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Rare Books Goes to Utah State University!

23 Tuesday Jan 2018

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Last semester, Rare Books loaned six of its medieval manuscript facsimiles to the Merrill-Cazier Library at Utah State University in collaboration with an art history course taught by Professor Alexa Sand. The upper-level course, “Special Topics Seminar in Medieval and Early Modern Art: Rare Books and Facsimiles,” provided a wide-ranging introduction to the interdisciplinary field of manuscript studies. The focus was the history of the codex from its advent in late Roman times to the early print era.

Each student selected a facsimile and researched its origins, history, and significance toward the final assignment of including it in a group-curated exhibition displayed in the library. The seminar concluded with a one-day symposium in which student researchers played an active role in discussion.

The materials selected for study related to botany and its medical and magical associations from late antiquity through the early modern period. Students prepared all aspects of the exhibition, from layout and display to publicity and the opening reception, working with Special Collections faculty and staff and Professor Sand.

Facsimiles on loan from Rare Books were:


Des Pedanius Dioskurides aus anazarbos arzneimittellehre in funf buchern
Ca. seventh century, Italy
Graz: Akademische Druck-u. Verlagsanstalt, 1988
R126 D56 1988

Facsimile. This manuscript is one of the oldest in the tradition of Materia medica, a pharmacological treatise written by Greek physician Pedanius Dioscorides in the first century CE. Dioscorides’ work was used by the medieval world for centuries. In the sixth century it was translated into Latin and by the ninth century it had been translated into Arabic, Syrian and Hebrew. More than four hundred plants are described in this illustrated herbal manual, each illustration bordered in red ink. The binding of wooden covers and leather accords with the character of the original.


Theriaka y Alexipharmaka de Nicandro
Nicander of Colophon
Barcelona: Moleiro, 1997
QP41 N53 1997

Facsimile. The Greek text for this codex, produced in the tenth century, was written in Constantinople in the second century BCE. Nicander, a trusted doctor, poet, and grammarian served in the court of Athalus III, King of Pergamum. In Homeric-style verses, Nicander describes poisons caused by animal bites and stings and by the ingestion of plant, animal, and mineral substances. Antidotes are given for each type of poisoning. These nearly sixty formulas were later improved upon by Mithridates, who added opium and aromatic herbs to the potions. Nicander’s work was used by Criton, the doctor of Trajan, and Andromachus, Nero’s doctor, and is the oldest extant Greek text relating to toxicology. Using this text as his basis, Andromachus compiled a list of seventy-one curative remedies – a list used until the nineteenth-century as the panacea textbook for all and any poisonings. The tenth-century codex, a product of the Byzantine Renaissance, is the only remaining illuminated copy of Nicander’s poetry. The forty-one illustrations form a part of the Hellenistic artistic tradition. The original is now housed at the Bibliotheque National de France. Facsimile edition of nine hundred and eighty-seven copies. University of Utah copy is no. 469.


Theatrum sanitatis
Ububchasym of Baldach (d. ca. 1068 AD)
Eleventh Century
Barcelona: M. Moleiro, 1999
RS79 T46 1999

Facsimile. This handbook of health was written between 1052 and 1063 CE by the Arab scholar Ububshasym of Baldach, better known throughout medieval literature as Ellucasim Elimittar. Many of the concepts used in his writing were derived from earlier Greek, Roman, and Arabic medical treatises. Good health depended upon six essential factors: climate, food and drink, movement and rest, sleep and wakefulness, happiness, pain and sadness. Plants, fruits, vegetables, and basic hygiene also affect a person’s health. Ninety-nine of these and other elements are described with the therapeutic properties of each and the ailments that may be helped by them. The illustrations were influenced by the school of Giovannino de Grassi. Two hundred and eight red-framed, nearly full-page illuminations illustrate scenes from daily life as well as the elements described.


