Rembert Dodoens, Cruyde Boeck 1563, Einführung

Total Page:16

File Type:pdf, Size:1020Kb

Rembert Dodoens, Cruyde Boeck 1563, Einführung Rembert Dodoens Cruyde Boeck Antwerpen 1563 Rembert Dodoens Cruyde Boeck Antwerpen 1563 Digitales Faksimile nach dem Exemplar der Universitätsbibliothek Marburg Herausgegeben und mit einer Einführung von Thomas Gloning, Lydia Kaiser und Ans Schapendonk Marburg 2005 Schriften der Universitätsbibliothek Marburg Band 125 Mit freundlicher Unterstützung von Roche Diagnostics, Basel und Nederlandse Taalunie, 's-Gravenhage Ultimate-Custom-Bikes, Marburg Internet-Fassung und Updates: http://archiv.ub.uni-marburg.de/eb/2005/0001/ Alle Rechte vorbehalten (c) Digitales Faksimile: UB Marburg (c) Einführung: UB Marburg und die Autoren ISSN: 0931-7163 ISBN: 3-8185-0416-4 Danksagung Als wir vor gut drei Jahren das kolorierte Marburger Exemplar des Kräuter- buchs von Dodoens als einen lohnenden Gegenstand erstmals wahrnahmen, dachten wir, man könnte das Exemplar "mal kurz einscannen" und im Internet zur Verfügung stellen: nackt und kommentarlos. "Hauptsache, der Text ist ver- fügbar", so war die Überlegung. Es ist dann anders gekommen ... Zuvörderst sprachen konservatorische Erwägungen gegen diese Methode. Die Lösung bot uns schließlich das Göttinger Digitalisierungszentrum, perso- nell verkörpert in Michael Liebetruth, in dem wir einen sehr engagierten, sach- kundigen und äußerst kooperativen Gesprächspartner fanden. Die Unterstützung für die Digitalisierung verdanken wir der Vermittlung von Herrn Dr. Dirk Barth, dem Direktor unserer Universitätsbibliothek, und Herrn Prof. Dr. Werner Schaal, der unserer Universität von 1994 bis 2000 als Präsi- dent vorstand. Herr Prof. Schaal hat die Verbindung hergestellt zu Roche Dia- gnostics in Basel, die schnell und unbürokratisch Mittel bereitstellten. Dem Unternehmen Roche Diagnostics in Basel danken wir sehr herzlich für diese großzügige Förderung. Wenn es einen Ort in Europa gibt, an dem die Traditionslinien des Humanismus, des Buchdrucks, der Medizin- und Pharma- ziegeschichte besonders viele Schnittpunkte aufweisen, dann ist es Basel. Wir sehen mit besonderer Freude, dass diese Traditionslinien nicht nur Geschichte sind, sondern auch Verpflichtung für die Gegenwart. Herzlicher Dank geht auch an Ultimate-Custom-Bikes, Marburg, für vielfäl- tige und weitreichende Unterstützung vor allem bei der aufwändigen Program- mierung der CD! In unseren Dank schließen wir die Nederlandse Taalunie mit ein, die unser Projekt ebenfalls unterstützt hat. Mehrere wichtige Faksimile- drucke konnten aus Mitteln des Preises der Justus-Liebig-Universität Gießen für das Jahr 2003 beschafft werden. Auch dafür sagen wir herzlichen Dank. Johannes Borbach-Jaene hat im Vorfeld des Projekts, bevor er zur UB Pa- derborn wechselte, an den konzeptionellen Arbeiten mitgewirkt. Julia Rissel hat viele Daten erfasst und korrigiert: eine langwierige und viel Konzentration erfordernde Tätigkeit. Urs C. Bänziger hat nicht nur viele gute Ideen zur Kon- zeption und zur Gestaltung des digitalen Faksimiles beigesteuert, er hat auch die gesamte Einrichtung und Programmierung der CD-ROM geleistet! Herrn Hans Steiß danken wir für Rat und Tat vor und bei der Drucklegung. Für viele hilfreiche Kommentare und Beiträge zur Einführung bedanken wir uns schließlich sehr herzlich bei Herrn Dr. Dirk Barth, Herrn Dr. Uwe Brede- horn, Herrn Prof. Dr. Peter Dilg und Herrn Prof. Dr. Peter Seidensticker. Lydia Kaiser Ans Schapendonk Thomas Gloning Rembert Dodoens und sein Cruyde Boeck (1563) Thomas Gloning, Lydia Kaiser und Ans Schapendonk 1. Einleitung Eines der bedeutendsten und schönsten Exponate der Ausstellung Die wider- spenstigen Niederlande 1998 in der Universitätsbibliothek Marburg war das in