Abbildung aller medizinisch-ökonomisch-technologischen Gewächse mit der Beschreibung ihres Nutzens und Gebrauches. Zweyter Theil: Icones plantarum medico-oeconomico-technologicarum cum earum fructus ususque descriptione. Volumen II.: Pimento Off.

Профессия ботаника-иллюстратора начала появляться в восемнадцатом веке с развитием печатных процессов. Ботанические исследования стали точными в цвете и деталях. Ботаники, садоводы и естествоиспытатели обеспечили рынок для ботанических публикаций. Фотографический процесс не сделал ботанические иллюзии устаревшими, поскольку иллюстраторы смогли сочетать точность, идеализированное изображение из нескольких образцов, а также включение лица и обратной стороны таких черт, как листья с деталями, приведенными в увеличенном масштабе.

Изображения всех медико-экономических и технологических установок с описанием их использования и пользы. Abbilialler Fenzo-o-Fenzo-technical Gewa-chse mit der Fenzo und Fenzes. Icones plantarum medico-o<unk> co-technologicarum cum earum fruit us usususque descriptione.

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%.