Tacuinum sanitatus in medicina.
Graz, Austria: Akademische Druck-u. Verlagsanstalt, 1986
RS79 T335 1986

Facsimile. Northern Italy. This illuminated medical handbook was produced for a layperson – a woman of the upper aristocracy or of a rich patrician family able to read, and afford, a lavish book. A reference of sorts for the household management of health and healing, this type of book goes back to an Arab source written by the physician Ibn Butlan in the 11th century. The Arab art and science of healing decisively influenced occidental medicine and enjoyed a long-lived and distinguished reputation. The Latin translation, which made the codex accessible to the educated of the medieval western world, was widely known. Many copies survive. This particular copy is one of the finest of its kind, displaying over two hundred full-page miniatures of all that was considered important with regard to human health and well being. Beginning in the 14th century, the text was placed below an individual image. The evocative miniatures portray everyday life of late Medieval Italian culture. With a natural style and strong colors, two artists portrayed plants, animals, food, and drugs. All of the objects are within scenes centered upon a human. The text below each miniature describes both the benefits and shortfalls of the object depicted. Derived from the classical herbal tradition, but closely related to Arab manuscripts, the format follows a later western tradition. Bound in leather on wooden boards with hand stamping according to contemporary pattern.


Livre des simples medecines
Antwerp : De Schutter, 1984
QK99 A1 L58 1984 v.1

Facsimile. This late fifteenth-century manuscript is of what has become known as “Livre des Simple Medecines,” a major text of medieval science. Many manuscript copies of this work exist – at least twenty-three from the fifteenth century and one from the sixteenth century. It was first printed in 1488 and printed nine more times before 1548. In classic herbal format, Livre des simple medecines is an alphabetical list of “simples,” that is, unadulterated vegetable, mineral or animal products. Each entry provides a description and, among other things, its usefulness in treating ailments. Herbals as pharmacopeia began in ancient Mesopotamia and Egypt. The earliest surviving medical herbal is a work in Greek compiled by Pedianos Dioscorides. This work would dominate European herbals for the next fifteen centuries. It was translated into Arabic as early as the ninth century and influenced Avicenna and other physicians from the Arab world. Herbals were living works. That is, copyists, often practitioners of medicine themselves or copying for practitioners, would contribute to adapt or modify an herbal depending on new or different experience. In this tradition, the French translation here includes new sources such as ibn Butlan, an Arab physician, and others. The four hundred and fifty-seven illuminations in this copy, the Codex Bruxellensis IV, reveal an attempt by the artists to be faithful to nature. In this sense, the desire was to return to copying nature, instead of merely copying degraded illustrations from older herbals. Deliberate observation and representation of nature emerged in all forms of art in the fifteenth century. Codex Bruxellensis IV was copied onto paper. Written in maroon ink by a single hand sometime in the second half of the fifteenth century in a cursive script, the copy also contains marginal annotations by at least two sixteenth-century hands. An attempted pagination was added by a seventeenth-century hand. At some point in its history, one owner added dried samples of plants within its leaves. Facsimile edition of two thousand copies. The University of Utah copy is no. 316.


Tacuinum sanitatis/enchiridion virtutum vegetablilium, animalium, mineralium rerumque omnium: explicans naturam, iuvamentum, nocumentum remotionemque nocumentoru[m] eorum/ authore anonymo
Graz: Akademische Druck- u. Verlagsanstalt, 1984 RS79 T33 1984

Facsimile. Venice, 1490. Tacuinum Sanitatis (Handbook of Health) is the modern title given to one of the most popular treatises on medicine during the later Middle Ages. It combines Arabic and western knowledge on many types of foods, plants, and circumstances, with particular reference to their useful and harmful properties, and how the latter could be cured if necessary. The illustrated versions of this text yield much information on medieval daily life. The manuscript is comprised of 82 leaves, with four miniatures per page, a total of 294 miniatures. The captions or text are based on the Taqwin al-sihhah of Ibn Butlan (d. 1066), which was unillustrated. Ibn Butlan, originally from Baghdad, visited Cairo about 1049, after which he went to Constantinople before settling at Antioch in Syria and becoming a Nestorian monk. Facsimile edition of nine hundred and eighty copies, numbered.