niederländischer Sprache verfasste, 1563 erschienene Cruyde Boeck des Flamen Rembert Dodoens (1517-1585). Das Werk ist Teil eines umfangreichen und vielgestaltigen Bestandes an alten Drucken in niederländischer Sprache, der nun im Katalog dieser Ausstellung dokumentiert ist.1 Der Arzt und spätere Medizin-Professor Rembert Dodoens gehört neben Otto Brunfels, Leonhart Fuchs, Hieronymus Bock und Carolus Clusius zu den Sternen erster Größe in der wis- senschaftlichen Botanik des 16. Jahrhunderts. Sein in der Volkssprache veröffentlichtes Kräu- terbuch erschien erstmals im Jahr 1554, in einer erweiterten und überarbeiteten Auflage, die wir hier dokumentieren, im Jahr 1563. Zusammen mit seinem großen lateinischen Kräuterbuch (Stirpium historiae pemptades sex, 1583) und den nach seinem Tod veröffentlichten Überset- zungen dieses Kräuterbuchs mit eingearbeiteten Abb. 1: Rembert Dodoens Nachträgen gehört das Werk zu den wichtigsten Aus: Schierbeek S. 10. Beiträgen zur Botanik seiner Zeit und zur Be- schreibung der regionalen Flora seiner Heimat. Das kolorierte Marburger Ex- emplar des Kräuterbuchs besticht auch durch die Schönheit seiner Abbildungen. Der Arzt und Botaniker Rembert Dodoens beschreibt in seinem Cruyde Boeck von fast 800 Seiten mehr als 1400 Pflanzen der Alten und der Neuen Welt. Das Darstellungsschema umfasst unter anderem Angaben zu Fragen der Klassifizierung,2 zur äußeren Gestalt, zum Vorkommen, zu den Bezeichnungen 1 Vgl. Schapendonk 1998; zum Cruyde Boeck S. 44, Nr. 60. 2 Unterm Stichwort gheslacht. Die Frage, auf welche modernen Klassifikationsebenen die- se Angaben jeweils zu beziehen sind, müssen wir den Botanikern überlassen. Wir ver- wenden Ausdrücke wie Art, Variante usw. durchweg nicht im modernen fachlichen Sinn. 1 in unterschiedlichen alten und neuen Sprachen, zur Wachstums- und Blüteperi- ode sowie zu den medizinischen Eigenschaften und Heilwirkungen, die weitge- hend auf der damals nach wie vor maßgebenden Vier-Säfte-Lehre beruhten; zuweilen finden sich auch Angaben zu Anwendungsmöglichkeiten der Pflanzen in Küche, Handwerk, Kunst und Gewerbe. Das Werk wird erschlossen durch sieben Register. Bei den überwiegend naturgetreuen Abbildungen handelt es sich um mehr als 800 kolorierte Holzschnitte, die zum Teil aus dem Werk von Leonhart Fuchs übernommen, zum Teil aber auch ganz neu angefertigt wurden. Das Kräuterbuch und seine Pflanzenbe- schreibungen stehen in einem Spannungs- feld zwischen der Orientierung an den alten medizinischen und naturkundlichen Auto- ritäten, die auch in der Frühen Neuzeit noch bestimmend waren (z.B. Hippokrates, Dioskurides, Galen, Plinius), und einem an der Erfahrung und der eigenen Beobach- tung orientierten Neuaufbruch, wie er für die wissenschaftliche Botanik des 16. Jahr- hunderts charakteristisch ist. Rückwärtsge- richtet steht das Werk also in einer jahrhun- dertealten Tradition der medizinisch orien- tierten Kräuterkunde, die von der Antike bis zu den Autoren des arabischen Kulturraums Abb. 2: Aus: Hartmann Schedel, und anderen mittelalterlichen Fachtexten Liber chronicarum, 1492 reicht. Zugleich steht das Werk aber auch in einer Linie mit dem neuen Programm der eigenen Beobachtung und der empiri- schen Forschung, wie es von den 'Deutschen Vätern der Pflanzenkunde' Otto Brunfels, Hieronymus Bock, Leonhart Fuchs und Valerius Cordus vertreten wurde. Die Lebensleistung und Bedeutung von Rembert Dodoens liegt neben seinem Beitrag zu einer empirischen Neuausrichtung der wissenschaftlichen Pflanzen- kunde auch darin, dass er dabei die regionale Flora von Brabant besonders be- rücksichtigt hat. Immer wieder bezieht er sich bei der Charakterisierung der Standorte von Pflanzen auf die Verhältnisse in seiner Heimat. Zur wissen- schaftlichen Bedeutung unseres Autors