Scientific Illustration Research Papers - Academia.edu (original) (raw)

Observar e desenhar uma ave a voar é um exercício que permite retratar a beleza, a fluidez do movimento e a graciosa capacidade de se sustentar no ar, pela força das suas asas. Representar uma ave de asas abertas transmite, no imediato, a ideia subliminar da liberdade de um voo. Dominar a arte de bem representar as asas é condição essencial para transmitir identidade e genuinidade à espécie a retratar

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- Ornithology, Scientific Illustration, Zoological Illustration, Biological Illustration
- by Petra Cerne Oven
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- Scientific Illustration, History of Botany, Austro-Hungarian History, Slovenia

Abstract of conference paper presented at the annual meeting of the American Association for the History of Medicine, New Haven (2015) and the basis for a research fellowship at the Swedish Collegium for Advanced Study, Uppsala (Sept 2016... more

[The Indian unicorn. A modern scientific myth and its graphic illustration by Jan von der Straet]
Artykuł analizuje ikonografię jednorożca indyjskiego przestawionego na miedziorycie Jana van der Straet. Scenę polowania na dzikie jednorogie osły opublikowano ok. 1596 r. w oficynie Philipsa Galle jako 29. rycinę cyklu Venationes Ferarum, Avium, Piscium. Pugnae bestiariorum et mutuae Bestiarum. Ciesząca się wielką popularnością seria oparta została na projektach gobelinów medycejskich, które w 1578 r. opublikował Philips Galle. Cykl w 1596 r. poszerzono o łowy na zwierzęta egzotyczne i mityczne, m.in. jednorożca. Miedzioryt Stradanusa ukazuje jeden z dwóch typów jednorożców występujący w kulturze europejskiej. Pierwszym jest wysmukły, srebrzysty rumak o prostym rogu, obdarzony bogatą symboliką chrystologiczną. Obok niego występuje ukazany przez Stradanusa jednorożec indyjski, który wywodzi się z greckiej tradycji literatury podróżniczej. Jest on fantastyczną hybrydą zbudowaną ze znanych starożytnym Grekom stworzeń. Pierwszym autorem piszącym o tych zwierzętach był Ktezjasz z Knidos. Jego opis był cytowany i parafrazowany przez wielu pisarzy starożytnych, przede wszystkim przez dwa uznawane później za najważniejsze autorytety – Arystotelesa i Pliniusza. Chociaż średniowieczną wyobraźnię zdominował płochliwy rumak opisywany w bestiariuszach, to w XVI w. powrócono do rozważań na temat jednorożca. Zakwestionowano jego tożsamość z nosorożcem i – na podstawie analizy tekstów antycznych – uznano, że istniało kilka gatunków jednorogich zwierząt. Niektóre z nich powstawały w oparciu o opisy i przedstawienia azjatyckich antylop i osłów, zaś inne były jedynie wytworem artystycznej fantazji. W przeciwieństwie do często przedstawianego średniowiecznego jednorożca, nie miały one jednak ustalonej ikonografii. Szkicując scenę polowania na onagry, Jan van der Straet tworzył więc wizerunek zwierzęcia, które do tej pory znano raczej z opisów. Podstawowym tekstem, którym się inspirował była Historia naturalis Pliniusza Starszego. Mógł też sięgać do tekstów sobie współczesnych będących kompilacjami wiadomości przekazanych przez starożytnych – do Historiae animalium Konrada Gesnera i L’alicorno Andrei Bacciego. W oparciu o informacje zawarte w tych utworach opracował ikonografię jednego z gatunków jednorożca – dzikiego osła indyjskiego. Polowanie na niego to scena łowów na zwierzę rzadko przedstawiane a znane przede oczytanym w literaturze antycznej – nie tylko badaczom, ale też autorom ryciny.

- by Julia Czapla
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- Scientific Illustration, Unicorns, Early Modern Zoology, scientific myths

Reminiscências do paganismo pré-cristão europeu, as plantas de folhagem persistente e verde-escura, nas quais pontuam contrastantes drupas vermelhas, como no azevinho ou nas gilbardeiras que ocorrem em matagais umbrios, são ainda muito... more

- by Fernando Correia
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- Illustrations, Illustration, Scientific Illustration, Ilustración

Since its origins, the paleoart was an integrative discipline of art and paleontology, which has contributed with important interpretative elements from the evidence that the fossils offer, it consolidates the paleoart like a relevant knowledge area in the art field. In this work, we carry out a review of its methodology, implementing it in the reconstruction of the mastodon of Valle del Cauca (Notiomastodon platensis), one of the species that lived in South america during the Pleistocene - Holocene period. The reconstruction that we propose is not only an artistic piece itself due to the research and creation processes that it entails, it can be an educational and didactic element that will allow citizens to know about the species that inhabited our territory, contributing to build social appropriation of the paleontological heritage.