Photographs of people by Andrew McAllister/Caine College of the Arts, Utah State University

Digital scans of books by Scott Beadles/Department of Art, University of Utah

Special thanks to our colleague Jennifer Duncan, Head of Special Collections, Book Curator, Merrill Cazier Library, Utah State University.

 

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Book of the Week — Athanasii Kircheri Societatis Iesu Magnes; sive, de arte magnetica

05 Monday Jun 2017

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animals, arrows, Athanasius Kircher, electromagnetism, Emperor, engravings, F. Valentini, Ferdinando IV, God, Greek, Hapsburg, hydraulics, Jesuit, lodestone, longitude, love, magnet, magnetism, Mars, Martin Martini, medicine, music, plants, rare books, Roman Catholic, symbol, tides, toys, universe, woodcuts, zodiac

QC751-K58-1654-title
““The highest mountain, the oldest books, the strangest people, there you will find the stone.” — Attributed to Athanasius Kircher

Athanasii Kircheri Societatis Iesu Magnes; sive, de arte magnetica
Athanasius Kircher (1602-1680)
Romae: sumptibus Blasii Deuersin, & Zanobii Masotti Bibliopolarum typis Vitalis Mascarditypis V. Mascardi, MDCLIV (1654)
Third and final edition
QC751 K58 1654

Athanasius Kircher learned Greek and Hebrew at the Jesuit school in Fulda. He continued his scientific studies at Paderborn, Cologne, and Koblenz, taking orders in 1628 as a Jesuit priest. He traveled to Paris, fleeing fighting in Germany, and settled in Rome in 1634. His rigorous scientific curiosity was girded by a mystical conception of natural laws and forces. His methodology ranged from scholastic to hands-on experimentation. He once had himself lowered into the crater of Vesuvius to observe its features soon after an eruption. He was a prolific writer, publishing forty-four books. More than 2,000 of his manuscripts and letters survive. He assembled one of the first natural history collections, housed in a museum after his name in Rome, and later dispersed throughout various institutions.

The third edition of Magnes sive de arte magnetica is the first to appear in folio format. It is virtually a new work, rewritten and expanded from the first edition (1641). This edition is Athanasius Kircher’s largest, most complete, and definitive treatise on magnetism and electromagnetism (a term coined by Kircher in this work), which he conceived as a universal force of nature. Kircher compiled measurements of magnetic declination from several places around the world as reported by Jesuit scholars. One of these, Martin Martini, suggested to Kircher the possibility of determining longitudes by the declination of a magnetic needle, a possibility which Kircher then introduced to the scientific community.

In this work Kircher included discussions about the magnetism of the earth and heavenly bodies, the tides, the attraction and repulsion in animals and plants, and the magnetic attraction of music and love. He addressed the practical applications of magnetism in medicine, hydraulics, the construction of scientific instruments, and toys. Above it all, God remained the central magnet of the universe.

QC751-K58-1654-Obelisk
Glass spheres contain wax figures incorporating magnets, which can be affected by the large magnet in the base of the obelisk. On the globes are letters and signs of the Zodiac to which the figures point. By manipulating the handle in front of the table skirt, the operator could rotate the central magnet and cause the figures to answer questions or spell out words. The Greek inscription on the ribbon at the top of the obelisk is the Hermetic axiom, “Nature rejoices in Nature.” — p. 275

Illustrated with thirty-two full-page engraved plates and more than one hundred and fifty ornamental woodcuts throughout the text. Title-page printed in red and black. Rare Books copy has odd little hand-inked drawings by a past owner throughout.