gehört auch, dass Dodoens die weithin übliche alphabetische Anordnung der Pflanzenbeschreibungen in den Kräuter- büchern ersetzte durch Ansätze zu einer klassifikatorischen Systematik, wie sie erst viel später von Linné konsequent und definitiv durchgeführt wurde. Aller- 2 dings sind hiervon im Kräuterbuch aus dem Jahr 1563 erst Ansätze zu spüren, denn Gruppierungen wie "van den cruyden/ wortelen ende vruchten/ diemen in die spijse ghebruyckt" liegen natürlich keine botanischen Kriterien zugrunde, sondern praktische Gesichtspunkte der Nutzung von Pflanzen, etwa für die Er- nährung. Bei der Anordnung der einzelnen Pflanzenkapitel innerhalb der Groß- gruppen hat Dodoens offenbar vor allem Gesichtspunkte der Ähnlichkeit in der äußeren Gestalt zugrundegelegt. Das Cruyde Boeck ist also in mehr als einer Hinsicht wichtig und interessant: es ist ein bedeutendes kulturgeschichtliches Dokument, ein wertvolles wissen- schaftsgeschichtliches Zeugnis der Frühen Neuzeit, ein Markstein in der Ent- wicklung des Botanikers Rembert Dodoens und überdies ein schönes Buch, durch dessen Seiten das Auge mit Wohlgefallen streift. In den folgenden Abschnitten wollen wir versuchen, den Autor und sein Buch vorzustellen und in den Kontext seiner Zeit einzuordnen. Abb. 3: Porträt Rembert Dodoens Aus: Rembert Dodoens: Cruyde Boeck, Antwerpen 1554. 3 2. Rembert Dodoens: sein Leben und seine Bücher Die Lebensumstände von Dodoens sind mehrfach dargestellt worden, unter an- derem in der auch heute noch lesenswerten Monographie von Meerbeeck (1841), sodann vor allem in neueren Arbeiten von A. Louis (1954; 1963; 1986) und auch in verschiedenen Beiträgen zu Festschriften (z.B. Andries 1917). Kurzfassungen finden sich u.a. in den biographischen Lexika und in Baumann u.a. (2001, S. 80f.). Das Buch von Meerbeeck bietet zudem einen breit ange- legten Überblick über das publizierte Werk von Dodoens. Gleichwohl muss man sagen, dass eine fundierte neuere Monographie zu Leben und Werk von Dodoens, die man etwa an die Seite der Werke von Hunger zu Clusius oder von Louis zu De l'Obel stellen könnte, bis heute fehlt. Die folgende Darstellung be- ruht im wesentlichen auf Meerbeeck und Louis. 2.1 Lebensstationen
Recommended publications
  • English Roots
    Plants / English roots Lupin – cultivated for thousands of Phlox – arrived in Europe from Delphinium – modern day varieties are years, originally as a fodder plant, Virginia, North America in the the result of interbreeding of species from as far apart as ancient Egypt and the early 18th century before crossing many parts of the world, from the Swiss Peruvian Andes. The tall colourful the channel a century later. Many Alps to Siberia. They have been a part of spires popular in English gardens varieties have been bred since not the English garden since at least Tudor have their origin in North American only in England but also in the times. species that arrived in Britain in the Netherlands and United States. 1820s. Rose – the English rose is the result of centuries of breeding of many varieties of rose from around world. One of these is the Damask rose, named after the Syrian city of Damascus, famous for its fragrance. It is thought to have first been brought to England by the Crusaders. Hydrangea – first introduced from Pennsylvania, North America in 1736. In the nineteenth century they became a favourite of plant hunters and botanists, including the famous Joseph Banks who brought more varieties back from China and Japan. Hollyhock – possible origins range from and Syria to India but mostly likely to be natives of China. This statuesque plant worked its way along the Silk Road over many centuries and is first mentioned in English Crossing literature in John Gardiners poem ’Feate of Gardenini’ in 1440. Sweet William – first appeared in English botanist John Gerard’s garden catalogue in 1596 having made their way from mountainous regions of southern Europe, such as the borders Pyrenees and the Carpathians.
