Members

Since the Society was started we have always brought tutors, scientists and people who are experts in their field to give workshops and talks to the members of the Society.

Past tutors, speakers, and experts include:

Rosemary Wise, Gren Lucus (Linnean Soc), Martin Allen, Colin Swinton, Jenny Brasier, Anne Marie Evans, Dr Martin Brown, Helen Allen, Christina Hart-Davies, Mariella Baldwin, Gillian Barlow, Tim Walker, Valerie Oxley, Sarah Gould, Keith Spurgin

The Society organises regular botany field trips and makes regular visits to Botanical Gardens and their archives. Past excursions include Royal Botanic Gardens Kew, Oxford Herbarium, Natural history Museum, Chelsea Physic Garden, National Garden Museum of Wales, Royal Botanic Gardens of Edinburgh, and the Botanic Gardens of Cambridge.

Painting Lists

Below are the lists, supplied to us by Eden, of plants they would particularly like painting members to submit to the Florilegium. Most of these plants can be found at Eden or locally in Cornwall. To find out if a plant has already been chosen, or to choose a plant to paint, please contact Laura Silburn (laurasilburn@hotmail.co.uk) Please do check whether a plant is already being painted before starting work!

Kniphofia Painting List

Nu Genus species Cultivar AGM discription of flower colour flowering times
1 Kniphofia baurii Bees' Sunset AGM golden yellow streaked with deep apricot May-July
2 Kniphofia Brimstone AGM
3 Kniphofia angustifolia Barton Fever AGM twarny buds open to apricot August - October
4 Kniphofia Incandesce AGM red flushed orange bud opening to apricot July- September
5 Kniphofia galpinii AGM slender orange June-August
6 Kniphofia Moonstone AGM cream June-August
7 Kniphofia bruceae Buttercup AGM golden yellow June - July
8 Kniphofia northiae AGM stumpy coral and cream April-June
9 Kniphofia Penny Rockets AGM bright red July-November
10 Kniphofia Samuels Sensation AGM red/orange July-September
11 Kniphofia Coral Flame AGM
12 Kniphofia ensifolia Fiery Fred AGM fiery red July - October
13 Kniphofia Primrose Upward AGM pale yellow May-July September-November
14 Kniphofia thomsonii var. thomsonii Stern's Trip AGM pale orange mid summer -mid autumn
15 Kniphofia Royal Standard AGM red orange July-September
16 Kniphofia Wrexham Buttercup AGM bright yellow August
17 Kniphofia Rich Echoes AGM apricot yellow June-July September-October
18 Kniphofia Sunningdale Yellow AGM yellow June-August
19 Kniphofia Innocence AGM greeny browny cream striped July-September
20 Kniphofia Nobilis AGM orange Augs-September
21 Kniphofia Safranvogel AGM salmon cream June-July October-November
22 Kniphofia Tawny King AGM
23 Kniphofia Jonathan AGM
24 Kniphofia Timothy AGM salmon peach July September
25 Kniphofia Toffee Nosed AGM brownish orange fading to cream June-August
26 Kniphofia rooperi AGM orange yellow september-November
27 Kniphofia citrina Creamsicle soft orange June - November
28 Kniphofia Lemon Popsicle yellow June-October
29 Kniphofia Orange Vanilla Popsicle coral/cream June-October
30 Kniphofia Papaya popsicle orange red June-October
31 Kniphofia Pineapple Popsicle yellow June-October
32 Kniphofia Redhot Popsicle cinnamon red June-October
33 Kniphofia Mango Popsicle orange June-October
34 Kniphofia ensifolia First Sunrise bright orange summer-autumn
35 Kniphofia Jess's Delight cream   deeper bronze buds July-September
36 Kniphofia multiflora November Glory yellow flowers from orange buds October- December
37 Kniphofia citrina Dingaan Bronze yellow July - August
38 Kniphofia albescens Alcazar red/orange June - August
39 Kniphofia Amazing Fun red with white skirt July-September
40 Kniphofia baurii Bees Lemon lemon with green tips July - September
41 Kniphofia baurii Border Ballet (SEED) cream to pink late summer to early autumn
42 Kniphofia Nancys Red deep coral red July-October
43 Kniphofia Yellow Cheer golden yellow late autumn early winter
44 Kniphofia Old Court Seedling orange June-July
45 Kniphofia drepanophylla Drummore Apricot Apricot June - August
46 Kniphofia drepanophylla Ember Glow - Tneg orange august-November
47 Kniphofia Elvira red June - September
48 Kniphofia galpinii Fire Glow - Tnfg red/orange August till frost
