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Summary
Identifier: botanistsreposit34andr (find matches)
Title: The botanist's repository, for new, and rare plants : containing coloured figures of such plants, as have not hitherto appeared in any similar publication, with all their essential characters, botanically arranged, after the sexual system of the celebrated Linnaeus : in English and Latin : to each description is added a short history of the plant, as to its time of flowering, culture, native place of growth, when introduced, and by whom
Year: 1797 (1790s)
Authors: Andrews, Henry Charles, fl. 1799-1828 Bensley, Thomas, ca. 1760-1835, printer Haworth, Adrian Hardy, 1768-1833 Kennedy, John, 1759-1842 Jackson, George, d. 1811 Smith, John Donnell, 1829-1928, donor. DSI
Subjects: Plants, Cultivated Botany Flowers
Publisher: London : Printed by T. Bensley, and published by the author ... : To be had of J. White, Fleet-street, and all the booksellers
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Biodiversity Heritage Library
Text Appearing Before Image:
us, Plate XI. Vol. I. SPECIFIC CHARACTER. Gladiolus foliis fub-linearibus, coftatis; fioribusringentibus cineriis, odoratifiimis; lcapomultifloro. Gladiolus with nearly linear-ribbed leaves; blof-foms gaping, alb-coloured, and very fweetfcented; ftem many flowered. REFERENCE TO THE PLATE. 1. The two-valved Sheath. 2. A Bloffom, with the chives in their place, fpread open. 3. The Pointal complete. This is a fine variety of the Gladiolus ringens, given on Plate XXVII. Vol. I. of this work; theonly (pecimen we have ever feen of it, is in the Hibbertian collection, from whence our figure wastaken, lall year, 1801, in the month of May. It is a ftrong variety, but we cannot confider the dif-ference it exhibits, from our firlt figure, of fufficient prominence to warrant a Specific diftinclion.The bulbs were received at Clapham, in the autumn of 1800, from the Cape of Good Hope; theyare rather delicate, and the treatment muft be fuch as directed for the former variety of this fpecies. it r-»
Text Appearing After Image:
&>(. </f<ti//,i.r//,j PLATE CCXXVIII. HIBISCUS MUTABILIS. r„.Meptmn. Changeable-Rofe Hibifeus. Douiie-fowered Far. CLASS XVI. ORDER VI.MONADELPIIIA POLYANDRIA. Threads united. Many Chives. GENERICCalyx. Perianlhium duplex. Exterius polyphyllum, perfiftensj foliolis linearibus, rarius monophyllum, multifi- dum. Interius monophyllum, cyathiforme, femi- quinquefidum, perfiltens; feu quinqueden- tatum, deciduum.Cokolla. Petala quinque, fubrotundo-oblon- ga, bafi anguftiora, patentia, tubo flami- num interne adnata.Stamina. Filamenta plurima., inferne coalita in tubum, fuperne i_in hujus apice et fuper- ficie) divifa et laxa. Antherae reniformes.Pistillum. Germen fubrotundum. Stylus rili- formis, tlaminibns longior, fuperne quin- quefidus. Stigmata capiiata.Pericarpium. Capfula quinquelocularis, quin- quevalvis; dilfepimentis contrariis, dupli- catis.Semina folitaria feu plura, ovato-reniformia. Ols. Capfula aliis ovata, aliis longa; calyxexterior 3-12-phyllus.
This large AI-assisted collection comprises about 60,000 images of botanical drawings and illustrations. It spans from the 14th to 19th century. As of today, we estimate the total number of botanical illustrations in our archive as 200,000 and growing. The "golden age" of botanical illustration is generally considered to be the 18th and 19th centuries, a time when there was a great deal of interest in botany and a proliferation of botanical illustrations being produced. During this period, many of the great botanical illustrators of the time, such as Maria Sybilla Merian, Pierre-Joseph Redouté, and John James Audubon, were active and produced some of the most iconic and influential botanical illustrations of all time. In addition to being used for scientific purposes, botanical illustrations were also highly prized for their beauty and were often used to decorate homes and other public spaces. Many of the most famous botanical illustrations from this period are still admired and collected today for their beauty and historical significance. All large Picryl collections were made possible with the development of neural image recognition. We made our best to reduce false-positive image recognition to under 5%.
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