    [Show full text]
  • Gerard's Herbal the OED Defines the Word
    Gerard’s Herbal The OED defines the word ‘herbal’ (n) as: ‘a book containing the names and descriptions of herbs, or of plants in general, with their properties and virtues; a treatise in plants.’ Charles Singer, historian of medicine and science, describes herbals as ‘a collection of descriptions of plants usually put together for medical purposes. The term is perhaps now-a-days used most frequently in connection with the finely illustrated works produced by the “fathers of botany” in the fifteenth and sixteenth century.’1 Although the origin of the herbal dates back to ‘remote antiquity’2 the advent of the printing press meant that herbals could be produced in large quantities (in comparison to their earlier manuscript counterparts) with detailed woodcut and metal engraving illustrations. The first herbal printed in Britain was Richard Banckes' Herball of 15253, which was written in plain text. Following Banckes, herbalists such as William Turner and John Gerard gained popularity with their lavishly illustrated herbals. Gerard’s Herbal was originally published in 1597; it is regarded as being one of the best of the printed herbals and is the first herbal to contain an illustration of a potato4. Gerard did Illustration of Gooseberries from not have an enormously interesting life; he was Gerard’s Herbal (1633), demonstrating the intricate detail that ‘apprenticed to Alexander Mason, a surgeon of 5 characterises this text. the Barber–Surgeons' Company’ and probably ‘travelled in Scandinavia and Russia, as he frequently refers to these places in his writing’6. For all his adult life he lived in a tenement with a garden probably belonging to Lord Burghley.
    [Show full text]
  • The Exotic World of Carolus Clusius 1526-1609 and a Reconstruction of the Clusius Garden
    The Netherlandish humanist Carolus Clusius (Arras 1526- Leiden 1609) is one of the most important European the exotic botanists of the sixteenth century. He is the author of innovative, internationally famous botanical publications, the exotic worldof he introduced exotic plants such as the tulip and potato world of in the Low Countries, and he was advisor of princes and aristocrats in various European countries, professor and director of the Hortus botanicus in Leiden, and central figure in a vast European network of exchanges. Carolus On 4 April 2009 Leiden University, Leiden University Library, The Hortus botanicus and the Scaliger Institute 1526-1609 commemorate the quatercentenary of Clusius’ death with an exhibition The Exotic World of Carolus Clusius 1526-1609 and a reconstruction of the Clusius Garden. Clusius carolus clusius scaliger instituut clusius all3.indd 1 16-03-2009 10:38:21 binnenwerk.qxp 16-3-2009 11:11 Pagina 1 Kleine publicaties van de Leidse Universiteitsbibliotheek Nr. 80 binnenwerk.qxp 16-3-2009 11:12 Pagina 2 binnenwerk.qxp 16-3-2009 11:12 Pagina 3 The Exotic World of Carolus Clusius (1526-1609) Catalogue of an exhibition on the quatercentenary of Clusius’ death, 4 April 2009 Edited by Kasper van Ommen With an introductory essay by Florike Egmond LEIDEN UNIVERSITY LIBRARY LEIDEN 2009 binnenwerk.qxp 16-3-2009 11:12 Pagina 4 ISSN 0921-9293, volume 80 This publication was made possible through generous grants from the Clusiusstichting, Clusius Project, Hortus botanicus and The Scaliger Institute, Leiden. Web version: https://disc.leidenuniv.nl/view/exh.jsp?id=exhubl002 Cover: Jacob de Monte (attributed), Portrait of Carolus Clusius at the age of 59.
