Krieger: History of Mycological Illustration 321 



are merely dashed on. It is a bad practice to crowd figures on 

 the page. Reference becomes difficult, and the individuality of 

 the plants represented is lost in the general jumble. 



The fourth decade of the new century offers, first, a work 

 which I have not seen, Harzer's 80 plates, issued during the years 

 1842 to 1845 (1842a). Then, from England, in 1847, we get 

 Badham's exceedingly well written, but poorly illustrated, 

 "Treatise on the Esculent Funguses" (1847a), a later edition of 

 which appeared in 1864, edited by Frederick Currey (1. c). The 

 first edition of the " Treatise" has 21 colored plates ; the second, 

 only 12. England, during this period, had also a woman mycol- 

 ogist, Mrs. T. J. Hussey, who presented to the world one of the 

 most charming mushroom books known, her " Illustrations of 

 British Mycology" (1847&), published in two series of hand- 

 colored lithographs, 140 plates in all. The second series, com- 

 prising the last fifty plates, is very scarce. 



As we approach the second half of the nineteenth century, the 

 representation of the mere outward appearance of the fungi no 

 longer satisfied — the internal, microscopic structures, the life 

 histories, the phylogenetic, parasitic, and symbiotic relationships, 

 were engaging the attention of mycologists. Such men as the 

 Tulasne brothers, de Bary, Brefeld, de Seynes, and a host of 

 others, arose. In great detail, and with surpassing skill, the 

 Tulasnes studied and illustrated the external and the internal 

 structures of the Hypogaei (1851), the lichens (1852), the Tre- 

 mellineae (1853), and the gastromycetous groups and genera, 

 Nidulariaceae (1844), Lycoperdon, Bovista, Scleroderma, Poly- 

 saccum, and Geaster (1842c, d, 1843a, b) , and the Ascomycetes 

 (1861&). I think it is safe to say that never again will such 

 hand-work appear as we find reproduced in the stupendous mono- 

 graphs issued by these two unassuming brothers. Commercial- 

 ism has killed the possibility ; men are no longer training their 

 minds, eyes, and hands for such work — the art is dead! 



Along with these important investigational works, atlases of 

 the greatest moment kept on appearing. For want of time, I 

 can do little more than enumerate the best. First, and foremost, 

 Elias Fries' " Icones " with 200 colored plates (1867), preceded 



