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SUMMARY:Extra-illustrating natural history in early modern England - Xinyi
  Wen (Department of History and Philosophy of Science)
DTSTART:20230227T130000Z
DTEND:20230227T140000Z
UID:TALK195337@talks.cam.ac.uk
CONTACT:Silvia M. Marchiori
DESCRIPTION:A hand-coloured image of Iris flower\, clipped out of a copy o
 f Rembert Dodoens' _A Nievve Herball_\, and pasted into a cheap\, unillust
 rated herbal that endorsed the infamous doctrine of signatures – William
  Coles' _Adam in Eden_ (1656) – under the entry of Iris. In a copy of _A
 dam in Eden_\, currently held at the Sherardian Library of Plant Taxonomy\
 , Oxford\, clip-pasted illustrations like this filled the volume\, along w
 ith many plant illustrations directly drawn onto the page. Evidence has sh
 own that these fascinating illustrations and extra-illustrations were prob
 ably made by German botanist Johann Jacob Dillenius (1684–1747)\, the fi
 rst Sherardian professor of botany at Oxford and a botanical illustrator. 
 Extensive extra-illustrations of plants were also found in several botanic
 al books owned by C17–18 Oxford botanists\, including John Goodyer\, Wil
 liam How\, and William Sherard.\n\nThis paper argues that extra-illustrati
 on has been a crucial paper technique for early modern English botanists. 
 Extra-illustration or grangerising\, commonly defined as 'the practice of 
 augmenting a copy of a book with prints\, manuscripts or other illustrativ
 e material' that flourished in late C18–C19\, has been a curious subject
  of book history. Historians often interpret extra-illustration as an anti
 quarian 'gentle pastime'\; however\, the Oxford botanists' practices show 
 us that extra-illustration was a professional\, scholarly activity crucial
  for identifying species\, developing taxonomies\, and facilitating public
 ations. By focusing on extra-illustrations\, this paper emphasises materia
 lity and active engagement in early modern botanical reading\, and challen
 ges our usual idea of what a 'book' is.
LOCATION:Zoom
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