This series revisits our Book of the Month archive to highlight some of ourfavouritearticles and explore the ASC collections they describe with新鲜的眼睛。
The Temple of Flora, the third and final part of Robert John Thornton’sCarolus von linnaeus性系统的新例证，是植物科学工作中最雄心勃勃的一部分，可以说是所有特殊的花书籍最着名的。
这是原来的大象对象版本（测量巨大的C.56 x 44cm）的副本，其中几乎是任何两个副本都是相同的。它最初发布到零件中的订户，后来可以束缚在一起，然后在1807年，它以书籍形式发表。除了艺术花卉板材，它还包括一系列精心制作的书法标题页，每个工厂的详细描述，包括适当的诗歌，以及一些解释性说明。
A number of artists contributed to the volume including Peter Henderson, Philip Reinagle, Abraham Pether and Sydenham Edwards. Thornton himself was responsible for the illustration of the group of roses, displayed below.
Robert Thornton (c.1768-1837) was the son of Bonnell Thornton, a successful miscellaneous writer. He went on to study medicine at Cambridge, becoming a physician and botanical writer. Following the death of his father, mother and elder brother, he was left to inherit a considerable fortune. Having developed a passion for natural history at an early age, he decided to spend his inheritance on producing a splendid volume illustrating the Linnean system of classification. TheCarolus von linnaeus性系统的新例证在伦敦1799年至1807年之间发布。Thornton坚持认为，他的伟大工作是一个“全国”的事业，致力于乔治三世的女王迦罗琳。
菲利普Reinagle（1749-1833）绘制的青贮饲料组（如上所示）。在他的职业生涯早期，他专注于肖像，但他后来多样化成动物绘画和景观。他为几个板块做出了贡献The Temple of Flora, including that of the tulips. The depiction of the tulips is justly one of the this work’s most famous plates. English writer and art critic, Sacheverell Sitwell, remarked that it:
制作1stMay 1978, this was the first print to be published by Thornton. This is a copy of the plate in its second state: the windmill in the middle being visible and the fields in the foreground having bushes and more definition than in the earlier state.
‘The carnation tulip is called by Botanists La Triomphe Royale, which for beauty of its pencilled stripes certainly triumphs over all the rest.‘
The eighteenth and nineteenth centuries, when many great flower books were produced, were times of significant personal leisure for the wealthy. The flowering of a new plant was a triumph to be celebrated and shown off, deemed an exciting and sufficiently unusual event for it to be recorded in the best and most lavish manner possible. This meant there was the belief that it was worthwhile to document this range of flowers in such a time-consuming, but ultimately rewarding, way.
‘Each scenery is appropriated to the subject. Thus in the night-blowing Cereus you have the moon playing on the dimpled water, and the turret-clock points XII, the hour at night when this flower is in its full expanse.‘
Two artists were employed to realise Thornton’s vision in this instance: the flower was painted by Reinagle, while the landscape artist, Abraham Pether (1756-1812), an English landscape painter and talented musician, did the moonlight. In our copy, the plate is in is lesser used state ‘B’ where the dot between the XII and I on the clock is visible and the centre of the Cereus has no dark spot.
Some of the plates have been criticised for being a little absurd in their extravagance. While it is true, for example, that the Night-blowing Cereus does open up after sunset, it is not likely to flourish in an English churchyard, as depicted here. However, such inaccuracies can be forgiven: rather than being regarded as a document of scientific worth, the appeal of this monumental book today is largely emotional – its dramatic engravings and accompanying flamboyant prose redolent of a past age of romanticism.
Thornton originally hoped that seventy coloured plates would illustrate the text, but subscription for the parts was disappointing. This was an expensive, luxury purchase at a time when war with France was resulting in increased taxation and subsequent economic constraints. Ultimately, the expenses involved in the production of the plates, coupled with the underwhelming subscription rate, proved crippling.
罗伯特·桑顿的伟大愿景，The Temple of Flora，现在被永久建立为细花书籍收藏家最伟大的奖品之一。