Page:History of botany (Sachs; Garnsey).djvu/87

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Chap. II.]
from Cesalpino to Linnaeus.
67

'Geschichte,' ii. p. 30, also suspects with reason that Jung's manuscript, which was communicated by Hartlieb to Ray in 1661, was not unknown to Morison, and in this paper he might certainly have found much that suited his purposes. Sprengel says well, that the 'Hallucinationes' are a well-grounded criticism of the arrangement of plants, which the Bauhins had chosen; that the writer goes through the 'Pinax' page by page, and shows what plants occupy a false position, and that it is certain that Morison laid the first foundation of a better arrangement and a more correct discrimination of genera and species.

His 'Plantarum umbelliferarum distributio nova,' Oxford, 1672, shows considerable advance; it is the first monograph which was intended to carry out systematic principles strictly within the limits of a single large family. The very complex arrangement is founded exclusively on the external form of the fruit, which he naturally terms the seed. It is the first work in which the system is no longer veiled by the old arrangement in books and chapters, perspicuity being provided for by typographical management, an improvement which de l'Obel, it is true, made a feeble attempt to introduce a hundred years before. Morison also endeavours to give a clear idea of the systematic relations within the family by the aid of linear arrangement, to some extent the first hint of what we now call a genealogical tree, and a proof at any rate of the lively conception which he had formed of affinity, not drawn indeed only 'ex libro naturae,' as the title of his book states, but in principle from Bauhin. Morison's inability to appreciate the merits of his predecessors, and to believe that when he made a step in advance the way had ever been trodden before, may be seen in this work also. One of its merits is, that it contains for the first time careful representations of separate parts of plants, executed in copper plate[1]. In 1680 appeared the first volumes


  1. The wood-engraving of the 16th century had fallen into decay, and