Books

First edition. Four volumes. London: F.P. Nodder, [1791-]1792-1974[-1795]. Octavo (8 3/8" x 5 3/16", 213mm x 132mm). [Full collation available.] With 144 hand-colored engraved plates. Bound in later (late-XIXc-early-XXc; signed gilt at the tail by Gruel) three-quarter navy-blue morocco over marbled boards. On the spine, seven pairs of gilt fillets. Title gilt to the second panel, number gilt to the fourth, binder gilt to tail. Top edge of the text-block gilt. Marbled end-papers. Pale blue silk marking-ribbons. Some chips and bumps to the extremities. Vol. I, leaves 13 and 14 (the second and third leaves describing Lolium (pl. 4)) are reversed; else collated perfect against Henrey. Mildly tanned throughout, with some offsetting at the plates, with pigment oxidation to the reverse of the plates. Several lower and fore-edge deckles preserved throughout. Bookplates (of a XIXc design) of "JW" surmounted by a torse supporting a dove with the olive branch in its beak to the front paste-down of each volume. Thomas Martyn (1735-1825), the long-lived son of John Martyn, succeeded his father as Professor of Botany at the University of Cambridge. He represents the shift to and final dominance of Linnaeus in British botany; whereas the elder Martyn was an exponent of Ray, the author of the present work became one of the great Anglophone apostles of the Linnaean system. The present work, which was advertised for subscription in 1791, is the pinnacle of Martyn's scholarly output -- despite being better known as the English translator of Rousseau's Lettres sur la botanique -- and was intended to continue. As the advertisement to the fourth volume decorously laments, "we have received the most flattering testimony to the usefulness of our work from several public societies, and many respectable individuals; but our pecuniary encouragement has not been such as to warrant our carrying it on to any great extent." Around the same time, Martyn ceased to lecture at Cambridge due to a dearth of interest. Nodder, who illustrated and engraved the plates, also oversaw their coloration (Hunt ad loc.). About the "JW" whose bookplate (presumably lifted from an earlier binding) is in each volume, nothing can be discovered. The firm of Gruel (in its heyday helmed by Léon Gruel, 1841-1923) became known as one of the finest purveyors of decorative -- fantastical, even -- bindings around the turn of the century. The present set is no less fine for its simplicity. Henrey 1023; Hunt 721; Nissen 1291; Pritzel 5929; Sitwell, p. 118.

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.