49 Kniphofia galpinii Goldelse pale golden yellow May- September
50 Kniphofia gracilis Green Jade green becoming cream late summer to early autumn
51 Kniphofia John Benary seaing wax red
52 Kniphofia Jenny Bloom cream from coral buds June-July
53 Kniphofia thomsonii Kichocheo soft apricot yellow August-November
54 Kniphofia albescens Amsterdam deep orange July- September
55 Kniphofia brachystachya Bressingham Comet yellow hanging to flame yellow August - October
56 Kniphofia Candy Apple shades of orange
57 Kniphofia ensifolia Flamenco yellow/orange/red
58 Kniphofia Luna rich yellow May-July August-December
59 Kniphofia Minister Verschuur Apricot June-July
60 Kniphofia Mermaiden pale green July-September
61 Kniphofia triangularis ssp. Triangularis Light of the World pale orange August-October
62 Kniphofia Little Maid cream June-November
63 Kniphofia Express deep orange/salmon red early flowering
64 Kniphofia Painted Lady cream flowers coral orange buds June-September
65 Kniphofia Star of Baden-baden greeny lemony gold April-June July-September
66 Kniphofia Tuckii muddy coral/yellow May-July
67 Kniphofia Primulina red and yellow
68 Kniphofia Percy's Pride green fading to cream July-October
69 Kniphofia Vanilla pale yellow Jly-September
70 Kniphofia Yellow Hammer pure sulpur yellow June-September
71 Kniphofia Ice Queen green buds opening to pale yellow earlyto mid autumn
72 Kniphofia Limelight canary yellow early autumn
73 Kniphofia caulescens John May pink bud opening to coral flower October - November
74 Kniphofia caulescens Coral Breakers coral June - july
75 Kniphofia ensifolia Gladness Apricot June - July
76 Kniphofia citrina Cobra dark bronze budsopening to copper yellow July -September
77 Kniphofia Pfitzeri orange yellow August
78 Kniphofia citrina Dorset Sentry clear bright yellow July - October
79 Kniphofia Vesta dark yellow September
80 Kniphofia Tetbury torch apricot yellow August-September
81 Kniphofia Shining Sceptre yellow August
82 Kniphofia Red Rocket red June-August
83 Kniphofia Sherbert Lemon yellow July-Setember
84 Kniphofia hirsuta Traffic Light red yellow green
85 Kniphofia Strawberries and Cream cream flowers coral pink buds late summer - early autumn
86 Kniphofia Royal Castle orange, red, yellow June-August
87 Kniphofia gracilis Hen and Chickens pale greenish cream flowers August-October
88 Kniphofia galpinii Goldfinch green and golden yellow June-July
89 Kniphofia brachystachya Bressingham Sunbeam soft yellow-soft orange July - September
90 Kniphofia brachystachya Bressingham Yellow mid yellow
91 Kniphofia Champagne
92 Kniphofia Coral Sceptre
93 Kniphofia Start Early
94 Kniphofia Herzonii

Cornish Wildflowers

Scientific Name Common Name
Ajuga repens Bugle
Angelica sylvestris Wild Angelica
Anthyllis vulneraria Kidney vetch
Athyrium filix-femina Lady Fern
Betula pubescens Downy Birch
Calluna vulgaris Heather
Carex pendula Pendulous Sedge
Centaurium erythraea Common Centaury
Chamerion angustifolium Rosebay Willowherb
Corylus avellana Hazel
Daucus carota subsp. Gummifer Sea Carrot
Digitalis purpurea Foxglove
Dryopteris affinis ssp. Affinis Golden Scaly Male Fern
Echium vulgare Viper's Bugloss
Erica tetralix Cross-leaved Heath/Bell Heather
Eupatorium cannabinum Hemp Agrimony
Filipendula ulmaria Meadowsweet
Fraxinus excelsior Ash
Gallium aparine Cleavers
Geranium pratense Meadow Cranesbill
Heracleum sphondylium Hogweed
Hypericum perforatum St. John's Wort
Iris foetidissima Stinking Iris
Jasione montana Sheep's Bit Scabious
Juncus effusus Juncus effusus
Juniperus cordata Juniper
Lathyrus pratensis Meadow Vetchling
Leucanthemum vulgare Oxeye Daisy
Lythrum salicaria Purple Loosestrife
Malva moschata Musk Mallow
Narthecium ossifragum Bog Asphodel
Papaver rhoeas Common Poppy
Parentucellia viscosa Yellow Bartsia
Pedicularis sylvatica Lousewort
Potentilla erecta Tormentil
Quercus petraea Sessile Oak
Ranunculus acris Meadow Buttercup
Ranunculus repens Creeping Buttercup
Rubus fruticosus Bramble
Rumex acetosa Common Sorrel
Salix caprea Goat Willow
Scilla autumnalis Autumn Squill
Scilla verna Spring squill
Stachys officinalis Betony
Thymus politichus ssp. britannicus Wild Thyme
Ulmus minor subsp. Angustifolia Cornish Elm
Verbascum thapsus Great Mullein