QC751-K58-1654-Portrait
The portrait of Ferdinando IV, reigning Hapsburg Emperor, to whom Magnes sive de arte magnetica is dedicated, contains magnetic needles in the shape of arrows, a lodestone, the eye of God, the orb and cross corresponding to the ancient symbol for Mars, and other, even more esoteric, symbols. This engraving embodies the doctrine of Roman Catholic monarchy as a divine institution, and the emperor and his empire as the microcosmic reflections of God and his universe. Ferdinando IV died the year this edition was published, at the age of 21. — Engraving by F. Valentini

QC751-K58-1654-Sunflower
Sundial in the form of a sunflower — p. 508

QC751-K58-1654-pg593
In southern Italy, most commonly in Apulia, dancing the Tarantella cured the tarantulla bite. — p. 593

Recommended reading:

Glassie, John. A Man of Misconceptions: The Life of an Eccentric in an Age of Change. New York: Riverhead Books, 2013
CT1098 K46 G53 2013, General Collection, L2

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Book of the Week — An Essay Towards a Real Character…

18 Tuesday Apr 2017

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animals, Bishop of Chester, cryptography, engravings, Gellibrand, grammar, Great Fire of London, John Ray, John Wilkins, Joseph Moxon, language, Latin, letterforms, London, music, Oliver Cromwell, paneled calf, phonetics, plants, printing, Robert Boyle, Robert Hooke, Royal Society, space travel, symbols, theology, Trinity College, typography, University of Utah, vowels, William Harvey, William Lloyd

P101-W4-1668-pg311
“…Letters, the Invention of which was a thing of so great Art and exquisiteness, that…doth from hence inferr the divinity and spirituality of the humane soul, and that it must needs be of a farr more excellent and abstracted Essence that mere Matter or Body…” — John Wilkins

An Essay Towards a Real Character, and a Philosophical Language
John Wilkins (1616-1672)
London: Printed for S. Gellibrand, 1668
First edition

John Wilkins, Bishop of Chester, was the chief founder of the Royal Society and its first secretary. He was Master of Trinity College. Wilkins was acquainted with many of the great minds of his day: William Harvey, Christopher Wren, Robert Boyle and Robert Hooke. He married the younger sister of Oliver Cromwell. In 1662, he lost all of his library and scientific instruments to the Great Fire of London. He was interested in just about everything — from theology to cryptography, music to space travel. He worked on creating an artificial universal language to replace Latin as a means of clearer communication between scholars and philosophers.

In this book Wilkins discussed the origin of language and letterforms, as well as a theory of grammar and phonetics. He classified words by their meanings and assigned each class a set of typographical characters, in an attempt to create a rationally ordered language and system of symbols.

P101-W4-1668-pg186

He divided the universe into forty classes, or categories, and subdivided these, and then subdivided these. To each class he assigned a monosyllable of two letters; to each subdivision he added a consonant; to each further subdivision, or species, he added a vowel. Each letter, or symbol, had meaning.

P101-W4-1668-Faces

John Ray drew up systematic tables of plants and animals for the book. An index was created by Dr. William Lloyd. Joseph Moxon (1627-1691) cut the typographical characters Wilkins proposed for his language. Moxon was the author of Mechanick Exercises, the first comprehensive manual of printing and letter-founding in any language.

The first issue of the first edition appeared without any of the engraved plates. This copy, apparently a second issue, contains all of the plates, although two folded leaves of tables and diagrams that are in other copies are missing. Bound with Wilkins’ An alphabetical dictionary, wherin all English Words According to their various significations, are either referred to their Places in the Philosophical Tables, Or explained by such words as are in those tables. The second work functions as an index to the first.

University of Utah copy bound in contemporary paneled calf with covers ruled in blind.

P101-W4-1668-NoahsArk

“From what hath been said it may appear, that the measure and capacity of the Ark, which some Atheistical irreligious men make use of, as an argument against the Scripture, ought rather to be esteemed a most rational confirmation of the truth and divine authority of it. Especially if it be well considered, that in those first and ruder ages of the World… men were less versed in Arts and Philosophy, and therefore probably more obnoxious to vulgar prejudices than now they are… — John Wilkins

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Book of the Week — De coloribus libellus