- by Jonathan Pelegrin-Ramírez
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- Zoology, Paleontology, Paleoecology, Scientific Illustration

Vesalius’s De humani corporis fabrica printed by Johannes Oporinus in Basle in 1543, is regarded as a monument of typography. It is well known that Vesalius travelled to Basle to oversee the printing and a letter to Oporinus printed in... more

- by Roger Gaskell
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- Typography, Scientific Illustration

Exhibition catalog, Gallerie degli Uffizi, 2020. Contains 98 catalog entries and 10 essays: "The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary" by Sheila Barker."“E scrittrice, e pittrice”: Giovanna Garzoni and the Art of Calligraphy" by Aoife Cosgrove. "Art in the Service of Botany: Giovanna Garzoni’s Piante varie at Dumbarton Oaks" by Sheila Barker and Anatole Tchikine. "“La Miniatrice di Madama Reale”: Giovanna Garzoni in Savoy" by
Sheila ffolliott. "Miniature Painters at the Medici Court in the Seventeenth Century" by Elena Fumagalli. "The Not-So-Still Lifes of Giovanna Garzoni" by Mary D. Garrard. "Giovanna Garzoni at the Crossroads of Art and Science:
Floral and Floristic Aspects of the Cultural Landscape of Her Times" by Lucia Tongiorgi Tomasi. "An Exotic Liaison. China, the Medici and Giovanna Garzoni" by Francesco Morena. "Giovanna Garzoni, “Accademica”" by
Peter M. Lukehart. "Vittoria della Rovere’s Homage to Giovanna Garzoni: The Stanza dell’Aurora in the Villa del Poggio Imperiale" by Pasquale Focarile.

Desenhar plantas, como já vimos, é poder traduzir em linha e cor todos os seres fotossintetizantes (autotróficos), independentemente da sua dimensão (visível, ou não, a olho nu), ou meio em que vivem (terrestres, ou aquáticas,... more

- by Fernando Correia
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- Illustrations, Illustration, Scientific Illustration, Ilustración

Berlekamp, Persis. “Painting as Persuasion: A Visual Defense of Alchemy in an Islamic Manuscript of the Mongol Period” Muqarnas 20 (2003): 35-59.

En las innumerables publicaciones sobre la figura y obra del célebre naturalista Alexander von Humboldt (Berlín, 1769-1859) lo más frecuente es la ausencia de cualquier referencia al decisivo papel que el rey español Carlos IV de Borbón y Sajonia jugó en el famoso “Viaje Americano” (1799-1804) del estudioso alemán. Una de las líneas de trabajo que he seguido desde hace años en distintos estudios (1994, 2001a-b y 2012) la he dedicado a reivindicar el verdadero alcance e importancia de todo lo que Carlos IV llevó adelante durante su reinado (1788-1808) en cuanto a la creación de instituciones sociales, publicación de obras, legislación y apoyo general a la cultura, al mundo clásico o a las expediciones científicas, todo ello dentro de un espíritu verdaderamente ilustrado y casi siempre con la ayuda o sugerencias de su amigo y valido Manuel de Godoy, Príncipe de la Paz. Una larga y doble labor difamadora, de Fernando VII y de Napoléon, con ayuda de varios historiadores de la época, contribuyó muy eficazmente a partir de 1808 a borrar todo ello de su balance. Aunque en los citados estudios hice referencias a Humboldt, en esta ocasión se profundiza en los detalles de la relación del monarca con el sabio berlinés. Por ello puede decirse que, sin los generosos permisos que en marzo y mayo de 1799 Carlos IV concedió a Humboldt, el naturalista jamás hubiera hecho su gran viaje americano, ni probablemente alcanzado la fama universal de la que justamente disfruta, sobre todo en sus tiempos y de nuevo ahora en los nuestros. Como el propio Humboldt escribió en 1804 para la American Philosophical Society, fue “un permiso expedido con una liberalidad y franqueza que honraba al gobierno y al Siglo Filosófico… un viaje por tierra y por mar, que ha sido el más grande que jamás se ha llevado a cabo por un particular”. El trabajo se complementa con varias imágenes, entre ellas un bello y muy desconocido retrato a lápiz de Humboldt, que permaneció inédito hasta 2015. --- Agradezco a D. Isaac Moreno Gallo la composición del pdf.

