Meet the Objects: Folio of Dioscorides’ Materia Medica

This is a folio (page) from an Arabic copy of an important ancient medical text by Dioscorides.  It features the verbascum plant, and can be viewed online at the Harvard Art Museum’s site, or as part of the Google Art Project.

Dioscorides (Pedanius Dioscorides) was born in the first century C.E. in Anazarba, near Adana in modern-day Turkey. He had the opportunity to study the plants of many different regions (including Anatolia, Egypt, Arabia, Persia, Gallia, North Africa and Caucasia) while traveling with the Roman army as a military physician during the reigns of Emperors Caligula (37-41), Claudius (41-54) and Nero (54-68). He recorded this vast medical knowledge in Greek, but his monumental work Περί ύλης ιάτρικης (Peri hyles iatrikes) is more widely known by its Latin name, de Materia Medica (“On Medical Materials”). De Materia Medica describes more than 600 herbal drugs, about 35 drugs from animal sources, and about 90 drugs prepared with minerals, most of which are illustrated. The narrative descriptions provide specific information about those drugs, such as their places and methods of cultivation, botanical descriptions, medical effects, methods of use, side effects, dosages, veterinary usage and non-medical usage.

De Materia Medica was translated from Greek into Arabic and Syriac several times during the eighth century C.E. The first and most important of these translations was produced by a Greek and Arab scholar, Stephanos ibn Basilos and Hunayn ibn Ishaq, who worked together in Baghdad during the reign of the caliph al-Mutawakkil.  Because Dioscorides included local names of plants from across many regions, however, Arabic translators struggled to find proper equivalent names for the plants. Some translators did not translate all the drug names, but instead transliterated many into the Arabic alphabet. Moreover, since the botanical nomenclature in the Arabic language was not as extensive as that found in de Materia Medica, the Arabic translators had to develop new terminology. Improved versions of this monumental work were made available in the subsequent centuries, especially in the Western Caliphate, and its information was incorporated in other major pharmaceutical works– for example, the writings of Ibn Sina, al-Razi, and ibn Juljul.

The copy of de Materia Medica from which this folio was taken likely would have served as a handbook for doctors, students or others seeking to harvest or use medicinal plants as part of their trade.  As the text was copied and disseminated widely throughout Arabic-speaking world, refinements and small changes were made not only in the text but in the illustrations.  By comparing extant manuscripts, scholars are able to reconstruct aspects of the transmission process.

Our folio also may have served an ornamental purpose.  Wealthy elites in thirteenth-century Baghdad often commissioned illustrated manuscripts like this one, and an affluent patron could have paid a significant fee to have a personal copy of de Materia Medica as a status symbol. It is possible that a larger codex was split into individual folios and sold one by one. The light color of the paper (in the thirteenth century, light paper was relatively more expensive than darker grades), the scribe’s use of gold, and the fact that the folio has lasted centuries with little damage all point to its treatment as an object of admiration as much as (or more than) a tool of scientific inquiry.

Meet the Objects: Fusoris Astrolabe

Even though we’re not supposed to have “favorites,” the Fusoris astrolabe is one of the MOL team’s favorite objects. Currently housed in Harvard History of Science’s Collection of Historical Scientific Instruments, it is one of very few medieval items in CHSI’s collection. It is on public display in the permanent Putnam Gallery in Harvard’s Science Center.

Visually, the astrolabe is attention-grabbing mainly because of how complicated it appears. The main body of a typical astrolabe would consist of a disk about six inches (15 cm) in diameter and ¼ inch (6 mm) thick, the mater, which was carved to hold interchangeable plates, or tympans, but still show calculatory information on the ring at the edge of the mater. The interchangeable plates set into the mater were calibrated to a given latitude, and were engraved with circles of altitude and azimuth for that latitude. Over the tympan was fitted another disk, called the rete (meaning “net” in Latin), which was heavily carved out so astronomers could easily see the plate under it. Pointers on the rete represented a number of fixed stars, which could be rotated over the tympan to show the passage of the stars relative to the astronomer’s latitude. On top of the rete was a clock-type hand called the rule, which could also be rotated in order to make calculations.

The reverse sides of most maters were engraved with a wide variety of scales. While the number and organization of these depended on where and when the astrolabe was made, all astrolabes included scales for measuring angles and scales for determining the Sun’s longitude for any date, as well as an alidade for measuring the altitude of celestial objects. All the interlocking parts were “fixed” by a bolt through the middle of each disc, rule, and alidade (so that they could rotate on top of each other), and fastened with a washer and decorative nut called a horse. The entire instrument was suspended by a string connected to a ring located at the top of the astrolabe. The Fusoris astrolabe’s rete and mater are constructed of gilt brass, but its single tympan, bolt, washer, horse, and suspension ring are of silver; the bolt head is further engraved with an 8 pointed star and the washer with a 16-point wind rose.

exploded image of astrolabe

Although astrolabes were invented centuries earlier in the Arabic-speaking lands under Islamic rule, this particular astrolabe was made in the Parisian workshop of Jean Fusoris in 1400. Other astrolabes from this workshop contain four or five brass tympans with projections for four to eight European latitudes within the range of 40° to 56°. The Harvard example, however, has a single, silver tympan inscribed for 34°—the latitude of Fez and Rabat (Morocco), Sultanabad (Iran), Herat (Afghanistan), and within half a degree of Damascus and Baghdad. So, we can surmise that this astrolabe was likely expressly constructed for a client who needed a low-latitude instrument for use in the Arabic-speaking world.

Meet the Objects: Russian Deesis

Among the first items chosen for the MOL library was this Russian Deesis plaque, made by an unknown artist between 1460 and 1470. The plaque was carefully made from a board (doska) of high-quality pine or fir, covered with white plaster (levkas), illustrated with tempera paint, and sealed with an oil-based varnish (olifa) before a layer of metallic facing (oklad) was added to increase the object’s brilliant appearance.

The term Deesis (from the Greek verb deomai, “to plead”) refers to a type of icon featuring the figure of Christ flanked by saintly intercessors—often (as here) Mary and John the Baptist—and often accompanied by angels. In medieval Russian homes, such icons were housed in the “red corner,” the nicest part of the house. There, members of the family would kneel before the icon and offer petitions as well as prayers of thanksgiving, prayers directed not to the icon itself but to the holy figures depicted on it, to whose presence the icon was believed to offer special access.

We have no direct evidence about the original home of this Deesis icon, or its early movements. By the first half of the twentieth century it had made its way to Turkey, where it was acquired by the scholar Thomas Whittemore, founder of the Byzantine Institute of America and Keeper of Byzantine seals and coins at Harvard’s Fogg Museum. For a number of decades, it was part of a large collection of Russian icons held by Juniata College in Huntington, Pennsylvania, before moving to the Fogg Musuem in 1992. Currently, it is in storage at the Harvard Art Museums‘ Somerville Research Center.

Sama Mammadova, Assistant Project Manager