Text-fig. 30. “Brassicæ quartum genus” = Cabbage [Fuchs, De historia stirpium, 1542]. Reduced.
In spite of his professional activity, Fuchs found time to produce a botanical masterpiece, which appeared in 1542 from the press of Isingrin of Basle, under the title ‘De historia stirpium.’ This was a Latin herbal dealing with about four hundred native German, and one hundred foreign plants, and was followed in the succeeding year by a German edition, called the ‘New Kreüterbůch.’ Of all the botanists of the Renaissance, Fuchs is perhaps the one who deserves most to be held in honour. He is notably superior to his two predecessors in matters calling for scholarship, such as the critical study of the plant nomenclature of classical authors. His herbal rivals, or even surpasses, that of Brunfels in its illustrations, and that of Bock in its German text. The letter-press of the Latin edition is, on the whole, inferior to the German, the brief descriptions being often taken word for word from previous writers.
The Latin edition opens, however, with a long and most interesting preface, in singularly pure and fine Latin. Fuchs is keenly indignant at the ignorance of herbs displayed even by medical men. His outburst on this subject may be literally translated as follows:—“But, by Immortal God, is it to be wondered at that kings and princes do not at all regard the pursuit of the investigation of plants, when even the physicians of our time so shrink from it that it is scarcely possible to find one among a hundred who has an accurate knowledge of even so many as a few plants?”
That Fuchs’ work was indeed a labour of love is a conviction that must force itself upon everyone who studies his herbal, and it is further borne out by his own words in the preface—words which bear the stamp of a lively enthusiasm: “But there is no reason why I should dilate at greater length upon the pleasantness and delight of acquiring knowledge of plants, since there is no one who does not know that there is nothing in this life pleasanter and more delightful than to wander over woods, mountains, plains, garlanded and adorned with flowerlets and plants of various sorts, and most elegant to boot, and to gaze intently upon them. But it increases that pleasure and delight not a little, if there be added an acquaintance with the virtues and powers of these same plants.”
Text-fig. 31. “Polygonatum latifolium” = Solomon’s Seal [Fuchs, De historia stirpium, 1542]. Reduced.
The wood-cuts which illustrate Fuchs’ herbal are of extraordinary beauty (Text-figs. [30], [31], [32], [58], [70], [86], [87], [88]). Some of them gain a special interest as being the first European figures of certain American plants, e.g. Indian Corn (Zea mais L.) and the Great Pumpkin (Cucurbita maxima Duch.) (Text-fig. [32]). These wood-cuts became familiar in England in the second half of the sixteenth century, being used on a reduced scale (borrowed from the octavo edition) in both William Turner’s herbal and Lyte’s Dodoens, two books which we shall consider a little later. In Fuchs’ great work we are fortunate in possessing, in addition to the botanical drawings, a full-length portrait of the author himself, holding a spray of Veronica, on the verso of the title-page (see Frontispiece), and, at the end of the work, named portraits, which are generally supposed to represent the artist who drew the plants from nature, the draughtsman whose business it was to copy the outline on to the wood, and the engraver who actually cut the block (Text-fig. [89]). It has also been suggested that the first of these is perhaps engaged in colouring a printed sheet. These portraits are powerfully drawn, and remarkably convincing. It is pleasant to think that we know not merely the names, but the very features of the men who collaborated to give us what is perhaps the most beautiful herbal ever produced.
The influence of Fuchs’ illustrations is more strongly felt in later work than that of his text. The majority of the wood engravings in Bock’s ‘Kreuter Bůch’ (1546), Dodoens’ ‘Crǔÿdeboeck’ (1554), Turner’s ‘New Herball’ (1551-1568), Lyte’s ‘Niewe Herball’ (1578) and Jean Bauhin’s ‘Historia plantarum universalis’ (1651), are copied from Fuchs, or even printed from his actual wood-blocks, while a number of his figures reappear in the herbals of Egenolph, d’Aléchamps, Tabernæmontanus, etc., and the commentaries of Ruellius and Amatus Lusitanus on Dioscorides.