- by Alicia M. Canto
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- Illustration, Scientific Illustration, Ilustración, alexander von Humboldt

The hydrographic basin of the Doce River has a long history of environmental degradation that reached its peak in 2015, with the disruption of the iron ore tailing dam owned by mining companies. Despite the complexity of the scenario, significant efforts in studies are being made for this area. However, given the extension of this water system, its biological diversity and intensity of degradation have been subjected to it, much remains to be done for its conservation. It is necessary not only studies in the field of biology but also information campaigns about that system. This master's research was developed to contribute in some way to a change in this situation. It aimed to combine scientific knowledge with the arts through the scientific illustration of endangered fish species that occur in the middle stretch of the Doce River basin, thus promoting detailed documentation based on a visual representation of its ichthyofauna. To this end, species with officially endangered conservation status were investigated. The initial selection was done based on publications that listed the species found in the river. The final list of six threatened fishes was defined after being submitted to selection criteria considering the information provided by specialists. The selected fishes were studied at the theoretical and observational levels, based on scientific literature, photographic image analysis, observations of some species preserved in museums and information collected from experts. Therefore, in addition to the literature review and theoretical research, this dissertation is composed of a practical component that stands out for its originality, since, as far as we know, after extensive investigation, no similar research that focuses on coherent and systematized documentation of threatened fish from this basin through scientific illustration has been found. At first, the execution of preliminary drawings was the main task that later was structured into a series of schematic drawings. Thus, an image for each species studied was developed resulting in the precise and rigorously scientific structure of what would be an ideal specimen. Regarding the typologies, the representation of the fish in the main view was adopted. But in some cases, it was also presented detailed views. In short, it is expected that the illustrations resulting from this investigation can help in the propagation of science to various audiences, fulfilling the didactic role of scientific illustration.Therefore, this work aims to help in the knowledge and preservation of the memory of ichthyological biodiversity, serving as a basis for a future iconography project of fishes from the Doce River basin.

Although alternatives have become available, pen and ink drawings of stone tools dominate archaeological publications. Despite the existence of a conventional illustration framework, the work produced by illustrators can be inconsistent and hinges on skill level
and time commitment. Discussions going back to the 1880s critically question the use of illustrations for the purpose of scientific publication. Alternatives, such as laser scanning and photogrammetric modeling, are now available for displaying lithics. These alternatives can remove the subjectivity involved in artistic rendering, creating replicable results, regardless of who is collecting the data. In addition to creating more regularized and objective representations, there are a significant number of analytical and other benefits to adopting novel imaging techniques to depict stone tools in publications. A set of three-dimensional (3D) models are presented here to demonstrate the capabilities of laser scanning and, potentially, photogrammetric modeling as replacements for lithic illustration.

DOCTORAL DISSERTATION
This dissertation analyzes word–image interaction in technical translation by examining both empirical and theoretical material. The empirical analyses of the study examine how a group of Master’s level translation students translated an illustrated technical text from English into Finnish. Its data consists of the students’ translations as well as the translation diaries the students wrote during the translation assignment. The theoretical analyses of the dissertation consist of comparing cognitive studies of illustrated text comprehension with cognitive studies of translation, as well as evaluating theories of word–image interaction by comparing them to the insights gained during the empirical analysis.

- by Anne Ketola
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- Translation Studies, Word and Image Studies, Scientific Illustration, Multimodality

Francesca Lui, Pomona 'picta' e 'descripta': Un itinerario nell’iconografia pomologica tra il XVI e il XX secolo attraverso le tecniche, in Miti, aere e scienza nella Pomologia italiana, a cura di Enrico Baldini, Roma, Consiglio Nazionale... more

- by Mesay Diriba
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- Scientific Illustration, MESI MAN

Paleoart is a widely used term in the paleontological world. This word can be found in different media, used in relation to different kinds of artistic manifestations of paleontological theme. Paleoart has a long history and has helped paleontology to became one of the most popular sciences. The production of this artwork means that paleoartists must have high skills in both disciplines, arts and paleontology. Due to its scientist, artistic and cultural significance, paleoart and paleoartists must be recognized and valued in both paleontology and fine arts. In this situation paleoart needs a clear definition that distinguishes it from other artistic representations. Taking this into account, we have consulted to a series of paleontologists, and this survey has allowed us to
outline such a definition. All the original artistic manifestations that pretend to reconstruct o depict prehistoric life according to the current knowledge and scientific evidence at the moment of creating the artwork can be considered paleoart.