    [Show full text]
  • Colonial Garden Plants
    COLONIAL GARD~J~ PLANTS I Flowers Before 1700 The following plants are listed according to the names most commonly used during the colonial period. The botanical name follows for accurate identification. The common name was listed first because many of the people using these lists will have access to or be familiar with that name rather than the botanical name. The botanical names are according to Bailey’s Hortus Second and The Standard Cyclopedia of Horticulture (3, 4). They are not the botanical names used during the colonial period for many of them have changed drastically. We have been very cautious concerning the interpretation of names to see that accuracy is maintained. By using several references spanning almost two hundred years (1, 3, 32, 35) we were able to interpret accurately the names of certain plants. For example, in the earliest works (32, 35), Lark’s Heel is used for Larkspur, also Delphinium. Then in later works the name Larkspur appears with the former in parenthesis. Similarly, the name "Emanies" appears frequently in the earliest books. Finally, one of them (35) lists the name Anemones as a synonym. Some of the names are amusing: "Issop" for Hyssop, "Pum- pions" for Pumpkins, "Mushmillions" for Muskmellons, "Isquou- terquashes" for Squashes, "Cowslips" for Primroses, "Daffadown dillies" for Daffodils. Other names are confusing. Bachelors Button was the name used for Gomphrena globosa, not for Centaurea cyanis as we use it today. Similarly, in the earliest literature, "Marygold" was used for Calendula. Later we begin to see "Pot Marygold" and "Calen- dula" for Calendula, and "Marygold" is reserved for Marigolds.
    [Show full text]
  • HSS Paper 2000
    The Many Books of Nature: How Renaissance naturalists created and responded to information overload Brian W. Ogilvie* History of Science Society Annual Meeting, Vancouver, Nov. 3, 2000 Copyright © 2000 Brian W. Ogilvie. All rights reserved. Renaissance natural history emerged in the late fifteenth century at the confluence of humanist textual criticism, the revival of Greek medical texts, and curricular reform in medicine.1 These streams had been set in motion by a deeper tectonic shift: an increasing interest in particular, empirical knowledge among humanists and their pupils, who rejected the scholastic definition of scientific knowledge as certain deductions from universal principles.2 Natural history, which had been seen in antiquity and the Middle Ages as a propaedeutic to natural philosophy or medicine, emerged from this confluence as a distinct discipline with its own set of practitioners, techniques, and norms.3 Ever since Linnaeus, description, nomenclature, and taxonomy have been taken to be the sine qua non of natural history; pre-Linnaean natural history has been treated by many historians as a kind of blind groping toward self-evident principles of binomial nomenclature and encaptic taxa that were first stated clearly by the Swedish naturalist. Today I would like to present a different history. For natural history in the Renaissance, from the late fifteenth through the early seventeenth century, was not a taxonomic * Department of History, Herter Hall, University of Massachusetts, 161 Presidents Drive, Amherst, MA 01003-9312; [email protected]. 2 science. Rather, it was a science of describing, whose goal was a comprehensive catalogue of nature. Botany was at the forefront of that development, for the study of plants had both medical and horticultural applications, but botanists (botanici) rapidly developed interests that went beyond the pharmacy and the garden, to which some scarcely even nodded their heads by 1600.