05 Monday Dec 2016

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animals, color, color theory, Empedocles, Florence, Florentinae, Isaac Newton, Laurentii Torrentini, Loeb Classical Library, medicine, Neapolitan, philosopher, Piza, plants, Pseudo Aristotle, scientist, Simone Porzio (1497-1554), soul, vellum

qc495-a7-1548-title

“Those colours are simple which belong to the elements, fire, air, water and earth. For air and water are naturally white in themselves, while fire and the sun are golden. The earth is also naturally white, but seems coloured because it is dyed. This becomes clear when we consider ashes; for they become white when the moisture which caused their dyeing is burned out of them; but not completely so, for they are also dyed by smoke, which is black. In the same way sand becomes golden, because the fiery red and black tints the water. The colour black belongs to the elements of things while they are undergoing a transformation of their nature. But the other colours are evidently due to mixture, when they are blended with each other. For darkness follows when light fails. — Loeb Classical Library translation

DE COLORIBUS LIBELLVS A SIMONE PORTIO…
Pseudo Aristotele (384 BC – 322 BC)
Florentinae: ex officina Laurentii Torrentini, 1548
Editio princips

This is perhaps the earliest work on color theory, attributed to Aristotle, who took his ideas from Empedocles and went a step further, creating a base line occupied by seven colors. Aristotle’s base line was applied to all color-systems up to the time of Isaac Newton. His assumption was to represent colors as actual characteristics of the surface of bodies and not as subjective phenomena produced by the eye or in the brain as a result of the properties of light. Aristotle observed colors very accurately, as well as their contrasts. He noted, for instance, that the violet appearing on white wool appeared different when on black wool and that colors appeared different in daylight than in candlelight. Only much later were these phenomena systematically examined and explained.

This edition was translated and edited with extensive scholarly commentary by Simone Porzio (1497-1554), a Neapolitan philosopher and scientist who was a fanatical disciple of Pomponazzi. Porzio eventually gave up lecturing on medicine at Piza and his scientific studies to focus on studying philosophy. Porzio denied immortality in all forms and taught that the human soul is homogeneous with the soul of animals and plants.

Binding is old vellum with a red leather lettering piece.

qc495-a7-1548-pg23

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Book of the Week – De Historia Stirpivm Commentarii Insignes…

21 Tuesday May 2013

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Albrecht Meyer, botany, Columbian Encounter, De Historia Stirpium, Erfurt University, Fuchsia, German, Greek, Heinrich Fullmaurer, herbals, Ingolstadt, Latin, Leonhart Fuchs, maize, marigold, medicine, Mexico, plague, plants, potato, pumpkin, Renaissance, tobacco, Veit Rudof Speckle, William Morris, woodcuts

Fuchs, 1542, Title page
Fuchs, 1542, Portrait
Fuchs, 1542

De Historia Stirpivm Commentarii Insignes…
Leonhart Fuchs (1501 – 1566)
Basileae: In officina Isingriniana, 1542
QK41 F7 1542

During the European Renaissance, medical treatments were based on botany, but the herbals and other books available to practitioners often inaccurately identified plants. This herbal, The History of Plants, established a new standard of scientific observation and accurate illustration. Leonhart Fuchs compiled his text from various classical sources but added his own field observations.

The remarkably detailed woodcuts, drawn by Heinrich Fullmaurer and Albrecht Meyer and cut by Veit Rudolf Speckle represent the first published illustrations of American plants, including the pumpkin, the marigold, maize, potato, and tobacco – all native to Mexico and introduced into Europe as a consequence of the Columbian Encounter. The plants were identified in Latin, Greek, and German.

Leonhart Fuchs was a child genius, matriculating at Erfurt University at the age of twelve. He went on to take a degree in medicine at Ingolstadt. His medical work during an outbreak of plague in 1529 was outstanding and contributed to an already growing reputation. In his De Historia Stirpium he gave full recognition to his artists by praising them in his preface and publishing their portraits. The artists achieved an extraordinary beauty of line. Their renderings demonstrate the Renaissance shift to the accurate observation and drawing of plants from life.

Fuchs would be immortalized in the lovely genus Fuchsia. English artist and designer William Morris owned a copy of Fuchs’s book and clearly took inspiration from it for some of his own designs.

 

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