Plants that Changed the World

Scientific Name Common Name Plant Description
Artocarpus altilis Breadfruit Food plant
Avena sativa Oats Food plant
Camellia sinensis Tea Food plant
Cannabis sativa Hemp Used in manufacturing
Cinchona pubescens Quinine Medicinal and Food Plant
Coffea arabica Coffee Food plant
Dioscorea alata Yam Food plant
Glycine max Soybean Food plant
Hevea brasiliensis Para Rubber Used in manufacturing
Hordeum vulgare Barley Food plant
Lycopersicon esculentum Tomato Food plant
Manihot esculenta Cassava Food plant
Nicotiana tabacum Tobacco Used to make tobacco
Oryza sativa Rice Food plant
Papaver somniferum Opium Poppy Medicinal
Pennisetum spp. Millet Food plant
Saccharum officinarum Sugarcane Food plant
Secale cereale Rye Food Plant
Solanum tuberosum Potato Food plant
Sorghum bicolor Sorghum Food plant
Zea mays Corn Food plant

Medicinal Plants

Scientific Name Common Name Plant Description
Aloe vera Aloe Treats burns and sunburn
Aloyisia citrodora Lemon Verbena Antiseptic, insect repellant, relaxant
Artemesia annua Sweet Wormwood Potential cure for AIDS and malaria
Biophytum sensitivum Life Plant, Mukkutty, Sensitive Plant Plants that Move, medicinal
Catharanthus roseus Madagascan periwinkle, Rosy Periwinkle
Chamaemelum nobile Chamomile Anti-stress, aids sleep. Lightens hair
Digitalis lanata Foxglove Cardiac treatment
Digitalis purpurea Foxglove Cardiac treatment
Dioscorea discolor Yam Diosgenin extract is basis of contraceptive pill
Echinacea purpurea Purple Cone Flower Treatment of colds and flu
Ephedera Ephedera/Ephedra Treatment for asthma and hayfever. Performance enhancing drug
Eucalyptus globulus Eucalyptus Used to make throat pastilles and cough syrups
Ginkgo biloba Ginkgo Believed to improve memory and concentration
Gynura procumbens Longevity Spinach Thai treatment for diabetes
Hypericum perforatum St. John's Wort Anti-depressant
Inula helenium Elecampane, scabwort, elfswort Treatment for coughs and asthma. Used to produce absinthe
Iris germanica var. florentina Orris Used in the production of gin and perfumes
Lavandula angustifolia 'Grosso' Lavendar Healing properties
Melaleuca alternifolia Tea Tree Antiseptic
Narcissus 'Carlton' Large-cupped Daffodil Galanthaminefor used to treat Alzheimer's disease
Oenothera deltoides Dune evening primrose
Papaver somniferum Opium Poppy Medicinal
Pogostemon cablin Patchouli Relaxing properties
Senna alexandrina Senna/Canna Laxative
Seronoa repens Saw Palmetto Treatment for benign prostatic hypertrophy and prostate cancer
Sutherlandia frutescens Cancer bush, balloon pea Cure for AIDS and cancer
Taxus baccata Yew, English Yew Treatment for breast cancer
Taxus brevifolia Yew, Pacific Yew, Western Yew Treatment for breast cancer
Valerian officinalis Valerian

