This is a travel story of trees and shrubs—as rousing as the adventures of Marco Polo. Stephen Spongberg’s vividly written and lavishly illustrated account tells of intrepid and extraordinary explorers who journeyed to the far corners of the globe and brought back to Europe and North America a wealth of exotic plant species. It constitutes a veritable history of ornamental trees and shrubs.

In the seventeenth century, gardening in England and Europe was in the throes of revolution. Plants—no longer cultivated solely for their practical value as a source of food or medicinal herbs—were woven into the landscape for architectural effects. Flowers were grown and arranged to beautify banquet tables, and the gardens surrounding palaces and country estates became pleasure grounds, their design vying with the genius of the houses themselves. Where did these hundreds of trees and shrubs originate? Virginia creepers, American sycamores, Washington thorns, black walnuts, umbrella trees. Franklin trees, and even poison ivy are just a few of the many species that were brought to European gardens by adventurous plantsmen exploring colonial America.

Following the Revolutionary War, scientific and agricultural societies were formed in Boston and Philadelphia, botanical gardens were established in New York and Cambridge, and scientific expeditions were organized for the purpose of fostering the discovery of new plants throughout the world that could be grown in the North American climate.

Without doubt, the most fertile plant explorations by Americans and Europeans were conducted in the mysterious Orient. With the opening of Japanese and Chinese ports to foreign trade in the middle of the nineteenth century, European plantsmen were able to indulge their insatiable appetite for some of the most astounding ornamental plants the Western world had ever seen: ginkgo trees, lacebark pines, Japanese yew, honeysuckles, lilacs, crabapples, magnolias, cherry trees, to name only a few.

A Reunion of Trees focuses on the particular contribution of the Arnold Arboretum, which was established in Boston in 1872 for the purpose of displaying and studying exotic plants from around the globe. Scores of trees and shrubs on the Arboretum grounds are described and illustrated in this handsomely produced volume. The landscape designer interested in recreating period gardens will find this book a treasure trove of information about the eighteenth and nineteenth centuries, while amateur and professional gardeners alike will discover a unique resource book for many unusual plants.

Cities have been built alongside rivers throughout history. These rivers can shape a city’s success or cause its destruction. At the same time, city-building reshapes rivers and their landscapes. Cities have harnessed, modified, and engineered rivers, altering ecologies and creating new landscapes in the process of urbanization. Rivers are also shaped by the development of cities as urban landscapes, just as the cities are shaped by their relationship to the river.

In the river city, the city river is a dynamic contributor to the urban landscape with its flow of urban economies, geographies, and cultures. Yet we have rarely given these urban landscapes their due. Building on emerging interest in the resilience of cities, this book and the original symposium consider river cities and city rivers to explore how histories have shaped the present and how they might inform our visions of the future.

Originating as a doctoral dissertation and first published in 1926, Ernst Kris’s The Rustic Style is a pioneering inquiry into the relationship between art and nature in early modern decorative arts and garden design. This precocious study—by a young Viennese museum curator who would subsequently make his name as a leading psychoanalyst—was an attempt to define the character of late-sixteenth-century naturalism. It put scientific observation at the service of elite artistic production, and the result was an ambivalent blend of lifelike plasticity, organic texturing, and material richness in which the use of advanced technologies, such as life casting, deliberately blurred the boundary between products of natural processes and human craft. This hybrid aesthetic, which Kris described as the “rustic style,” was championed by the two main protagonists of his essay, the goldsmith Wenzel Jamnitzer and the ceramist Bernard Palissy. It found a broader characteristic expression in the design of Renaissance grottos, where classical iconography and all’antica ornamentation often came to encode the environmental knowledge of the age.

This Ex Horto edition of The Rustic Style, accompanied by introductory essays by Robert Felfe and Anatole Tchikine, is made available in English for the first time in a masterly translation by Linda B. Parshall. A long overdue tribute to Kris’s pathbreaking scholarship, this lavishly illustrated book should appeal to anyone interested in the intersections of early modern art and natural history.