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First edition in German, splendidly bound, of Fuchs's monumental herbal. This vernacular edition was extensively revised and enlarged with six additional illustrations and a new index. With these changes and its stronger medicinal focus, "the book's nature and the function of pictures within were transformed" (Kusukawa, p. 133). First printed in Latin the year before as De historia stirpium, this work is "one of the landmarks of pre-Linnaean herbal-botanical literature" (Norman), not least for containing the first printed glossary of botanical terms. It encompasses over 400 German species and 100 foreign species of plants, most of which were drawn from samples in Fuchs's personal garden, even those of typically exotic origin. For each plant, Fuchs provides a detailed description of their characteristics, habitats, uses, and relevant appearances in classical and medieval accounts. Of particular note is the inclusion of several recently discovered species from the New World, such as pumpkin, watermelon, chilli peppers, and maize (which he believed was native to Turkey). By describing these for the first time in print, Fuchs is said to have "initiated the history of some American plants" (Hunt). For the illustrations, Fuchs employed three artists: Albrecht Meyer, who drew the plants from life, Heinrich Füllmaurer, who transferred the images to woodblocks, and Veit Rudolph Speckle, who undertook the woodcutting. Very unusually for the period, portraits of these men appear at the end of the book - "one of the earliest examples of such a tribute paid to artists in a printed book" (PMM). The woodcuts of the plants are to scale and include their root systems and, often, sample-specific details such as leaves damaged by insects. They "established a standard of plant illustration which has been followed until our own day" (ibid.). In his introduction to the first German edition, Fuchs explains that he revised the Latin work specifically for the medical needs of the German-speaking "common man" ("der gemeine Mann"), and that he had spared no expense in doing so. Some of the formal apparatus of the text was abbreviated to accommodate longer descriptions of the plants, and a new index of disease names in German was added to facilitate finding remedies. "There was a stronger focus on medicinal effects of plants: arguments in the Latin text appealing to pictures for the identification of the Petasites, for instance, disappeared, but the medicinal virtues of the Pestilenzwurz were extolled. The exotic plants were described as having become common in the German lands... It was no longer a universal history of plants for the Galenic good doctor", but a book for a much broader audience (Kusukawa, p. 133). The six new woodcuts for this edition illustrate "Hunerbis", "Spitziger Wegerich", "klein Schlangen Kraut", "Knabenkrautweible", "das Mittel", and "Kuchenschell". The blind-stamped design on this binding reflects the contemporary German taste for finely detailed ornamental rolls arranged to form a sequence of frames. The tools on the covers are not recorded in EBDB and therefore cannot be attributed to a specific workshop. The biblical scenes appearing here (the crucifixion, resurrection, fall of man, and Nehushtan) were popular designs at the time and especially during the second half of the 16th century; heads in roundels were also popular, although this specific roll is unusual in depicting both men and women. Two comparable bindings featuring similar rolls arranged in a similar fashion are held by the Biblioteca dell'Archiginnasio in Bologna (shelf numbers 4.D.I.12 and 7.L.III.10, respectively produced in Saxony and Southern Germany). The content leaves bear a watermark depicting a Baselstab ("rod of Basel"); this symbol was introduced by paper makers in Basel in the 1520s and is typical of paper produced in that city in this period. The watermark on the endpapers, depicting a heraldic eagle with wings displayed and within a circular border, is not recorded in Bernstein, Briquet, or WZIS; the closest example we have traced is WZISDE1185-S2059_40, dated c.1650. Provenance: from the library of the German doctor Christian Daniel Jung of Kirchen (1801-1858), with his ownership inscription on the title page. Jung studied mathematics, physics, medicine and chemistry, later working as a general practitioner, surgeon, and obstetrician. He also wrote on history, publishing a work describing a public execution carried out in Kirchen in 1785 (Letzten Hochnotpeinlichen Halsgerichts, 1785). READ MORE Folio (240 x 800 mm): π6 ππ6 πππ4 a-z6 A-Z6 Aa-Zz6 AA6 BB8; 444 leaves, unnumbered. Contemporary German blind-stamped calf over bevelled boards, spine with 5 blind-ruled raised bands, later paper label lettered in manuscript in second compartment, covers triple blind-ruled to a panel design, outer border with