Freaky Nature

Scientific Name Common Name Plant Description
Actaea pachypoda White Baneberry, Doll's Eyes Cardiogenic White Berries
Amorphophallus Titan Arum Plants that stink, fruits in winter, over by Feb.
Anastatica hierochuntica Rose of Jericho Resurrection Plant, Tumbleweed
Aristolochia elegans Elegant Dutchman's Pipe, Calico Flower Freaky flowers
Aristolochia fimbriata White-veined Dutchman's Pipe Freaky flowers
Asplenium bulbiferum Mother Spleenwort, Hen and Chicken Fern Wacky fern
Biophytum sensitivum Life Plant, Mukkutty, Sensitive Plant Plants that Move, medicinal
Breynia nivosa 'Roseo-picta' Snowbush The variegated leaves make the plant look as if it has been snowed upon or frosted even though it is a tropical plant. Flowers are tiny.
Calliandra haematocephala Powder Puff Plant Weird 'fluffy' flowers, flowering seems to have finished Feb.
Canna indica Indian Shot Plant Unusual seeds
Canna x generalis Indian Shot Plant Unusual seeds
Citrus medica var. digitata Buddha's Hand Freaky Fruit, fruit looks like a hand
Cuphea ilavea 'Tiny Mice' Bat Face Black flowers
Cyperus papyrus Papyrus Sedge, Paper Reed Kids
Dracunculus vulgaris Voodoo Lily, Black Arum, Dragon Lily Plants that stink
Hylocereus undatus Dragon Fruit Night-flowering cactus
Kalanchoe diagremontiana Mother of Thousands, Devil's Backbone Kids
Lodoicea maldivica Co Co de Mer Freaky seed
Lygodium japonicum Japanese Climbing Fern On Florida noxious weed list
Medusagyne oppositifolia Jellyfish Tree Weird small flowers and seed cases which look like jellyfish. Very rare.
Mimosa pudica Sensitive Plant, Touch-me-not Plants that Move
Myrciaria cauliflora Jaboticaba Weird black fruits growing straight from branches and trunks. Flowers look like lichen. Fruits in the tropical biome in February. Flowers in the winter.
Myrmecodia echinata Ant Plant Wacky homes
Nepeta cataria Catnip, Catmint, Catwort Cats love this
Nertera granadensis Pin-cushion Plant, Coral Bead Plant Wacky berries
Ochna serrulata Mickey Mouse Plant, Bird's Eye Bush Kids, www.iewf.org/weedid/Ochna_serrulata.htm
Opuntia echinocarpa Prickly Pear, Silver Cholla Spiny cactus with yellow flowers in spring.
Ornithogalum caudatum False Sea Onion, Pregnant Onion Wacky bulb
Oxalis corymbosa Pink Wood Sorrell Plants that move
Platycerium bifurcatum Staghorn Fern Wacky fern
Quercus suber Cork Oak Tree Bark is made from cork.
Rhodochiton atrosanguineum Chinese Purple Bell Vine Purple bell-shaped flowers
Sarracenia leucophylla Sarracenia Carnivorous plant
Sarracenia purpurea ssp. venosa Sarracenia Carnivorous plant
Sarracenia rubra ssp. alabamensis Sarracenia Carnivorous plant
Sarracenia x readii Sarracenia Carnivorous plant
Selaginella lepidophylla Spike Moss, False Rose of Jericho, Resurrection Plant, Tumbleweed
Selenicereus grandiflorus Queen of the Night Flowers at night
Senecio rowleyanus String of Pearls, String of Beads Spherical leaves
Sparrmannia africana African Hemp Plants that move, anthers move
Stapelia variegata Starfish Cactus Plants that stink
Strongylodon macrobotrys Jade Vine Amazing colour
Tacca leontopoloides Polynesian Arrowroot Bat Flower family
Tetrastigma leucostaphyllum No common name Tropical vine which has a weird parasite, could be painted together with this.
Tillandsia usneoides Spanish Moss Air plant, related to pineapples

