Arduino, who held the first chair in agriculture at the University of Padua, here advertised his connections with the botanical garden in Padua, by then more than two centuries old. An earlier edition of Arduino's work appeared in 1759, when Arduino was just twenty-one.

A Latin translation of this work, with additions, appears in the "Cultivating the Exotic" section of this exhibit. The number of plates more than doubled between versions.

These Figures complemented Miller's Gardeners dictionary; both recorded Miller's success in enriching the array of plants at the Chelsea Physic Garden, where for nearly fifty years he was "Gardener to the Worshipful Company of Apothecaries."

Salibury, né Markham, accepted a legacy from Anna Salisbury in support of his botanical researches; the terms required him to change his surname to honor her late brother. William Hooker, listed as publisher (and no relation of Sir William Jackson Hooker), was an artist trained by Bauer at Kew. Salisbury, often working with plants in private gardens, focused in this work on those that are "new, uncommonly beautiful or incompletely figured by others." He saw himself as working in a sort of "golden age, when flowers from every region of the earth are being showered done upon us in such profusion."

Hooker's efforts over many years to save the royal pleasure garden at Kew "for the nation" eventually led to acceptance of his plan for a national botanical garden at Kew, and to his appointment in 1841 as director of the Royal Botanic [sic] Gardens there. Hooker expanded the gardens, enriched their holdings, exploited imperial connections, and, in a liberal gesture, opened Kew to the public.

The copy cited here in the exhibit, which is held in the Department of Special Collections, comes from the library of Increase Lapham.

Martyn, an apothecary and later professor of botany at Cambridge, helped found the botanical Society. In this course he addressed an interested, if lay public: "I shall not take up any of your Time, with discoursing on the Usefulness or Pleasantness of the Science, which I have now undertaken to teach. If You expected neither Advantage nor Pleasure from the Knowledge of Plants, I presume you would not give yourselves the trouble of coming hither to be instructed in it." His works drew in part on plants introduced to the Chelsea Physic Garden.

Maund's was a varied career, which took him into pharmacy, botany, printing, and bookselling. His Botanic garden ran to thirteen volumes over a quarter century, another instance where an author joined with artists and publishers to feed the public's appetite for instructive (and illustrated) botanical works.

Maund addressed "the lovers of botany, in particular, and the admirers of a flower garden, generally," drawing upon such sources as Aiton's Hortus Kewensis and Curtis's botanical magazine. The work can be considered a printed and changing (virtual!) botanical garden, not a representation of any real garden.