    [Show full text]
  • Of the Hunt Institute for Botanical Documentation
    Carnegie Mellon University, Pittsburgh, Pennsylvania Vol. 26, No. 1 Bulletin Spring 2014 of the Hunt Institute for Botanical Documentation Inside 4 Duets on display 4 Open House 2014 4 William Andrew 4 Illustrated mushroom Archer papers books, part 2 Above right, Tulipe des jardins. Tulipa gesneriana L. [Tulipa gesnerana Linnaeus, Liliaceae], stipple engraving on paper by P. F. Le Grand, 49 × 32.5 cm, after an original by Gerard van Spaendonck (Holland/France, 1746–1822) for his Fleurs Sessinées d’après Nature (Paris, L’Auteur, au Jardin des Plantes, 1801, pl. 4), HI Art accession no. 2078. Below left, Parrot tulips [Tulipa Linnaeus, Liliaceae], watercolor on paper by Rose Pellicano (Italy/United States), 1998, 56 × 42.5 cm, HI Art accession no. 7405. News from the Art Department Duets exhibition opens The inspiration for the exhibition Duets 1746–1822) has done so with the began with two artworks of trumpet subtle tonality of a monochromatic vine, which were created by the stipple engraving and Rose Pellicano 18th-century, German/English artist (Italy/United States) with rich layers Georg Ehret and the contemporary of watercolor. The former inspired Italian artist Marilena Pistoia. Visitors a legion of botanical artists while frequently request to view a selection teaching at the Jardin des Plantes in of the Institute’s collection of 255 Ehret Paris, and the latter, whose work is and 227 Pistoia original paintings. One inspired by French 18th- and 19th- day we displayed side-by-side the two century artists, carries on this tradition paintings (above left and right) and noticed of exhibiting, instructing and inspiring not only the similarity of composition up-and-coming botanical artists.
    [Show full text]
  • Illustrated Natural History
    Claudia Swan Illustrated Natural History The rise of printing and the inception of early modern natural history coincided in funda- mental ways, as amply suggested by the works brought together in this exhibition. This essay is concerned with a key area of overlap between the two practices — namely, visualization and illustration. Sixteenth- and seventeenth-century botanical images, anatomical treatises, and maps demonstrate the centrality of visual information in the pursuit of knowledge about the natural world. Early modern natural history was profoundly dependent on and generative of images, many of them replicable by way of print. Prints, like drawings, could enable identifi- cation and, in turn, use or classification of what they represented. Those engaged in medical study, for example, which involved the twin disciplines of botany and anatomy, encouraged the production of images for study and for medical use — pharmaceutical in the case of plants and pathological in the case of bodies. The case of botany is exemplary. The early modern era is often considered synonymous with the “Botanical Renaissance,” an efflorescence of projects and products whose chronology and lines of descent have been amply charted. This renaissance gained momentum toward the end of the fifteenth century, when printed illustrated works took over from manuscript production. During the first half of the sixteenth century the so-called “fathers of German botany” Otto Brunfels, Hieronymus Bock, and Leonhart Fuchs published volumes that consolidated a new mode of studying the plant world, characterized by, among other things, an amplified naturalism in the often copious illustrations that accompanied their texts (see cats.