Painting Guidance

Materials Most botanical work is completed in watercolour. Traditionally watercolour has been used as it is known for letting the white of the paper underneath shine through, therefore giving the plant brighter, more life-like qualities. Pen and ink or graphite studies are commonly used where colour does not need to be recorded. It is important to remember that whichever medium you choose the end result must be able to last in the archive for future generations without fading. Artists’ quality materials are recommended. For watercolour painting, good-quality acid-free watercolour paper is best. This should be hot-pressed (HP) for a flat painting surface that allows small detail to be captured. Heavier paper (140lb/300gsm or heavier) is more expensive but will wear better in the long run and will not buckle when wet washes are applied. Paper/image sizes When planning your composition you will need to bear in mind the standard work sizes which the Society uses. This allows the Florilegium work to be exhibited in standard size frames which can be re-used. There are two sizes: large is 500mm x 400mm and small is 300mm x 210mm. This would be the window size of a frame and mount and the whole image should fit within it; anything extending outside of this space would not be seen. Whether to use the space portrait or landscape will depend on the plant and how you are depicting it. Most artists find it helpful to lightly pencil in the working area of the composition before starting. Additionally, paper sizes above 600mm x 430mm cannot be stored in the Florilegium solander boxes in the archive and should therefore be avoided. Planning your composition You will need to research your chosen species first in order to plan which parts of the plant need to be recorded, either for interest, to define the species as distinct from others or to illustrate the mechanisms of reproduction. The library in the Eden Foundation Building is a valuable resource which is open to the public. Mally Francis holds a selection of books at her studios at Heligan, available for Florilegium members to use by prior arrangement. Ros Franklin also holds a large selection in her studio in Dorset for those outside Cornwall. If cuttings from plants at Eden are needed then this can be arranged in liaison with the Eden Green Team. If you buy or collect your own specimens please make sure that they are representative of the species and not a cultivar (unless this is required) or grown in an environment not typical to the species, as this can change the appearance of the plant dramatically. Details Often several stages in a plant’s cycle need to be shown. This is commonly done with botanical details being depicted separately from the main image, for example, close-ups of details such as seeds or stamens. Jenny Brasier, our President, and Sarah Gould, one of our assessors, have given some guidance on when and how these details should be included: Details should not be put on as an afterthought – or look as though they have been. Decide before starting your composition whether or not details are to be included. The decision is based on: a) Personal choice. b) Whether or not additional details are necessary to explain important parts of the plant, possibly key to identification, which would otherwise be unclear or unseen. c) Whether they will complement and balance the composition. d) Whether they can be executed confidently and competently. If, based on the above, you decide to include details then: i) They should be part of your initial planning. ii) Accurate studies should be made right at the start of the work to record required details i.e. flower parts, before they deteriorate. iii) If possible, have details checked by a botanist before committing to finished work. iv) If you are not confident or competent, they may be done on a separate sheet if necessary (this separate sheet must be fully labelled). v) Draw on tracing paper first in order to place appropriately – preferably at the bottom of the painting. vi) Line up details and any labelling/sizing – which must be correct. vii) Details should be done in pencil (not too dark) or watercolour. Keep a record of all colours used. viii) If for publication or reproduction, use scale instead of a multiplier. ix) Explanation of which parts of the plant have been shown should be written in pencil on the back of the picture.
GUIDANCE FOR ASSESSMENT DAY SUBMISSIONS When your illustration is completed it should be submitted at the next Annual General Meeting. The work should be clearly labelled on the back with your name, date, plant details (i.e. plant family, plant genus, plant species and cultivar if appropriate), accession number, location, and also your own number depending on how many pieces of work you have done (e.g.1,2,3). Work can be signed on the front as long as the signature or monogram is unobtrusive and does not disrupt the composition. You will also need to submit your herbarium specimen and any supplementary notes. Please bring them in protective sleeves and, if you are re-submitting work, please remember to bring along your assessment comments with your adjusted painting. The work is assessed by the panel, usually the day after the AGM. Our panel currently comprises two accomplished botanical artists, Helen Allen and Sarah Gould, and a botanist from Eden. The assessment is rigorous, discussion is intense and work is only accepted if it is of a very high standard. Each painting is reviewed individually and paintings are vetted on their own individual merit, not against one another. The panel assess both the botanical accuracy and standard of painting/drawing. As these paintings might be used for scientific research it is of the greatest importance that the botany should be entirely accurate including colour, form, habit, flowering and fruiting cycles, where it is possible to show them, and all diagnostic classifying features. The painting should clearly show the form of the plant being portrayed without ambiguities and have no need to rely on further explanation. All work should be the artists’ own and although it is acceptable to research using others’ photographs, drawings or paintings from books or the internet, artists must take every care to ensure that these are not copied into the final piece in any way. It is the individual artist’s responsibility to make sure that copyright law is adhered to. Artists are encouraged to submit supporting notes, photographs and sketches to confirm that work is original and research is thorough and accurate. At the end of assessment the panel complete an assessment sheet with their comments which aim to be helpful and constructive. Letters confirming the outcome of assessment and the assessment sheet with comments will be sent to the artist. Assessment of paintings for the archives There are four outcomes: 1)Accepted to the archives As well as your acceptance letter and assessment sheet you will be sent documentation to complete in order to donate your work to the Eden Project. Your work will be scanned and will remain in the archive cupboards in the Foundation Building at Eden. Once donated, the Eden Project is free to use the painting/image to help its work as an educational charity, although copyright of the image remains with the artist and you may also continue to use the image. 2)Accepted with minor amendments Sometimes work is accepted for the archive but the panel requests that minor amendments or ‘tweaks’ are made to the image first. In this instance the work is returned to the artist or the artist is requested to collect the work from the Eden Project. When the amendments have been made the artist will need to check these with one of the botanical art tutors, after which it can go straight into the archive, without re-assessment by the panel. The painting can then be scanned and will remain in the archive cupboards in the Foundation Building at Eden. As well as your acceptance (with amendments) letter and assessment sheet you will be sent documentation to complete in order to donate your work to the Eden Project. As above, once donated, the Eden Project is free to use the painting/image to help its work as an educational charity, although copyright of the image remains with the artist and you may also continue to use the image. 3)Request for Resubmission Occasionally the panel decide the image needs major amendments or additions. In this case the work will be returned to the artist or the artist will be requested to collect it from the Eden Project. The letter requesting resubmission and the assessment sheet detailing what needs to be done will be sent to the artist. When the artist has made the amendments the painting is returned to be re-assessed by the panel at the next AGM the following year, when it will undergo the same assessment process once again. 4)Not accepted If the painting does not meet the very high standard set for the archives, or the work does not accurately portray the plant and could not meet these requirements even with additional work the painting is not accepted. Work that is not accepted will be returned to the artist or the artist will be requested to collect it from the Eden Project. The letter stating that the painting has not been accepted and the assessment sheet with the comments explaining why will be sent to the artist. Although this can be disappointing we need to remember just how high the standards of the Florilegium are. Painting members are encouraged to submit work every year if possible, ensuring that they retain their painting status, even when submission to the archive is not successful. The effort put into work for the Florilegium is greatly appreciated and every piece completed adds to our own experience as botanical artists, so keep painting. Assessment to become a painting member Applicants to become painting members must submit five pieces of work to be assessed by the panel. The panel will look for potential and the paintings will not be assessed as if they were being submitted for the archives. However, this is a submission to a Florilegium Society where accuracy is important and applicants must demonstrate good botanical observation as well as a high standard of artistic skill. After assessment a letter stating acceptance or not will be sent to the artist with an assessment sheet detailing the panel’s comments. If an applicant submits paintings that are not all of the same high standard then they might be accepted with the proviso that they work to the high standard of a particular painting. There will always be encouragement but we need to maintain high standards. It is very much hoped that if an applicant is not accepted they will submit again when they have produced further work. Painting for a Florilegium Society can be demanding but it is certainly achievable.

