I don’t know whether you feel the way I do, butwhen I am in these hothouses and see the strangeplants from exotic lands it seems to me that I amentering a dream. I feel like a quite different person.Henri RousseauOur cover art, celebrating this special section on Bio-geography, is Exotic Landscape—Fight between a Gorilla andan Indian—an unexpected play on biogeography by theFrench Post-Impressionist painter Henri Rousseau. Thisfamous painting is part of a series of 26 jungle-themedworks by Rousseau, starting with his spectacular Surprise in1891—a stunning portrait of a tiger stalking an unknownprey during a tropical downpour.The mysterious beauty of these images exposes themyth behind the often-quoted ‘‘naivety’’ of Rousseau’swork. They reveal a depth of technical understanding and amasterly technique that he developed specifically throughthe series. In one of his last renderings of the jungle theme,The Dream (1910), Rousseau used over 50 shades of greenalone. The diversity of colors, textures, and shades which heuses to portray the hidden layers of the tropical rainforestsuggests a person who has spent considerable time in theseecosystems, sketching and studying form and function.Indeed, Rousseau himself actively helped build this myth,stating that he took part in the French expeditionary forcesent to secure the coronation of the Hapsburg Maximilianas Emperor of Mexico. However, evidence indicates that,during this time, Rousseau was actually in a jail in Franceand then volunteered in Angers. The long-standing debateon his true whereabouts continues to this day.In Exotic Landscape, Rousseau inadvertently reveals thetruth. This painting is not one that recreates vivid memo-ries of military action in the subtropics. Here, a gorillafights mano-a-mano with a South American Indian. Thesecharacters, juxtaposed from two different continents, battleamong a hodgepodge of tropical vegetation: Classicalgreenhouse foliage from the formal gardens of VictorianEurope. In this painting, the African endemic Sansevieriagrows with Agave from the Americas and banana plantsfrom Asia. In an interview published in 1910, Rousseauconfessed a particular fondness for the greenhouses of theJardin des Plantes, with their colonial collections of diversebotanical specimens. What of the menagerie that Rousseauplaced in these magical gardens? Here, he draws on sol-diers’ stories, colonial reports, and a series of magazinearticles and photographs, some of which he copies directlyinto his work.However, Rousseau, perhaps not as naive as manycritics thought at the time, sees beyond the neat borders ofthe greenhouses where he found his inspiration. Ratherthan referring to nature with the romanticism of Jean-Jacques Rousseau, Henri Rousseau sees violence, darkness,and struggle set against the overbearing heat of the tropicalsun. His miniaturized figures give the suggestion that theirmoment of battle is just one tiny fragment of time in a landdominated by the creeping growth of vegetation. He por-