By Alexander Samson
Locus Amoenus presents a pioneering selection of new views on Renaissance backyard background, and the influence of its improvement. specialists within the box illustrate the level of our wisdom of ways the flora and fauna appeared and the way people concerning their setting.
- A ground-breaking choice of new views on backyard historical past
- Essays show the level of our wisdom of the way the flora and fauna seemed and the way people concerning their setting
- The book's huge insurance contains botany and herbals, literary reflections of adjusting rules of panorama and nature, and human's position inside of it
- Contributors come from quite a lot of specialists, together with archaeologists, students and the librarian and archivist to the Royal Horticultural Society
- Reflects the turning out to be emergence of this box, which has been assisted either through archaeology and concepts from eco-friendly stories and environmental feedback
- Richly illustrated all through
Chapter 1 the realm of the Renaissance natural (pages 24–41): Brent Elliott
Chapter 2 Clinging to the earlier: medievalism within the English ‘Renaissance’ backyard (pages 42–69): Paula Henderson
Chapter three River gods: personifying nature in sixteenth?century Italy (pages 70–94): Claudia Lazzaro
Chapter four Dissembling his artwork: ‘Gascoigne's Gardnings’ (pages 95–110): Susan C. Staub
Chapter five ‘My blameless diversion of gardening’: Mary Somerset's vegetation (pages 111–123): Jennifer Munroe
Chapter 6 open air targets: Spanish gardens, the huerto and Lope de Vega's Novelas a Marcia Leonarda (pages 124–150): Alexander Samson
Chapter 7 Experiencing the prior: the archaeology of a few Renaissance gardens (pages 151–182): Brian Dix
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Additional info for Locus Amoenus: Gardens and Horticulture in the Renaissance
8 The ﬁrst printed illustration of the potato, from John Gerard, Herball (1597) (Royal Horticultural Society, Lindley Library) ‘Virginia’ misled scholars for centuries. 24 Nor is it only medicinal plants that are thus documented: Pena and Lobel, in their Stirpium adversaria nova (1571), reported 24 John J. Finan, Maize in the Great Herbals (Waltham, MA, 1950: Chronica Botanica); Redcliffe N. Salaman, The History and Social Inﬂuence of the Potato (Cambridge University Press, 1949). 25 I have already remarked on the lack of generally accepted concepts of species and variety in the sixteenth century.
Even if the picture had been properly identiﬁed, how useful would it have been as a guide to identiﬁcation? 16 The history of the illustration of printed herbals is not a story of simple progress toward the goal of exact representation. As many herbals were published in octavo or small quarto formats, illustration at life size was not always possible; in some herbals a compromise was reached, which remained inﬂuential well into the eighteenth century: if the plant was too large to be accurately rendered on the page, some important detail would be rendered at life size, in addition to the reduced depiction of its general habit.
What is often regarded as the ﬁrst court case brought over infringement of copyright involved a herbal. 18 In 1533 he brought a suit in the Imperial Chamber Court against Christian Egenolph, a printer in Frankfurt, for violating the terms of the Imperial privilege accorded to him by reprinting his translation without authorization. The Reichskammergerichtsakten do not record a verdict in the case of Schott v. 21 Lonitzer was commemorated by Linnaeus by giving the honeysuckles the Latin name Lonicera, but this honour must be attributed to affection for a work remembered from his youth rather than recognition of superior qualities.