Herbarium Information

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The guidance below will help you press your specimens, freeze them to successfully kill any bugs and then mount and label your pressed specimen ready for  submission to the herbarium. Every year the Society will aim to organise a herbarium day when specimens can be submitted and materials for mounting specimens are available to use.

Taking and pressing specimens

1) When selecting specimens take two cuttings, one to paint and the other to press. It is very important to make an accurate recording of that particular plant including the accession number - every plant at Eden has one.  A note of the date is also important. 2) Ideally a press consists of two pieces of plywood with holes punched through, or a trellis of wooden strips lined with card. Webbing straps are needed to be able to close the press as tightly as possible. Failing this a good quality flower press can be purchased, or even a huge pile of heavy books ! 3) Tie a label to the thickest stem of the plant with its accession number, your name and the date. Arrange it on a piece of very thin acid-free paper placed on top of a piece of blotting paper. Time should be taken to arrange it so that there is as much information as possible, e.g.: a) Show upper and lower surfaces of leaves. b) Snip off any forward-facing leaves or branches which obscure the flower and press these separately. c) Arrange the flower to give maximum information - (both back & front views). d) Bend longer plants to fit the page. Place another piece of thin tissue paper over your arrangement and cover with a sheet of blotting paper and press as tightly as possible. 4) Twelve hours later, change the blotting paper. At this stage the specimen will still be soft enough to be gently re-arranged if you are not satisfied that it supplies enough information. 5) Change the blotting paper on days two and three. If your plant is particularly fleshy, you may have to change the blotting paper more often - protect thick stems with rolls of tissue. 6) Leave to dry completely. Care should be taken that the press is not kept in too hot an environment as it will make the plant go brown - use only gentle warmth. 7) Fruits should be gently dried and labelled clearly, put in a sealed bag or box.

