The ‘Prodromos theatri botanici’ of 1620 consisted of descriptions of 600 species, which the author regarded as new, although several had, as a matter of fact, been already described by de l’Écluse. Figures of about 140 species are given, two of which are here reproduced (Text-figs. 49 and 62). One of these, the Potato (Text-fig. [49]), still retains the name of Solanum tuberosum which Bauhin gave to it. He had previously published a description of this plant in an earlier work, the ‘Phytopinax’ of 1596.
In 1623, Gaspard Bauhin brought out his most important botanical book, the ‘Pinax[17] theatri botanici.’ By this date, owing to the number of different names bestowed upon the same plant by different authors, and the varying identifications of those described by the ancients, the subject of plant nomenclature had been reduced to a condition of woeful confusion. Bauhin’s ‘Pinax’ converted chaos into order, since it contained the first complete and methodical concordance of the names of plants, and was so authoritative as to earn for the author the title of “législateur en botanique.” The work, which dealt with about 6000 plants, was recognised as pre-eminent for many years. Morison criticised the scheme of arrangement on which it was based, but adopted its nomenclature, as also did Ray. Tournefort also retained, as far as possible, the names of the genera and species used in the ‘Pinax.’ As Sachs long ago pointed out, this work is “the first and for that time a completely exhaustive book of synonyms, and is still indispensable for the history of individual species—no small praise to be given to a work that is more than 250 years old.”
Gaspard Bauhin deserves great honour as the first who introduced some degree of order into the chaotic muddle of nomenclature and synonymy. The special merits of his work, more especially his power of concise and lucid description, and his faculty for systematic arrangement, may perhaps be attributed to his French blood, since such qualities are markedly characteristic of French scientific writing.
It is much to be regretted that the two brothers Bauhin should have carried on their work independently and separately, considering that they had in view practically identical objects—objects in which each only achieved a partial success. It seems as if a work of much greater value might have resulted if they had joined forces.
Text-fig. 50. Jacques d’Aléchamps, 1513-1588 [Enlarged from wood-cut, circa 1600, Department of Prints and Drawings, British Museum].