    [Show full text]
  • Botanical Gardens in the West Indies John Parker: the Botanic Garden of the University of Cambridge Holly H
    A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıı | Number ı | Fall 2006 Essay: The Botanical Garden 2 Elizabeth Barlow Rogers: Introduction Fabio Gabari: The Botanical Garden of the University of Pisa Gerda van Uffelen: Hortus Botanicus Leiden Rosie Atkins: Chelsea Physic Garden Nina Antonetti: British Colonial Botanical Gardens in the West Indies John Parker: The Botanic Garden of the University of Cambridge Holly H. Shimizu: United States Botanic Garden Gregory Long: The New York Botanical Garden Mike Maunder: Fairchild Tropical Botanic Garden Profile 13 Kim Tripp Exhibition Review 14 Justin Spring: Dutch Watercolors: The Great Age of the Leiden Botanical Garden New York Botanical Garden Book Reviews 18 Elizabeth Barlow Rogers: The Naming of Names: The Search for Order in the World of Plants By Anna Pavord Melanie L. Simo: Henry Shaw’s Victorian Landscapes: The Missouri Botanical Garden and Tower Grove Park By Carol Grove Judith B. Tankard: Maybeck’s Landscapes By Dianne Harris Calendar 22 Contributors 23 Letter from the Editor The Botanical Garden he term ‘globaliza- botanical gardens were plant species was the prima- Because of the botanical Introduction tion’ today has established to facilitate the ry focus of botanical gardens garden’s importance to soci- The Sixteenth and Seventeenth Centuries widespread cur- propagation and cultivation in former times, the loss of ety, the principal essay in he botanical garden is generally considered a rency. We use of new kinds of food crops species and habitats through this issue of Site/Lines treats Renaissance institution because of the establishment it to describe the and to act as holding opera- ecological destruction is a it as a historical institution in 1534 of gardens in Pisa and Padua specifically Tgrowth of multi-national tions for plants and seeds pressing concern in our as well as a landscape type dedicated to the study of plants.
    [Show full text]
  • Foundations of Botany in Western Europe
    Chapter 2 Foundations of Botany in Western Europe 1 Europe & the World: Phases & Aspects of Botanical Abstraction The preceding part of this paper (Chaper 1) establishes the material, social and conceptual ground within which the more particular, private and articulate events that concern this chapter may now be considered. Extensive, ongoing plant-selection among peasant populations constitutes a vast experiential ground of anonymous conceptual and technical knowledge lying behind the more articulate levels of horticultural activity, and intellectual exercises in sys- tematics and medicine, and that act as a kind of contextual and constitutive background, observable in the texts of contemporary medical botanists in, say, China or Europe. That, at the least, is the hypothesis advanced in this and the following chapter. The manner in which different vegetative parts come to be identified and individuated for « pharmaceutical » purposes, thus for transmission in relative quantity from place to place, through a series of markets, is itself parasitic, so to speak, on this larger background of intensely used and institutionalised practice. This could be interpreted in terms of the broader knowledge-ground of medical, herbal practice developed continuously through space wherever there are such agrarian populations, or instead in the broader and cogent sense of a dense and extensive experience in commodification processes themselves, whereby a certain manner of generating new object forms suitable for communication across distance (regulated and facilitated by institution and instrument) and suitable for recognition, become graced with certain kinds of reference, description and speech, quantification, thus for fitting into a universally necessary, yet particular kind of knowledge enabling repeated passage between distant places.