 Freezing of Herbarium specimens

Due to a previous infestation in the herbarium we are requesting that specimens are placed in the freezer, after they have been pressed and dried, but before they have been mounted. 1) Place them in an airtight plastic bag or container and freeze for between a minimum of 3hours and a maximum of 9 hours. 2 ) Remove them from the freezer and thaw at room temperature for 2 days, keeping them in the airtight bag/container. 3) Place them back in the freezer for a second chill time of between 3 to 9 hours. 4) Thaw at room temperature and mount the specimens after 2 days.

Mounting a pressed specimen

1) When it has dried, your specimen can be mounted on 16½" x 10½" archival quality, acid-free card. 2) It is vital that the plants are labelled correctly. The label should also be acid-free and placed in the bottom right-hand corner. It should be typed with a laser printer. Information to be included: a) name of plant b) accession number c) date d) name of collector e) notes specific to the plant f) where obtained g) note on characteristics that could be lost in the pressing (colour, odour etc). Stick the label to the card with a neutral pH adhesive. 3) If any fragments (seeds, fruits etc.) fall off, they can be kept in an acid-free paper envelope. These should be kept as they can be used for analysis. Attach this to your card. 4) The specimen can then be fixed to the card. Place by the use of thin strips of linen-backed gummed tape, only moistened at each end. Linen thread should be used to sew the plant at intervals into place. Use one stitch with two knots at the back. Always handle your specimen very carefully with flat hands on either side. Store in a dry atmosphere.