roll of biblical scenes, including the fall of man (lettered "peccatum"), the crucifixion ("satisfatio"), the resurrection ("iustificacio"), the Nehushtan (unlettered), second border with roll of five heads in roundels and vases, third border with tendrils and leaves, central panel with same roll of biblical scenes enclosed by bands with fleurons, engraved brass clasps and catch-plates. Full-page woodcut portrait of Fuchs on title page verso, woodcut portraits of Füllmaurer, Meyer, and Speckle on leaf BB7 verso, 517 woodcuts of plants, of which 2 printed without ink - a curious printer's error - resulting in blind impression only on Bb2 Binding sometime discreetly repaired at spine ends, joints, and corners, original clasps and straps reattached and anchor plates renewed, title page lightly soiled, minimal damp stain to outer margins of a few leaves, offsetting to some leaves from pressed flowers (more prominent on leaves Cc4 verso and Zz2-6, with a couple of flowers preserved), small portion of woodcut XX with traces of old green coloring, final leaf browned and marked, bar some occasional foxing the contents notably clean. A fresh, wide-margined copy in an attractive period binding. Adams 1107; Cleveland Herbal Collection 62; Nissen 659; Norman 1808; Printing and the Mind of Man 69 (Latin ed.); VD16 F 3243. Sachiko Kusukawa, Picturing the Book of Nature: Image, Text, and Argument in Sixteenth-Century Human Anatomy and Medical Botany.

A Renaissance Masterpiece in Botanical Science In 1543, a monumental work emerged from the presses of Basel, Switzerland, transforming the world of botanical science and herbal medicine. Leonhart Fuchs, a renowned German physician and botanist, published **New Kreüterbuch** (New Herbal), a comprehensive guide to the medicinal plants of his time. This masterwork not only showcased the rich knowledge of Renaissance botany but also set a new standard for scientific inquiry and documentation. Fuchs' New Kreüterbuch was meticulously designed to serve as a practical guide for physicians, apothecaries, and herbalists. Organized alphabetically, the book covers around 500 plants, each entry providing the plant's name, a detailed description, its natural habitat, and its medicinal uses. This structure allowed users to easily navigate and apply the extensive knowledge contained within its pages. One of the most striking features of the New Kreüterbuch is its high-quality woodcut illustrations. Created by talented artists such as Albrecht Meyer, Heinrich Füllmaurer, and Vitus Rudolph Speckle, these illustrations provide accurate and detailed depictions of each plant. With over 500 illustrations, the New Kreüterbuch stands out for its visual precision, making plant identification more accessible and reliable. These images were groundbreaking, offering a clarity that was unparalleled at the time. Fuchs' work represents a pivotal shift towards empirical observation and evidence in the study of plants. Moving away from the reliance on ancient texts, Fuchs emphasized the importance of firsthand study and documentation. He critiqued earlier works for their errors and inaccuracies, striving to correct these through meticulous observation. This scientific approach laid the groundwork for modern botanical research, highlighting the value of observation and evidence-based study. The New Kreüterbuch is a product of the Renaissance humanist movement, which sought to return to original sources of knowledge and improve upon them with contemporary insights. Fuchs drew from classical authors like Dioscorides, Galen, and Pliny the Elder, yet he did not merely replicate their work. Instead, he added his own observations, corrections, and enhancements, reflecting the Renaissance ethos of advancing knowledge through critical analysis and empirical research. The impact of the New Kreüterbuch was profound and far-reaching. Widely used and translated into several languages, it became a cornerstone of botanical science across Europe. Its blend of detailed descriptions, accurate illustrations, and a scientific approach to the study of plants influenced countless subsequent works and set a new standard for botanical documentation. Fuchs' New Kreüterbuch exemplifies the spirit of Renaissance inquiry and advancement. Its detailed, scientific, and visually stunning approach to botanical knowledge marks it as a timeless masterpiece. For centuries, it served as a valuable resource, guiding the development of botany and herbal medicine, and its influence can still be felt in the field today. Leonhart Fuchs’ New Kreüterbuch is more than just a botanical guide; it is a testament to the transformative power of the Renaissance and the enduring value of scientific inquiry. Its blend of art and science, tradition and innovation, continues to inspire and inform the study of plants, standing as a beacon of botanical wisdom for generations to come.