- by Marco Ansón Ramos and +1
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- Paleontology, Art, Art Theory, Scientific Illustration

A ilustração entomológica é um dos campos da ilustração científica dedicada aos invertebrados que mais adeptos reúne em praticamente todo o mundo científico – algo que não é de estranhar, pois os insetos são os animais mais abundantes e... more

A ilustração entomológica é um dos campos da ilustração científica dedicada aos invertebrados que mais adeptos reúne
em praticamente todo o mundo científico – algo que não é
de estranhar, pois os insetos são os animais mais abundantes e diversificados à face deste planeta.

- by Fernando Correia
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- Illustrations, Illustration, Scientific Illustration, Ilustración
- by Maree Elliott
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- Scientific Illustration, Fungi

In der topologischen Wende der Kulturwissenschaften sowie der aktuellen Konjunktur der »Raum«-Diskussion kommt meist eine Betrachtung der Handlungsdimension und des prozessualen Moments von Raum zu kurz. Der vorliegende zweisprachige Band zielt auf die Entwicklung eines »dynamischen« Raum-Verständnisses, indem er »Raum« als Element ästhetischer Theorie und symbolischer Ordnungen in den Blick nimmt. Konkret wird »Raum« in seiner Medien- und Epochenspezifik, seiner Prozessualität im Diskurs dargestellt, indem er als symbolische Praxis in Malerei und Bildtheorie, Architektur, Architekturfotografie, Literatur, Literaturkritik und Philosophie untersucht wird.

- by stavros Lazaris
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- Visual Studies, Humanities, Digital Humanities, Architecture

CONFIA is the International Conference on Illustration and Animation at the Polytechnic Institute of Cavado and Ave, organized by School of Design under the auspices of the Masters in Illustration and Animation.This is CONFIA's fourth conference after previous editions in Ofir, Porto and Braga. It is intended to be a pivotal moment in the contemporary discussion of these areas, which have a long tradition and, at the same time, are pioneers in technological innovation. We intend to broadly explore the multidisciplinary space that includes illustration and the animated image, from the construction of the narrative to character development, from art theory to critical reflection on the objects that populate the market and the industry.

- by Paula Tavares and +2
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- Art Theory, Animation, Animation Theory, Illustration

DIBUJANTES de ARQUEOLOGÍA - Muestras de nuestros dibujos arqueológicos de materiales e ilustraciones científicas arqueológicas | Some samples of our Archaeological Drawings.
+ INFO en nuestro SITIO WEB: https://www.dibujantesdearqueologia.com/
DIBUJANTES de ARQUEOLOGÍA es un equipo de arqueólogos formado en 2003 por Nuria Castañeda (Doctora en Prehistoria y Arqueología) y Paco Fernández (Licenciado en Historia, especialidad Prehistoria y Arqueología). Contamos con más de 20 años de experiencia profesional y estamos especializados en la difusión, catalogación, estudio y dibujo de material arqueológico.

- by PACO FDEZ and +1
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- Archaeology, Prehistoric Archaeology, Archaeological Graphics & Illustration, Mediterranean prehistory

Nature has been the object of representation by man since the dawn of humankind. Over time the representation of nature (illustration) has been addressed to fulfil different objectives (i.e., from religious, or totemic, to scientific, educational and/or technological) becoming an indispensable tool at the service of science and human knowledge in the present, i.e. visual scientific communication. This essay analyses the historic relevance of scientific illustration as well as its evolving synergy with science until becoming inseparable matters of knowledge transmission, a universal language, a way of (de)codification scientific discourse; and how, despite the new available technology devoted to representation (e.g., photography) due to the basic principle of scientific illustration: the representation of the archetype, or intangible idea, of each specie as an human concept and never as a concrete individual, even a quite representative one. The possibility of even translate human thoughts (interpretations) is well exemplified in reconstructed extinct beings (overcoming time scale and fatality of inexistence) to astronomic phenomena or even tiny molecules that are far away from our visual capacity (overcoming dimensional scale).

