Egmond's study investigates horticultural techniques, fashions in the collection of rare plants, botanical experimentation and methods of scientific evaluation, as well as tracking the exchange of knowledge. Central to this activity is the figure of Carolus Clusius (1526-1609), the first truly scientific botanist.

A treasury like no other Since the 1500s, scientists have documented the plants and fungi that grew around them, organizing the specimens into collections. Known as herbaria, these archives helped give rise to botany as its own scientific endeavor. Herbarium is a fascinating enquiry into this unique field of plant biology, exploring how herbaria emerged and have changed over time, who promoted and contributed to them, and why they remain such an important source of data for their new role: understanding how the world’s flora is changing. Barbara Thiers, director of the William and Lynda Steere Herbarium at the New York Botanical Garden, also explains how recent innovations that allow us to see things at both the molecular level and on a global scale can be applied to herbaria specimens, helping us address some of the most critical problems facing the world today. At its heart, Herbarium is a compelling reminder of one of humanity’s better impulses: to save things—not just for ourselves, but for generations to come.

Explores the development of natural history since the Renaissance and contextualizes current discussions of biodiversity.

Drawn after nature presents a vivid and complete picture of a unique historical collection of botanical watercolours. Botanists, art lovers, historians as well as the general public will enjoy this publication of the watercolours, their annotations and their history, but above all their supreme beauty and display of craftsmanship. For over 300 years, the Preußische Staatsbibliothek in Berlin held a most remarkable collection of botanical watercolours. They were catalogued as part of the library’s illustrated manuscripts, or Libri Picturati. These magnificent works of art, rich in colour and detail, were made in the second half of the 16th century in the southern part of the Low Countries. In the 1970s the complete set of watercolours had been rediscovered and sparked the interest of historians, art historians and botanists alike. Together they set out to unravel the many secrets still held by the Libri Picturati’s watercolours: who had collected them, and why? A team of pre-eminent European scientists worked together on these and other intriguing questions surrounding the collection. They unveiled the important role played by the famous Dutch botanist Carolus Clusius, who later founded the University of Leiden’s Botanical Gardens. Drawn after nature contains accessible and informative chapters on the collection’s history, but most importantly: it brings together all of the original 1429 watercolours and sketches, for the first time in one volume, accompanied by their original annotations.

The untold story of how the Dutch conquered the European book market and became the world's greatest bibliophiles--"an instant classic on Dutch book history" (BMGN - Low Countries Historical Review) "[An] excellent contribution to book history."--Robert Darnton, New York Review of Books The Dutch Golden Age has long been seen as the age of Rembrandt and Vermeer, whose paintings captured the public imagination and came to represent the marvel that was the Dutch Republic. Yet there is another, largely overlooked marvel in the Dutch world of the seventeenth century: books. In this fascinating account, Andrew Pettegree and Arthur der Weduwen show how the Dutch produced many more books than pictures and bought and owned more books per capita than any other part of Europe. Key innovations in marketing, book auctions, and newspaper advertising brought stability to a market where elsewhere publishers faced bankruptcy, and created a population uniquely well-informed and politically engaged. This book tells for the first time the remarkable story of the Dutch conquest of the European book world and shows the true extent to which these pious, prosperous, quarrelsome, and generous people were shaped by what they read.

Out of the diverse traditions of medical humanism, classical philology, and natural philosophy, Renaissance naturalists created a new science devoted to discovering and describing plants and animals. Drawing on published natural histories, manuscript correspondence, garden plans, travelogues, watercolors, and drawings, The Science of Describing reconstructs the evolution of this discipline of description through four generations of naturalists. In the late fifteenth and early sixteenth centuries, naturalists focused on understanding ancient and medieval descriptions of the natural world, but by the mid-sixteenth century naturalists turned toward distinguishing and cataloguing new plant and animal species. To do so, they developed new techniques of observing and recording, created botanical gardens and herbaria, and exchanged correspondence and specimens within an international community. By the early seventeenth century, naturalists began the daunting task of sorting through the wealth of information they had accumulated, putting a new emphasis on taxonomy and classification. Illustrated with woodcuts, engravings, and photographs, The Science of Describing is the first broad interpretation of Renaissance natural history in more than a generation and will appeal widely to an interdisciplinary audience.

'A fascinating exploration of human greed and self-delusion and also a tribute to our ageless search for beauty' DEBORAH MOGGACH. In 1630s' Holland thousands of people, from the wealthiest merchants to the lowest street traders, were caught up in a frenzy of buying and selling. The object of the speculation was not oil or gold, but the tulip, a delicate and exotic bloom that had just arrived from the east. Over three years, rare tulip bulbs changed hands for sums that would have bought a house in Amsterdam: a single bulb could sell for more than £300,000 at today's prices. Fortunes were made overnight, but then lost when, within a year, the market collapsed. Mike Dash recreates this bizarre episode in European history, separating myth from reality. He traces the hysterical boom and devastating bust, bringing to life a colourful cast of characters, and beautifully evoking Holland's Golden Age.

This book speaks about a world of mute objects ranging from plant bulbs, divining rods, and archeological findings to drawn, painted, or printed images. It describes the functions of these objects as ambiguous and polyvalent carriers of knowledge, and it analyzes the ways in which networks of scholars, craftsmen, mathematicians, anatomy professors, or merchants active in the Low Countries attributed new meanings to them. The book examines a period in which cities like Antwerp and Amsterdam were nodal points in the international exchange of goods, news, and skills. (Series: Low Countries Studies on the Circulation of Natural Knowledge - Vol. 1)

Publisher Description

A vivid account of Dutch seventeenth-century art and material culture against the backdrop of the geopolitics of the early modern world The seventeenth century witnessed a great flourishing of Dutch trade and culture. Over the course of the first half of the century, the northern Netherlands secured independence from the Spanish crown, and the nascent republic sought to establish its might in global trade, often by way of diplomatic relations with the Ottoman Empire and other Muslim powers. Central to the political and cultural identity of the Dutch Republic were curious foreign goods the Dutch called "rarities." Rarities of These Lands explores how these rarities were obtained, exchanged, stolen, valued, and collected, tracing their global trajectories and considering their role within the politics of the new state. Claudia Swan’s insightful, engaging analysis offers a novel and compelling account of how the Dutch Republic turned foreign objects into expressions of its national self-conception. Rarities of These Lands traces key elements of the formation of the Dutch Republic—artistic and colonialist ventures alike—offering new perspectives on this momentous period in the history of the Netherlands and its material culture.