Strictly limited to 600 copies, this is the first ever full-size facsimile of the greatest English florilegium. Receive two superb fine art prints free with your copy.
Quarter-bound in Nigerian goatskin, cloth sides
Front board printed and blocked with design by David Eccles from 'The Night-Blowing Cereus'.
232 pages with 9 preliminary monochrome plates, 5 preliminary colour plates and 29 flower illustrations
Text printed on felt-marked Modigliani Neve paper and plates printed on Modigliani Insize
Green ribbon marker
Coloured top edges
Book Size: 22½" x 18¼"
Commentary volume by Stephen Harris
Presented in solander box, bound in buckram
12" x 8¼"
The first ever full-size facsimile of the greatest English florilegium
‘This book is truly magnificent in its execution, production and finish. Big is beautiful, big is back!’ Judges' comment – British Book Design and Production Awards 2008
Robert Thornton was the visionary creator of the finest of all English flower books, The Temple of Flora. Despite being neither an artist nor a professional botanist, he was fascinated by the rapid development in botanical knowledge of his time and inspired by the success of flower books in France. Thornton was convinced that Britain should be leading Europe in both the arts and the sciences, and wrote that he planned to create a botanical book which would be a National Honour, ‘which in Point of Magnificence is intended to exceed all other Works of a similar Nature on the Continent’. In posterity’s eyes, he succeeded, although he bankrupted himself in the process. Today the plates from this near-legendary work are some of the loveliest and most popular of all flower illustrations.
The Temple of Flora was sold in parts for a guinea a time. Thornton’s subscription list was headed by Queen Charlotte, followed by the Prince of Wales, other members of the royal family and ‘nine foreign kings and potentates’. Despite such support, Thornton’s ambition outstripped his resources. Desperate last-ditch attempts to raise money by a private lottery failed, and Thornton was left penniless. He blamed the war with France for his failure, but in truth, less extravagant flower books could bring men with deeper pockets to ruin.
Although much loved as prints and frequently reproduced in books on botanical art, there has never been a full facsimile of The Temple of Flora, presenting the plates as they were originally meant to be seen – together with Thornton’s idiosyncratic and charming text. From the delicate colouring of A Group of Tulips and elegant form of The Sacred Egyptian Bean to the drama of The Night-Blowing Cereus (on which the binding design of this edition was based) and The Dragon Arum, these plates are exceptional works of art, whose value, both monetary and cultural, has steadily increased with the passage of time.
‘Thornton's prose style plays a valuable part in creating the peculiar atmosphere of the book. His phraseology is ... charmingly evocative of his age’ THE ART OF BOTANICAL ILLUSTRATION
In Thornton’s day there was no such hard division between the arts and the sciences as exists now. Famous men like Erasmus Darwin were equally known for their philosophy and inventions, even translating scientific works as long epic poetry, while botanical gardens owed as much to the classical aesthetic as to scientific enquiry. It is this context which explains Thornton’s eclectic text and makes it so engaging and evocative. He includes essays on ‘Hindoo mythology’, poems translated from Greek, Latin and Persian, tales from China and specially commissioned verses alongside serious botanical notes. His extravagant prose echoes the Gothic romances of the day, while the pastoral poetry reminds one that the book was produced during the heyday of Romanticism. As Sacheverell Sitwell commented, here is ‘an entire age condensed into a book’.
Two facsimile prints for you to frame
A Group of Tulips
This plate was issued on 1 May 1798. Philip Reinagle’s original painting was engraved by the renowned mezzotint engraver Richard Earlom. Thornton tells the reader that bulbs of ‘Louis XVI’ and ‘General Washington’ cost no less than 40 guineas and 10 guineas, respectively.
The Blue Egyptian Water-Lily
Issued on 11 September 1804. The painting by Peter Charles Henderson was engraved by Joseph Constantine Stadler using both aquatint and stipple techniques. The Egyptian associations of this species is Thornton’s excuse to recount Nelson’s victory at the Battle of the Nile in 1798 and point out the iniquities of the French.
Each print measures, 22" x 17¾". Does not include mount and frame.
An ambitious vision: Dr Robert Thornton
From childhood, Thornton had been drawn to botany and natural sciences, upsetting his grandmother by insisting on housing specimens in her drawing room. He became a doctor, but was thrilled by the new discoveries being made in plant sciences – especially the revolutionary notion that plants reproduced sexually. Particularly impressed by the classification system of Linnaeus, the great Swedish scientist, Thornton conceived the wildly ambitious plan of creating a book which would combine the best of the arts, both painting and poetry, with the latest botanic discoveries – all as a monument to Linnaeus.