- by Clara Cerviño and +2
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- Scientific Illustration

La ilustración científica constituye actualmente una disciplina de indudable capacidad para generar y transmitir conocimiento y de significativo alcance social que ayuda
a comprender y a acercar la Ciencia a la sociedad. Su papel en la Arqueología, disciplina notablemente visual, resulta relevante y necesaria / Nowadays scientific illustration is a discipline with unquestionable capacity for the making and transmission of knowledge and with a significant social repercussion that promotes understanding and divulgation of Science to society. Its role is relevant and necessary in a remarkably visual discipline as Archaeology is.

- by PACO FDEZ
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- Archaeology, Prehistoric Archaeology, Illustration, Drawing
- by stavros Lazaris
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- Gnosticism, Military History, Geography, Historical Geography

The article deals with the images of constellations depicted in the manuscript Lat. VIII 22 (2760) of the Biblioteca Nazionale Marciana in Venice, produced probably in an Anglo-Norman milieu in the last quarter of the 12th century. After a short introduction on the manuscript and the texts it contains, the paper focuses on the illustrations of the Carolingian star catalogue known as De signis caeli, examining their different iconographic traditions as attested in the surviving copies. While the images in the main recension of the star catalogue clearly derive from a late antique archetype (probably the same that was used also for the so-called Aratus Latinus), the Venetian copy belongs to a group of manuscripts with a very different set of illustrations. The author proposes that this second recension is a Carolingian creation, invented between the late 8th and the early 9th century through contamination with the iconographic tradition of Germanicus' Aratea. In this group of manuscripts, the original late antique set of illustrations was replaced by a new one, in order to give the star catalogue more consistency and to obtain a more effective tool for the study of the constellations.

- by Fabio Guidetti
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- History of Science, Ancient Science, Medieval Science, Manuscript Studies
- by stavros Lazaris
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- Philology, Education, Papyrology, History of Education

When studying the relationship between text and image in a single medieval manuscript with a medical topic, it is not uncommon to find large differences between the two media. There are cases where the writing is admittedly accompanied by miniatures, but where these are not reflected in the words: the subject of the figure is mentioned, but there is no descriptive element provided.
These inadequacies prompt us to reflect on this type of image, which was ultimately not designed from the start to be linked, either "intellectually" nor "physically", to a single text and therefore was not devoted to shed light on a single work.
Through the representation of the sea urchin, as it appears in some manuscripts of the De materia medica of Pedanius Dioscorides, I examine here the nature and functions of this kind of image that I call paradigmatic.
This analysis also provides an opportunity to study the anatomical diagrams of Aristotle, from which the representation of the sea urchin would originate, and to consider the role of this type of image in the teaching of medical disciplines in Antiquity.

- by stavros Lazaris
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- Medical Sciences, Animal Science, Papyrology, Aristotle

Poucos animais, e menos ainda no grupo dos invertebrados, têm tão grande conotação com o sobrenatural, como as libélulas, ou libelinhas. Na Europa são vários os mitos e lendas que mancharam a reputação destes formidáveis insetos,... more

- by Fernando Correia
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- Illustrations, Illustration, Scientific Illustration, Ilustración

"Cette monographie – la première du genre – est une réflexion sur les miniatures hippiatriques grecques, où se demander pour quel usage et comment le lecteur médiéval les « lisait », conduit nécessairement à essayer d’expliciter les rapports complexes qu'entretiennent l'illustration et le texte.
Après une présentation générale de la littérature hippiatrique, l’auteur élucide des questions liées à la composition du Corpus hippiatricorum graecorum. L’intérêt est principalement porté sur les différentes recensions d’un de ses abrégés, l’Épitomé, et sur sa place par rapport au Corpus hippiatricorum. Ainsi est-on amené à mieux discerner l'histoire de ce traité et celle des deux seuls manuscrits illustrés.
Vient ensuite un chapitre consacré à l'étude minutieuse de ces deux témoins, le Leidensus Vossianus graecus Q. 50 et le Parisinus graecus 2244. Paléographie et codicologie s'en mêlent, qui révisent bien des opinions reçues sur l'origine des manuscrits.
Un re-examen des miniatures des deux témoins est alors possible. Par-delà analyses stylistique et iconographique, trop souvent attachées à la quête absolue de l'archétype, l'auteur analyse les rapports texte/image pour établir, en définitive, le modus operandi des imagiers et déterminer les fonctions concrètes pour lesquelles les figures ont été pensées et conçues. De ce regard synchronique découle naturellement une étude sur la façon dont le lecteur médiéval utilisait les images. Les conclusions pratiques se voient donc confrontées aux théories antiques et médiévales sur le rôle de l'image et celui des mots. Ainsi l'image hippiatrique ne saurait être seulement une simple illustration du texte : elle appartient à l'œuvre tout autant.
L’ouvrage s’adresse aux antiquisants et aux médiévistes, historiens de l’art et de la médecine vétérinaire antique et moderne ainsi qu’aux philologues et à quiconque s’intéresse à l’histoire de l’illustration scientifique et des relations entre l’homme et l’animal."

