosis et stirpibus con- feretis aprecisque locis: quamuis in

Descurainia sophia

I

campis et pratis qui- busdam etiam humidioribus copiosissime

I

*m *m A24·029

Artemisia campestr;s campestris

Vincetoxicum hirundinaria

*m *m A24·030

Ambrosia maritima

(vt Cordus ait) gignatur, semine eo per torrentes et fluuiorum f1uuiorum inundationes delato.

248

I

nobis in hortis tantum.

ArKI\HnlAL ASCLEPIAS: HIRVNDINARIA et VINCETOXICVM

I

I

mense lulio et Augusto Nascitur alibi in montib. et collibus:

I

Cerinthe cf. major A24·025

CERINTHE Plinij. quibusdam. 1 CYNOGLOSSVS MONTANA Gesneri. 1 Plin. lib. 21. cap. 12. Gesnerus in hortis Germ. Floret

flore. inuenitur. Sed regno Valentino non nisi luteo f1ore.

*

Vincetoxicum nigrum

a mense lunio, per totam fen~

*: *-'

'Drawn after Nature

*

A24·034

I

I

The complete watercoloufS of the 16th-ceRn,,)' complere botanical boranical warereolours ofrhe 16rh-century libri Libri Pictumti Picrurari

ANt.POrAIMON 1ANDROSAEMVM 1 Diose. lib. 3. cap. 148. 1

I

Alibi sponte in campestribus, asperis et incultis: 1 Nobis in hortis

*m *m A24·o39

I

**

A24.036

I

asperis et petrosis: nobis 1verb in hortis tantum. 1Floret media

maturescit Augusto.

restate. ~ XAMAIt.PYL 1 I TRISSAGO seu TRIXAGO 1Diose. lib. 3.

Hypericum androsaemum

cap. 94. 1Galen. lib. 8. simp. medic.

11

Left:

*m *m A24·035

I

CHAMAEDRYS MAIOR 1siue ANGLICANA 1Nascitur sponte in

tantum modo satum prouenit. 1 Floret mense lulio: semenq.

Teucrium chamaedrys, chamaedrys, right: Teucrium cf cf.lucidum lucidum

Coris monspeliensis

I

*

A24·040

I

TEYKPION

Kat

I

I

TEYKPlr 1TEVCRIVM 1Diosc. lib. cap. 93. 1

I

XAMAln-iTHr: CHAMAEPITYS 1 AIVGA, ABIGA XAMAlmTHr: ASIGA siue IBIGA. lSI GA. 1

Nascitur sponte in pluribus Itali~ locis, maximeq. cliuosis 1

Describit hanc exactissime Val. Cord us. Hist. plantar. lib. I. cap.

Floret lunio montibus et campestribus: nobis in hortis tantum. 1Floret

72. facitq. 1 Secundam Chamepityon speciem Dodoneus verb

luli6q. mensibus.

Tertiam. 1Diose. lib. 3. cap. ult. 1Gal. lib. 8. simp. med. 1 Nascitur

Teucrium j1avum flavum

I

I

alibi sponte in campestrib. et montosis: 1nobis in hortis tantum.

I1Floret mense lulio August6q.

Ajuga chamaepitys, bottom: Lythrum thymi/olia thymifolia Brassicaceae? Brassicaceae?

Top: A24.036v

**

A24·041 A24.041V

*m *m A24·042 *m *m A24·037

Satureja cf cf. montana

Sideritis hirsuta cf cf. Satureja ·EYcPOL·INH

Kat

OcP8MMIK·H 1EVPHRAGIA seu EVPHRASIA

locis. 1Floret 11 mense lunio in Autumnum vsq. 25 0

*m *m A24·038

Teucrium botrys

I

et OCVLARIA 1Nascitur temere in pratis et clinosis 1insolatisq.

Euphrasia stricta stricto

'Drawn after Nature

*: *-'

The complete watercoloufS of the 16th-ceRn,,)' complere botanical boranical warereolours ofrhe 16rh-century libri Libri Pictumti Picrurari

A24.049 verso

A24.055 verso

*m " m A24·o51 A24·051 *"

A24.048

Plant~ga Plantago cf arenaria

A24.048v

Plantago cf arenaria

*m " m A24·049

THLASPI VMBELLIFERVM, VMBELLIFERVM. flore candido. 1 I Seritur nobis in hortis.

lberis /beris pinnata

A24.o52V

Silene cf vulgaris 5i1ene Silene cf vulgar; vulgariss

*

A24·053

Jasminum jasminum !ruticans fruticans

*"

A24·054

*" LlTHOSPERMVM RECTVM seu sell MINVS. I Dodon~o. 1 Diose. lib. 3.

A24·o5 2

cap. 141. 1Plin.lib. 27. cap. 11. 1Nascitur alibi sponte. sponte, in asperis et editis locis: 1 I apud nos verb in hortis tantum. 1 Floret mensibus ~stiLlis, ~stiuis.

a ILlnio lunio scilicet in Septembrem I1vsq.: atq. inter ea etiam

semen perficit. A24.o49v

Lithospermum officinale Lithospermum officinale

I BEHEN RVBRVM POLEMONIVM ALTERVM Dodon~o. 1 Quibusdam. 1Floret nobis, nobis. ILlnio lunio luli6q. ruli6q. mensibus. 1Asperis et

montosis gaudet: seritur I tamen in hortis, hortis. ab herbari~ rei stu-

diosis.

*m " m A24·o50

Centranthus ruber

LlTHOSPERMVM MArVS. MAIVS, Dodon~o. 1 MILlVM SOLIS. SOLIS, Officinis.