    [Show full text]
  • Varia Bibliographica a CLUSIUS VARIANT the Works of Charles De
    Varia bibliographica A CLUSIUS VARIANT The works of Charles de 1'Ecluse, or, to give him his Latin name, Carolus Clusius, are well and at length described in the Bibliotheca Belgica (Brussels 1964-1975, vol. 3, pp. 759-784, L89-L98), and by Stephan Aumiiller in his 'Bibliographie und Ikonographie' in the Fest- schrift anläss/ich der -100 idhrigen Wiederkehr der wissenschaftlichen Tàtigkeit von Caro- lus Clusius im pannorzischcn Raum (Eisenstadt 1973, 'Burgenidndische Forschungen' Sonderheft v, pp. 9-92). Both provide lists of libraries in which copies of individual works are known to exist, and with books of such fame and splendour it can safely be assumed that other copies are to be found in many other collections. I have recently been looking at the British Library's holdings of works by Clusius pub- lished in the Low Countries between 1601 and 1621, among them three copies of his Rariorum plantarum historia published by Joannes Moretus at the Officina Plantiniana, Antwerp, 1601. The British Library's General Catalogue of Printed Books describes them as being equal to each other, i.e. the second and third are each called simply 'another copy' of the first. But, as is so often the case, this is not strictly true, and I wonder how many other copies scattered throughout the libraries of the world, not to mention private collec- tions, would show the same or other variations if properly examined. For this work copies are mentioned by the Bibliotheca Belgica at Amsterdam University Library, the Koninklijke Bibliotheek, The Hague, Leiden
    [Show full text]
  • The Golden Age of Dutch Colonial Botany and Its Impact on Garden and Herbarium Collections
    The Golden Age of Dutch Colonial Botany and its Impact on Garden and Herbarium Collections Pieter Baas Abstract Apothecaries and surgeons aboard the first fleet of the Dutch East India Company (VOC) in 1602 were instructed to collect herbarium specimens and make detailed observations and illustrations of useful and interesting plants during their voyage. Yet it would take three decades before a first botanical account of some plants from Java would materialise, and much longer before the three great Dutch pioneers of Asian tropical botany and servants of VOC, Paul Hermann (Ceylon), Hendrik Adriaan van Rheede tot Drakenstein (Malabar Coast, India), and Georg Everhard Rumphius (Ambon, Indonesia) made their momentous contributions. Hermann’s herbarium collections are currently mainly in London, but with significant subsets in Leiden and Gotha they were the basis of Linnaeus’s Flora Zeylanica. Hortus Malabar- icus, authored by the nobleman-soldier-diplomat cum amateur botanist Rheede re­ mains a relevant source of ethno-botanical and pharmacognostic information, judged to O by its recent annotated translations into English and Malayalam by K.S. Manilal. In his powerful role in the VOC, Rheede moreover instructed VOC officials in India, Ceylon and the Cape Colony to send seeds and living plants to Dutch botanical gar­ dens. Herbarium Amboinense by Georg Everard Rumphius, another self-taught bot­ anist, was recently translated into English and richly annotated by E.M. Beekman and is even of greater significance. It is an inspiration for modern biopharmaceutical stud­ ies of tropical plants, selected on the basis of historical ethno-botany. These three highlights of Dutch colonial botany would form a basis on which 20th century initia­ tives such as Flora Malesiana and Plant Resources of South East Asia (PROSEA) still could build.
    [Show full text]
  • Downloaded4.0 License
    Nuncius 35 (2020) 20–63 brill.com/nun A Woodblock’s Career Transferring Visual Botanical Knowledge in the Early Modern Low Countries Jessie Wei-Hsuan Chen Utrecht University, Utrecht, The Netherlands [email protected] Abstract The Antwerp publishing house Officina Plantiniana was the birthplace of many impor- tant early modern botanical treatises. Throughout the sixteenth and seventeenth cen- turies, the masters of the press commissioned approximately 4,000 botanical wood- blocks to print illustrations for the publications of the three Renaissance botanists – Rembert Dodoens, Carolus Clusius, and Matthias Lobelius. The woodcuts became one of the bases of early modern botanical visual culture, generating and transmitting the understanding of plants throughout the Low Countries and the rest of Europe. The physical blocks, which are preserved at the Museum Plantin-Moretus in Antwerp, thus offer a material perspective into the development of early modern botany. By exam- ining the 108 woodblocks made for Dodoens’ small herbal, the Florum (1568), and the printing history of a selected few, this article shows the ways in which the use of these woodblocks impacted visual botanical knowledge transfer in the early modern period. Keywords woodblocks – early modern botany – knowledge transfer 1 Introduction In Antwerp in 1568, 108 woodblocks with images of ornamental and fragrant flowers were used for the first time to print the illustrations in the book Florum, et coronariarum odoratarumque nonnullarum herbarum historia (referred to as the 1568 Florum in this article).1 Ordered by the printer-publisher Christophe 1 Rembert Dodoens, Florum, et coronariarum odoratarumque nonnullarum herbarum historia (Antwerp: Christophe Plantin, 1568).
    [Show full text]