Thornton might have been comforted to know that the flattering verses composed by his friends would eventually prove true. Today he is remembered as the visionary creator of one of the world’s greatest ever works of floral art. As Alan Thomas wrote in Great Books and Book Collecting, ‘It is easy to raise one’s eyebrows at Thornton’s unworldly and injudicious approach to publishing . . . but he produced . . . one of the loveliest books in the world’.
After inheriting his family’s estate Thornton proceeded to invest his entire fortune in the plan. He commissioned artists – not traditional botanical draughtsmen, but landscape and portrait painters – who would show the plants as he wished them to be seen, in the foreground, dominating the plates with their size and magnificence. To increase the sense of wonder, he selected the most interesting and beautiful plants then being brought into Britain by explorers from the far reaches of the globe. He was well connected, and persuaded eminent scientists and poets to write verses and encomiums, including the great polymath Erasmus Darwin, Daniel Rutherford, Regius Professor of Botany at Edinburgh, and George Shaw of the British Museum. Recognising that his vision would be realised only if the craftsmanship was of the highest order, he lavished money on employing the finest engravers of the day.
A fascinating commentary volume
Dr Stephen Harris of the Department of Plant Sciences at the University of Oxford is also curator of the Oxford University Herbaria and author of a recent book on another great florilegium, The Magnificent Flora Graeca. In his engaging Commentary he discusses the making of Thornton’s work and its place in both artistic and botanical history. His detailed comments on the individual plates, and Thornton’s extensive footnotes, provide a superb guide to the work.
"This volume is probably the most visually stunning Folio Society publication I have seen. It is enormous, the tallest of all the Limited Editions, and the quarter goatskin binding by Smith Settle, dra..." [read more]
"This volume is probably the most visually stunning Folio Society publication I have seen. It is enormous, the tallest of all the Limited Editions, and the quarter goatskin binding by Smith Settle, dramatic Eccles-designed front board and ornately gilt-calligraphed solander box make it a volume I shall never part with. It feels all the more unique for being of a limitation of only 600 volumes, scarce compared to other Limited Editions.
The real joy of the enormous tome is in the texture of the thick Modigliani paper and the extraordinary quality of the twenty nine colour prints which reveal a striking level of resolution, which I could not at all detect in on-line images.
I find the text highly enjoyable, even the incredibly ornate calligraphy of the dedications at the beginning of the volume. Although the text is obviously dated from a scientific perspective, it provides a highly enjoyable accompaniment to and context for the individual plates. It is very varied, from specially commissioned poetry to philosophical reflections, to natural history essays, and including eccentrically tangential subjects. All these add to the charm of a highly unique collection, and offer a great insight into the thinking and aesthetics of the late eighteenth century as Enlightenment dovetailed with Romanticism.
I think it amazing that I can afford to purchase such a lavish facsimile of a work which was so sumptuous in its day that it warranted a special Act of Parliament to permit a lottery to raise money for it, and yet which still ended in Thornton's bankruptcy.
Bravo Folio!" [hide full review]
Review by MKenny on 20th Jan 2014
"I Have wanted this book for some time but there were always other FS Limited Editions that I bought as I thought they would sell out quickly. When I saw there were only 61 copies left I decided to ac..." [read more]
"I Have wanted this book for some time but there were always other FS Limited Editions that I bought as I thought they would sell out quickly. When I saw there were only 61 copies left I decided to act, I received number 570 of 600. Although it is a pricey book it is magnificent so it is worth the money.
As bcapstick noted it is heavy (about 14 Lbs. by itself) the solander box alone weighs almost 11 Lbs. The binding is made for the weight and size but you will need someplace to lay it down to enjoy it.
The text is beautiful but scientifically dated and with lots of poetry but the commentary volume provides much information about the book and Thornton.
The plates are printed on the pages as in the original and not tipped in so if you want to frame some you are better off buying the folio of the plates that the Society also sells.
As to the plates themselves they are truly beautiful with great color and detail, one of a kind for flora. I am very glad that I did not let this go out of print without obtaining a copy." [hide full review]
Review by bcapstick on 8th Feb 2013
"This is an outstanding book. The illustrations are a tour de force, with a depth of colour and finish that I would not have thought possible before seeing it. The text is finely produced although th..." [read more]
"This is an outstanding book. The illustrations are a tour de force, with a depth of colour and finish that I would not have thought possible before seeing it. The text is finely produced although the content can seem a little dated. Be prepared for a substantial tome which might be best stored flat. We keep it on the library table so visitors can dip into it, purpose for which this volume seems ideal." [hide full review]