the first herbaria in our sense of the word; one of the first collections of the kind, perhaps of the date of 1559, was the herbarium formed by Ratzenberger, which was discovered in the museum at Cassel a few years since and described by Kessler.
These are matters somewhat external to our immediate subject, but they show how lively an interest was taken in botany in the latter half of the sixteenth century; this is still more shown by the great number of books of plants, published with numerous and expensive plates and in some cases going through several editions. But the artistic and scientific value of the drawings, which were appended to the descriptions and in later herbals were reckoned by thousands, did not keep equal pace with their number; Fuchs' splendid figures remained unapproached, and gradually, as the distance from Dürer's time increased, the woodcuts grew smaller and poorer[1], and sometimes even quite indistinct. The art of describing on the contrary continually improved; the descriptions became fuller, and gradually a certain method appeared in assigning marks and in estimating their value; critical remarks on the identity or non-identity of species, the separation of forms previously considered to be alike, and similar matters occur more frequently. The descriptions in de l`Écluse may in fact claim to be called scientific; in Kaspar Bauhin they appear in the form of terse and methodical diagnoses.
The most remarkable thing to us in these descriptions from Fuchs and Bock to Bauhin is the striking neglect of the flowers and fruit. The earliest descriptions, especially those of Bock, endeavour to depict the form of the plant in words, to render directly the impression on the senses; special attention was paid to the shape of the leaves, the nature of the ramification, the character of the roots, the size and colour of the flowers.
- ↑ See L. C. Treviranus in his work, 'Die Amvendung des Holzschnitts zur bildlichen Darstellung der Pflanzen,' Leipzig, 1855. and Choulant 'Graphische Incunabeln,' Leipzig, 1858.