The Constitution

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Note: 'Eden Project' means 'Eden Trust' and 'Eden Trust' means 'Eden Project'. 1. The Eden Project Florilegium Society has been set up to study and record the plants of the Eden Project by botanical illustration as an enduring archive for the Project. 2. The Eden Project will provide a list of suggested subjects required for their archives. 3. These illustrations will be an invaluable record, to be used in any way that the Trustees think fit, and giving access as required for further botanical and horticultural study 4.a Each Member must be prepared to offer at least ONE painting/illustration per annum for selection by the Eden Project for their collection. 4.b If accepted by the Eden Trust or their successors in title, the Member will grant a non- exclusive licence to use the artwork in perpetuity without charge. 4.c The copyright of the artwork remains with the artist in accordance with the artist's legal right, regardless of any change of law within the next 80 years. 4.d The Member retains the moral right to be identified as the artist whenever the work is used for commercial purposes. 4.e The Member retains the right of integrity protecting the work from derogatory treatment. 5. Reproduction rights are granted to the Eden Trust only and may not be assigned, nor may any work be loaned or transferred to third parties save for the purpose of the reproduction rights of the Eden Trust. 6.a Eden reserves the absolute right to use selected illustrations for promotional purposes with no reimbursement to the artist. 6.b In the event of the Eden Trust ceasing to exist. Members' artwork should be returned to the Florilegium Society which will arrange for it to be transferred to an affiliated archive. 7. No work may be loaned out for exhibition without the consent of the artist. 8. No work may be loaned out for any other purpose without the express consent of the artist which would not be unreasonably witheld if it were for the benefit of the Eden Trust and any ensuing reproduction fee must be used for the benefit of the Eden Trust. 9. The aims of the Society are: a. To use the traditional methods of observing and recording plants (in watercolour, pen & ink and /or pencil) not only for their flowers but also for their leaves, roots, bulbs, perfections and imperfections. Botanical illustration is the tried and tested means of recording the structure of plants and 'explaining' variations within the same species which cannot be so effectively recorded by photographic means. b. To record and date through the seasons some of the wealth of plant material housed at the Eden Project, including taking pressed specimens of the plant recorded. c. To provide an ongoing structured organisation of artists who have reached a standard of excellence in this field. d. To link with other Florilegium groups and important gardens in the United Kingdom and abroad, especially the Chelsea Physic Garden Florilegium Society to which the Eden Project Florilegium Society is affiliated. e. To hold regular exhibitions of the Society's work to promote interest in the Society and in the plants of the Eden Project. f. Eden will provide the storage of archive material in suitable conditions. MEMBERSHIP 10. The Society is affiliated to Eden Friends, but operates independently of the Eden Project. 11. The Society to be run by a Committee whose officers will be elected or re-elected annually at the Annual General Meeting for a maximum of three consecutive years. The Members may approve the election or re-election of any officer of the Society as defined by clause 11 of the Constitution for a period in excess of the maximum of three years referred to. The maximum number of Committee Members shall be twelve. These officers are: Chairman, Vice-Chairman, Secretary, Treasurer and Events Secretary. The chairman shall be elected from the existing committee members. At least ONE committee member will attend each ordinary meeting. 12. The Society consists of: Members - When accepted for membership of the Society each member is termed 'Member'. Fellows - A Member will be termed 'Fellow' as soon as three works have been accepted by the Eden Project. Honorary Members - Honorary Members are by invitation only; they do not pay the annual subscription although a donation to Society funds would be gratefully accepted and will be acknowledged. Honorary Members must have something to offer, e.g. knowledge, experience, tuition, etc. Painting Members - Painting Members are limited to a maximum of fifty, at the discretion of the Committee. They are expected to offer one painting per year to Eden for selection. If over a period of three years a Painting Member fails to have a painting accepted by the Assessment Panel for donation to Eden, or is unable to submit a painting at two consecutive Assessment Days, then that member will be offered Associate Memberhip at the discretion of the Committee. Associate Members - Non-painting members at reduced rates may have voting rights and are able to attend talks, workshops, demonstrations and any other such event organised by the Society, at the discretion of the Committee. Retired painting members, who are Fellows, will be entitled to keep the letters ‘FEPFS’ after their name but to add the word“(Retired)”. This is dependent upon payment of the Associate Membership fee. 13. Members and Fellows have voting rights within the Society. 14. Honorary Members do not have voting rights - with the exception of the Honorary President, Honorary Vice-Chairman and Honorary Committee Members (i.e. Curators/ Head Gardeners). 15. Each applicant for painting Membership must submit in person five previous works to be assessed by a panel of horticulturalists and botanical artists. 16. All Members are required to become members of Eden Friends to give them the necessary access to the biomes and Watering Lane Nursery. Only active painting members shall be entitled to free entry to the Eden Project to enable them to have access to plant material. FINANCE 17. As well as the mandatory Friends membership there is an annual Society subscription which may be increased from time to time in line with inflation. 18. The Society is self-financing, the use of any “surpluses” being determined by the Committee. 19. The Treasurer will submit a set of accounts to the Annual General Meeting. MEETINGS 20. The Eden Project agrees to provide a venue for: a. The annual Appraisal Day. b. The AGM and other General Meetings. c. Informal meetings when Members may gather for further study and tuition. 21. The Society to meet four times a year: early January, March, June and at the end of September or as and when the Committee at the time see fit. 22. There will be a General Meeting on each of these days. The Annual General Meeting to be held after the General Meeting in January. 22a. At the AGM in Jan 2015, it was agreed unanimously to hold the AGM in March each year from 2016. MANAGEMENT AND TERMINATION 23. Should the Committee cease for any reason to manage the affairs of the Society, then the affairs of the Society will revert back to the President for resolution. The President also has the power to override any bad management of the Society. 24. In the event of the Society having to be closed down the Committee is empowered to determine the disposing of any funds that might remain in the Society's bank account at that time. If numbers fall below a certain level and if a quorum cannot be found to make a committee decision, then the President is enabled, at his/her discretion, to take whatever action is necessary. 25. If no President is in office at that time the Vice-President will take control. If there is no President or Vice-President in power at that time, the remaining members of the Society are empowered to elect a President. 11 November 2002  Amendments: 4.b,c,d,e and 6.b (27 March 2003) Amendments: 11, 17, 18, 19, 20, 22 and renumbering (13th September 2007) 11 (3 October 2007) Amendments: 12 (Associate Members) (9th January 2012) Amendments: 22.a. AGM (12 January 2015) Amendments: 12 (Painting Members) (18 March 2016) Amendments: 16 (18 March 2016) Amendment (18 March 2017) - 16 Deletion of  “All members are required to become members of Eden Friends to give them the necessary access to the biomes and Watering Lane Nursery.” And 21 Meeting to be more flexible