I

1 I Nascitur et seritur eisdem quibus prius locis: 1Floretq. eodem tempore. 25 2

Lithospermum purpureocoeruleum

Om *m A24·o55

A24.o55v

maritima, 3 specimens Armeria maritima. Parnania Parnassia palustris, palustris. in flower and in fruit

I

Litt. 0 des toutes sortes des f1eurs Miniature A25·001 A2S·001

v,,,o

A25.004 A2S.004 verso

A25

A2S.001 verso A25.001

A2S·002 A25·002

A25·003

A25·004

A2S·00S A25·005

A2S·006 A25·006

A25.006 verso A2S.006

A25·007

ff. JI Lit 0 contenant soixante et dix fuei/les de toutes sortes de fleurs •

A2S.001 A25.001

'ION M'EI\AN

KOl

'ION nOPYPOYN II VIOLA NIGRA et

VIOLA PVRPVREA II Flore albo multiplici I Diosc. lib. 4. cap.

I

I I II Diosc. lib. 3. cap. 118. I Galen. lib. 7. simp. medic. II Plin. lib. 21.

107 1Galen. lib. 6. simp. medic. I Flore albo simplici I Flore

I

I

I\EYKOTA I LEVCOIA LVTEA I VIOLAE LVTEAE Plinij, Dodon~o.

purpureo multiplici I Flore cceruleo I Prim~ quatuor species

I

cap. 6. II LEVCOIVM LVTEVM II flore simplici I Nascuntur sponte

nascuntur sponte, opacis et asperis locis, I pingui potissimiJm solo: et seruntur in hortis ad coronamenta. I Vltima verb

in parietibus vetustis ac tectis tegulaceis: sed et transferuntur in

exilis et inodora, nascitur in macrorum et II sterilium agrorum

hortos viridariaq.: imo et in II fenestris ac hortos pensiles, vbi ad

marginibus. 1I ~ VIOLA CANINA seu II SILVESTRIS II Florent omnes

corona menta II diligentissime fouentur. I Florent mense Aprili II

I

mense Martio et I Canina etiam vlterius in Maium I vsq.

atq. Maio II LEVCOI\lM LVTEVM I flore multiplici.

Top left: Viola Violo odorata 'Alba Plena', top right 'Alba',centre: 'Plena',

Left: Erysimum cheiri, right: Erysimum cheiri 'Plenum'

cf rupestris bottom left: Viola odorata, bottom right: Viola if. A2S.001 v A2S.001V

VIOLA MARTIA I flore rubro multiplici

om

A2S.006

Top: Viola odorata odorota 'Rubra', bottom: Viola canina Om

A2S.002

1\'0::

KOl

I

LEVCOIVM PVRP. IIflore crispo II multipli- I cique. 11 ~ LEVCOIVM

~ LEVCOIVM PVNICEVM II PVNICEVM I seu CAERVLEVM 1I

1\'OnON I VIOLA FLAMMEA et FLAMMA, 1\'OriON

Dodon~o. 1 HERBA TRINITATIS,

alterum. 1I ~ LEVCOIVM PVRPVREVM I Seruntur in hortis ad

atriplici colore, vulgb. 1VIOLA

coronamenta. 1 Florent mense Martio, Apriliq. I altero quam

FLAMMEA SILVES I TRIS II Nascuntur sponte in cultis: serunturq.

in hortis II ad coronamenta. Florent

sat~ sunt anno. 1I ~ LEVCOIVM EXPVRPVRA II CANDICANS 11 ~

a mense Aprili in totam fere

LEVCOIVM CANDIDVM

Matthiola incana, various cultivars

I ~statem.

Viola tricolor, 3 colour forms, bottom centre: Viola arvensis arvensis #

A2S·003 A2S·oo3

Viola tricolor, various colours

I\EYK'OTA IVIOLAE I VIOLAE ALBAE I AAfolijs albicantib. sic dictae. 1I ~

A2S.006 v A2S.006v

•o

Matthiola incana 'Alba' VIOLAE MATRONALES II lore candido II Flore purpureo. II Seruntur passim in hortis, ad coronamenta. 1 Florent pr~cipue

*m Om A2S.004 A2S.004 v

Matthiola incana

mense Maio.

Matthiola incana

H. matronalis Left: Hesperis matronalis 'Alba', right: H.

255 A25

*: *-'

'Drawn after Nature

The complete watercoloufS of the 16th-ceRn,,)' complere botanical boranical warereolours ofrhe 16rh-century libri Libri Pictumti Picrurari

A25.009 A25.oo9 verso

A25·008 A25·oo8

•*

A25.015 verso

A25·015

A25.014 verso

A25·008 A25·oo8

A25·010

A25·017 A25·o17

I

BOLBONAC, seu I VIOLA LATIFOLIA et I THLASPI CrateuE:, . .. A25·011

DodonE:o. 1Seritur in hortis. 1 Floret mensib. Aprili et Maio,

COTVLA LVTEA. DodonE:o. 1CHRYSANTHEMVM et

altero quam sata est vere.

CHAMAEMELVM LVTEVM, quibusdam. 1Seritur nobis in hortis:

Lunaria annua

et 1 I floret per totam fere E:statem.

Anthemis tinctoria

•

VETTONICAE SILVESTRIS SPECIES 11 VETTONICAE SILVESTRIS

II SPECIES ALTERA I Nascuntur alibi sponte, in pratis, montibus l et locis insolatis: nobis in hortis coluntur. II Floret eodem quo

. .. A25·012

A25.009 A25.oogvv A25.010 A25·010

Dodon