The book describes the innovations that enabled botany, in the Eighteenth century, to emerge as an independent science, independent from medicine and herbalism. This encompassed the development of a reliable system for plant classification and the invention of a nomenclature that could be universally applied and understood. The key that enabled Linnaeus to devise his classification system was the discovery of the sexuality of plants. The book, which is intended for the educated general reader, proceeds to illustrate how many aspects of French life were permeated by this revolution in botany between about 1760 to 1815, a botanophilia sometimes inflated into botanomania. The reader should emerge with a clearer understanding of what the Enlightenment actually was in contrast to some popular second-hand ideas today.

This volume completes a trilogy meant to be a commentary on the botanophilia that captured the literate public in 18th-century France. Enthusiastic public support for any governmental initiative likely to expand botanical knowledge was an expression of immense curiosity about the natural world beyond Europe. It amounted to a quest for universal knowledge that could benefit all mankind: useful knowledge that could improve the human condition in this life.

During the eighteenth century, porcelain held significant cultural and artistic importance. This collection represents one of the first thorough scholarly attempts to explore the diversity of the medium's cultural meanings. Among the volume's purposes is to expose porcelain objects to the analytical and theoretical rigor which is routinely applied to painting, sculpture and architecture, and thereby to reposition eighteenth-century porcelain within new and more fruitful interpretative frameworks. The authors also analyze the aesthetics of porcelain and its physical characteristics, particularly the way its tactile and visual qualities reinforced and challenged the social processes within which porcelain objects were viewed, collected, and used. The essays in this volume treat objects such as figurines representing British theatrical celebrities, a boxwood and ebony figural porcelain stand, works of architecture meant to approximate porcelain visually, porcelain flowers adorning objects such as candelabra and perfume burners, and tea sets decorated with unusual designs. The geographical areas covered in the collection include China, North Africa, Spain, France, Italy, Britain, America, Japan, Austria, and Holland.

The author undertakes an investigation into the history of Russian Freemasonry that has not been attempted previously. Her premise is that the Russian Enlightenment shows peculiar features, which prevent the application of the interpretative framework commonly used for the history of western thought. The author deals with the development of early Russian masonry, the formation of the Novikov circle in Moscow, the ‘programme’ of Rosicrucianism and the character of its Russian variant and, finally, the clash between the Rosicrucians and the State. The author concludes that the defenders of the Ancien Régime were not wrong. In fact the democratic behaviour, the critical attitude, the practice of participation, the freedom of thought, the tolerance for the diversity, the search for a direct communication with the divinity, in short all the attitudes and behaviours first practiced inside the eighteenth century Rosicrucian lodges constituted a cultural experience which spread throughout the entire society. Novikov’s imprisonment in 1792 and the war against the Rosicrucian literature were attempts to thwart a culture, based on the independence of thought that was taking root inside the very establishment, representing a menace to its stability.

A Cultural History of Plants in the Seventeenth and Eighteenth Centuries covers the period from 1650 to 1800,a time of global exploration and the discovery of new species of plants and their potential uses. Trade routes were established which brought Europeans into direct contact with the plants and people of Asia, Oceania, Africa and the Americas. Foreign and exotic plants become objects of cultivation, collection, and display, whilst the applications of plants became central not only to naturalists, landowners, and gardeners but also to philosophers, artists, merchants, scientists, and rulers. As the Enlightenment took hold, the natural world became something to be grasped through reasoned understanding. The 6 volume set of the Cultural History of Plants presents the first comprehensive history of the uses and meanings of plants from prehistory to today. The themes covered in each volume are plants as staple foods; plants as luxury foods; trade and exploration; plant technology and science; plants and medicine; plants in culture; plants as natural ornaments; the representation of plants. Jennifer Milam is Pro Vice-Chancellor and Professor of Art History, University of Newcastle, Australia. Volume 4 in the Cultural History of Plants set. General Editors: Annette Giesecke, University of Delaware, USA, and David Mabberley, University of Oxford, UK.

Portraiture and Politics in Revolutionary France challenges widely held assumptions about both the genre of portraiture and the political and cultural role of images in France at the beginning of the nineteenth century. After 1789, portraiture came to dominate French visual culture because it addressed the central challenge of the Revolution: how to turn subjects into citizens. Revolutionary portraits allowed sitters and artists to appropriate the means of representation, both aesthetic and political, and articulate new forms of selfhood and citizenship, often in astonishingly creative ways. The triumph of revolutionary portraiture also marks a turning point in the history of art, when seriousness of purpose and aesthetic ambition passed from the formulation of historical narratives to the depiction of contemporary individuals. This shift had major consequences for the course of modern art production and its engagement with the political and the contingent.

This book focuses on how the the scientific discovery of "plant sex" unfolded due to cultural biases, beliefs, and perceptions about plant reproduction. "Flora Unveiled" is a deep history of perceptions about plant gender and sexuality, from the Paleolithic to the nineteenth century. The evidence suggests that a plants-as-female gender bias both prevented the discovery of two sexes in plants until the late 17th century, and delayed its acceptance for another 150 years.