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First edition of Martyn's Flora Rustica, with 144 hand coloured plates by Frederick P. Nodder, Botanic painter to Her Majesty Queen Charlotte. Nodder (fl. 1777-1800) "made illustrations for Erasmus Darwin's Botanic Garden, and a number of delicate little plates for T. Martyn's Flora Rustica - a volume dealing with 'plants useful or injurious to husbandry' - and other works. There are some skilful but rather stiff original drawings by him both at Kew and in the Natural History Museum" (Blunt, The Art of Botanical Illustration, p. 151). Chair of Botany at Cambridge from 1762, succeeding his father John to the chair, Thomas Martyn (1735-1825) was an early follower and proponent of the views of Linnaeus, teaching the Linnaean system of botany for the first time in an English university in 1763. In the preface Martyn explains the purpose of the publication: "It is our design to present the Public with such figures and descriptions of those plants with which the husbandman is principally concerned, as may leave no doubt upon his mind what object is intended, when one of them is recommended to him for its utility, or another is pointed out as proper for destruction. Most of the vegetables in common cultivation, must of course be well known; but many even of these are confounded in a multiplicity of local names and corrupted appellations: while the grasses, it must be confessed, are hardly distinguished by any. These being the least known, and yet of the greatest First edition of Martyn's Flora Rustica, with 144 hand coloured plates by Frederick P. Nodder, Botanic painter to Her Majesty Queen Charlotte. Nodder (fl. 1777-1800) "made illustrations for Erasmus Darwin's Botanic Garden, and a number of delicate little plates for T. Martyn's Flora Rustica - a volume dealing with 'plants useful or injurious to husbandry' - and other works. There are some skilful but rather stiff original drawings by him both at Kew and in the Natural History Museum" (Blunt, The Art of Botanical Illustration, p. 151). Chair of Botany at Cambridge from 1762, succeeding his father John to the chair, Thomas Martyn (1735-1825) was an early follower and proponent of the views of Linnaeus, teaching the Linnaean system of botany for the first time in an English university in 1763. In the preface Martyn explains the purpose of the publication: "It is our design to present the Public with such figures and descriptions of those plants with which the husbandman is principally concerned, as may leave no doubt upon his mind what object is intended, when one of them is recommended to him for its utility, or another is pointed out as proper for destruction. Most of the vegetables in common cultivation, must of course be well known; but many even of these are confounded in a multiplicity of local names and corrupted appellations: while the grasses, it must be confessed, are hardly distinguished by any. These being the least known, and yet of the greatest general utility, we purpose gradually to figure and describe the greater part of them, if not the whole; so that whilst the Agriculturist becomes acquainted with their form and qualities, the Botanist may possess a set of figures which he will search for in vain, either united, or scattered in various works." "The work was 'begun in the autumn of 1791, and published in numbers'; it was 'dropped, however, for want of support, in 1795'" (Gorham, Memoirs of John Martyn... and of Thomas Martyn, quoted in Henrey). READ MORE Four volumes, octavo (205 x 120 mm). Contemporary tree calf, spines ruled gilt in compartments, red morocco labels, marbled endpapers. 144 engraved plates, hand coloured. Front joint to volume I cracked but firm, spine ends and corners a little worn, corner of front free endpaper cut away, occasional light spotting; a very good set. Henrey 1023; Hunt 721.

A Botanical Gem of the Eighteenth Century In the rich tapestry of botanical literature, Thomas Martyn's **Flora Rustica** stands as a remarkable contribution, encapsulating the spirit of the Enlightenment's fascination with the natural world. Published between 1792 and 1794, this four-volume work offers a detailed exploration of British wildflowers, providing a unique blend of scientific precision and aesthetic appreciation. Martyn, a distinguished botanist and Professor of Botany at the University of Cambridge, meticulously documented the flora of rural England, creating a valuable resource for both botanists and plant enthusiasts of his time. The eighteenth century was a period of significant advancement in the natural sciences. The Enlightenment, with its emphasis on reason, observation, and empirical evidence, spurred an unprecedented interest in the study of nature. Botanists and naturalists embarked on extensive explorations, cataloging plants from various regions and seeking to understand their characteristics and uses. In this context, Thomas Martyn emerged as a leading figure, contributing to the growing body of botanical knowledge. **Flora Rustica** is organized into four volumes, each dedicated to a specific segment of British wildflowers. Martyn's approach is both systematic and comprehensive. Each plant entry includes a detailed description of its physical characteristics, habitat, and flowering period. Additionally, Martyn often provides insights into the plant's common names, historical uses, and cultural significance. One of the distinguishing features of **Flora Rustica** is its emphasis on visual representation. The work is richly illustrated with hand-colored engravings, depicting the plants in exquisite detail. These illustrations not only aid in the accurate identification of species but also highlight the inherent beauty of the natural world. Martyn's collaboration with skilled artists ensured that the visual component of the work matched the scientific rigor of the text. Martyn's **Flora Rustica** is a testament to the meticulous observational skills and systematic approach that characterized Enlightenment science. By focusing on British wildflowers, Martyn filled a gap in the botanical literature of his time, which often prioritized exotic species from far-off lands. His detailed descriptions and careful documentation of local flora provided a valuable reference for botanists and gardeners alike. Moreover, Martyn's work reflects the growing interest in botany as a practical science. The detailed notes on each plant's habitat and growth conditions offered practical guidance for cultivation and conservation. This practical orientation was particularly significant in an era when botanical gardens and the study of horticulture were gaining prominence. Beyond its scientific value, **Flora Rustica** also holds considerable aesthetic and cultural significance. The hand-colored engravings, produced with great artistic skill, elevate the work to a piece of art in its own right. These illustrations capture the delicate beauty of wildflowers, inviting readers to appreciate the natural world not just as a subject of scientific study but also as a source of aesthetic pleasure. Furthermore, Martyn's work reflects the cultural currents of his time. The late eighteenth century saw a burgeoning interest in the picturesque and the sublime in nature. **Flora Rustica** resonates with this cultural movement, encouraging readers to explore and appreciate the rural landscapes of Britain. By documenting the wildflowers that adorned these landscapes, Martyn's work contributed to a deeper cultural appreciation of the British countryside. The legacy of **Flora Rustica** extends beyond its immediate impact in the eighteenth century. Martyn's meticulous documentation and beautiful illustrations have continued to inspire botanists, horticulturists, and nature enthusiasts. The work remains a valuable historical document, offering insights into the botanical knowledge and cultural attitudes of the Enlightenment era. In the context of modern botanical science, **Flora Rustica** serves as a reminder of the importance of local flora and the value of detailed, systematic study. Martyn's approach, which combined scientific rigor with aesthetic appreciation, set a standard for botanical literature that continues to influence the field today. Thomas Martyn's **Flora Rustica** is a botanical masterpiece that embodies the spirit of the Enlightenment.