- by stavros Lazaris
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- Philology, Scientific Visualization, Veterinary Medicine, Aesthetics

On parle toujours de l’homme préhistorique : le chasseur, l’artiste, l’inventeur. Mais c’est oublier l’autre moitié cachée de l’Humanité : la femme. Mère, captive, amante, voire sacrée, les archéologues et les artistes des siècles passés l’ont projetée dans tous les fantasmes tout en la mélangeant à nos propres mythes des origines, encore aujourd’hui. Ainsi, Lucy l’australopitheque se substitue naturellement à l’Eve biblique, et à la mère allégorique de l’Humanité supplée la génétique, qui recherche le plus vieil ancêtre féminin commun à travers l’ADN mitochondrial. Concernée, la cause féministe essaie de réhabiliter la femme préhisorique ; on parle alors de matriarcat, de culte de la Grande Déesse et de division sexuelle des tâches. Mais au-delà de l’interprétation, que dit finalement l’archéologie ? Peut-on faire parler les petites Vénus paléolithiques, seules images de cette féminité millénaire ? Durant cette conférence, nous essaierons ensemble de comprendre la dimension mythique et sociale qui se cache derrière le thème universel de la dualité entre les sexes.

- by Celine Piret
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- Prehistoric Archaeology, Anthropology, History of Science, Feminist Epistemology
- by Sergio Cordoba
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- Scientific Illustration, Birds

An essay about the material culture of the tea plant in eighteenth-century Britain

This paper contributes to science-and-religion studies in that shows the relation of Quaker faith and practice to technology, science, and industry in the United Kingdom It is published in a double-issue of Quaker Religious thought... more

- by Paul N Anderson
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- Critical Theory, Religion, Sociology of Religion, Cognitive Science
- by Juho Paukkunen and +1
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- Photography, Illustration, Scientific Illustration, Hymenoptera

Text was finished in 2003. Paintings are done in oil and acryl, and were finished in 2004.

- by Christiane Clados
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- Archaeology, Knowledge Management, Architecture, Visualization

Depuis plusieurs décennies maintenant, historiens de l’art et historiens des sciences se sont penchés sur le « commun », dans la fabrique des images comme dans les représentations produites, entre art et science. On voudrait ici, sans d’ailleurs que cela soit nécessairement contradictoire, s’interroger sur l’approfondissement de la divergence entre ces « deux cultures » au cours du long XVIIIe s., soit entre 1720 et 1820, au moment où se met en place un nouveau régime de l’image scientifique. Au début du XIXe s., au terme provisoire de ce processus, et de manière a priori paradoxale, l’image naturaliste, est dans un rapport moins mimétique avec la nature que l’œuvre artistique, à force de brider l’expression de la liberté du dessinateur toute en rejetant les codes de l’académisme et à force d’évider la représentation des êtres naturels de ses couleurs, de ses contextes et de ses imperfections, c’est-à-dire à force de vouloir abstraire les formes idéales des espèces.

- by stavros Lazaris
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- Philology, Illustrations, Art History, Late Antique and Byzantine History

This paper shows that in the final decades of the eighteenth century, beyond the diplomatic and military conflicts between
Portugal and Spain, there were important scientific connections, which have been little studied. Having as a starting point the
almost unknown Specimen Florae Americae Meridionalis (1780), a four volumes botanical work produced in Real Museu da Ajuda
(Lisbon), we will explore the interest aroused in the circles of scholars and amateur botanists the arrival in Lisbon of over two hundred
drawings of plants from the Royal Botanical Expedition to the Viceroyalty of Peru (1777-1788). Considering the Portuguese, Spanish
and English personalities who were involved in the presence of these drawings in Portugal we will recover some of the practices that
made possible in this period the circulation of scientific knowledge and the advancement of botany. In this sense, this study aims to
make a novel contribution to the History of Botany in Portugal and Spain, and point paths for future research.

- by Ana Maria Costa
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- Art History, History of Science, Iberian Studies, Art and Science