A masterpiece of pomology
Excerpt from the book 'Pomona Britannica' by George Brookshaw.
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The illustrations in the Pomona Britannica seem to glow in a sweet and soft light, which is mainly due to the printing technique used, aquatint. The fruits are rarely presented on a white background; often they are set against various shades of contrasting browns. Because Brookshaw wanted to depict the fruit varieties as true-to-life as possible, for the sake of easy recognition, he had to take their natural sizes into account as well. Accordingly, a single pineapple fills the whole picture field of a plate, or a single bunch of grapes or melon gourd. The melons, surrounded by their trailing vines, flowers and leaves, are wonderfully positioned on their rootstocks.
The smaller fruits, however, are arranged in groups on the individual plates: at least two varieties each per illustration, such as for the raspberries, to a maximum of 17 varieties, such as for the gooseberries, mostly displayed in threes or fours. Thus he presented very attractive arrangements inviting the viewer to linger over plump strawberries and gooseberries, velvety purple plums, succulent pale-green pears, delicately structured pineapples and glowing red-and-yellow peaches. By contrast, most of the apples, which without their leafy bowers seem virtually naked, are composed within a quite rigid order.
Brookshaw's carefully thought out grouping of the fruits must have been warmly received, for it provided a more effective way to compare the individual varieties of a species of fruit. The limited space available to each fruit variety meant that each reproduction had to be reduced to the essentials while still taking into account the defining morphological characteristics of the variety. This was crucial for precise identification and practical use of the varieties in horticulture, and is why the fruits were not always depicted by themselves but frequently together with characteristic sections of the plant, such as leaves and blossoms. Maximum precision was sought in representing the vegetal parts, the sizes, shapes, textures and colours, in order to facilitate recognition and distinction between the individual varieties. In reflecting the individual characteristics of the fruit varieties, appropriate selection and skilful use of the artistic techniques played an enormous role as well.
Page [1] [2] [3] [4] [5]
Page [1] [2] [3] [4] [5]
The illustrations in the Pomona Britannica seem to glow in a sweet and soft light, which is mainly due to the printing technique used, aquatint. The fruits are rarely presented on a white background; often they are set against various shades of contrasting browns. Because Brookshaw wanted to depict the fruit varieties as true-to-life as possible, for the sake of easy recognition, he had to take their natural sizes into account as well. Accordingly, a single pineapple fills the whole picture field of a plate, or a single bunch of grapes or melon gourd. The melons, surrounded by their trailing vines, flowers and leaves, are wonderfully positioned on their rootstocks.
The smaller fruits, however, are arranged in groups on the individual plates: at least two varieties each per illustration, such as for the raspberries, to a maximum of 17 varieties, such as for the gooseberries, mostly displayed in threes or fours. Thus he presented very attractive arrangements inviting the viewer to linger over plump strawberries and gooseberries, velvety purple plums, succulent pale-green pears, delicately structured pineapples and glowing red-and-yellow peaches. By contrast, most of the apples, which without their leafy bowers seem virtually naked, are composed within a quite rigid order.
Brookshaw's carefully thought out grouping of the fruits must have been warmly received, for it provided a more effective way to compare the individual varieties of a species of fruit. The limited space available to each fruit variety meant that each reproduction had to be reduced to the essentials while still taking into account the defining morphological characteristics of the variety. This was crucial for precise identification and practical use of the varieties in horticulture, and is why the fruits were not always depicted by themselves but frequently together with characteristic sections of the plant, such as leaves and blossoms. Maximum precision was sought in representing the vegetal parts, the sizes, shapes, textures and colours, in order to facilitate recognition and distinction between the individual varieties. In reflecting the individual characteristics of the fruit varieties, appropriate selection and skilful use of the artistic techniques played an enormous role as well.
Page [1] [2] [3] [4] [5]
Pomona Britannica, Plate XL. Black Jamaica Pine