The Strange Story of Dr. James Barry, the Pioneering 19th Century British Doctor Who Was a Woman in Disguise

The work of many recent his­to­ri­ans has brought more bal­ance to the field, but even with­in heav­i­ly mas­culin­ist, Euro­cen­tric his­to­ries, we find non­white peo­ple who slipped past racial gate­keep­ers to leave their mark, and women who made it past the gen­der police—sometimes under the guise of male pen names, and some­times in dis­guise, as in the case of Dr. James Bar­ry, who, upon his death in 1865, turned out to be “a per­fect female,” as the sur­prised woman who washed the body dis­cov­ered.

What makes Dr. Barry—born in Ire­land as Mar­garet Bulk­ley, niece of the painter James Barry—such a note­wor­thy per­son besides pass­ing for male in the com­pa­ny of peo­ple who did not tol­er­ate gen­der flu­id­i­ty? As the Irish Times writes in a review of a new biog­ra­phy, “her life as James Bar­ry was a suc­ces­sion of auda­cious firsts—the first woman to become a doc­tor; the first to per­form a suc­cess­ful cae­sare­an deliv­ery; a pio­neer in hos­pi­tal reform and hygiene; and the first woman to rise to the rank of gen­er­al in the British Army (Barry’s com­mis­sion, signed by Queen Vic­to­ria, still exists).”

When Bar­ry’s sex was dis­cov­ered, it caused a sen­sa­tion, inspir­ing every­one from muck­rak­ing anony­mous jour­nal­ists to Charles Dick­ens to weigh in on the case. The tale “was explored in nov­els,” notes The Guardian, “and even a play,” but the “true sto­ry is both more pro­sa­ic and infi­nite­ly more strange.” The video at the top of the post walks us through Barry’s career serv­ing the Empire in South Africa, where she treat­ed sol­diers, lep­ers, and ail­ing moth­ers. Mar­garet’s sto­ry as Dr. Bar­ry begins in Cork when, long­ing for adven­ture at 18, she first decid­ed to take on the per­sona of “a hot-tem­pered ladies’ man,” Atlas Obscu­ra writes, “don­ning three-inch heeled shoes, a plumed hat, and sword.” When her wealthy uncle passed away and left the fam­i­ly his for­tune, she also took his name.

Three years lat­er in 1809, with the encour­age­ment of her men­tor and guardian, Venezue­lan gen­er­al Fran­cis­co Miran­da, “she decid­ed to embody a smooth-faced young man in order to attend the men’s‑only Uni­ver­si­ty of Edin­burgh and prac­tice medicine—a guise that would last for 56 years.” Margaret’s ear­ly years were marked by hard­ship and tragedy. In her teens she had been raped by a fam­i­ly mem­ber and had born a child. When she became James Bar­ry, a physi­cian attend­ing to preg­nant women, she “had a secret advan­tage,” her biog­ra­phers Michael du Preez and Jere­my Dron­field write. “There was not anoth­er prac­tic­ing physi­cian in the world who knew from per­son­al expe­ri­ence what it was like to bear a child.”

But of course, she did not need to expe­ri­ence lep­rosy or gun­shot wounds to treat the many hun­dreds of patients in her care. Her sex was inci­den­tal to her skill as a physi­cian. Mar­garet Bulk­ley’s trans­for­ma­tion may be “one of the longest decep­tions of gen­der iden­ti­ty ever record­ed,” writes du Preez. Bar­ry “is remem­bered for this sen­sa­tion­al fact rather than for the real con­tri­bu­tions that she made to improve the health and the lot of the British sol­dier as well as civil­ians.” The doctor’s wild per­son­al sto­ry weaves through the lives of com­mon­ers and aris­to­crats, sol­diers and rev­o­lu­tion­ar­ies, duels and illic­it love affairs, and is sure­ly wor­thy of an HBO minis­eries. Her med­ical accom­plish­ments are wor­thy of pub­lic memo­ri­al­iza­tion, Joan­na Smith argues at CBC News, along with a host of oth­er accom­plished women who changed the world, even as their lega­cies were elbowed aside to make even more room for famous men.

via The Guardian

Relat­ed Con­tent:

Marie Curie Invent­ed Mobile X‑Ray Units to Help Save Wound­ed Sol­diers in World War I

Marie Curie Attend­ed a Secret, Under­ground “Fly­ing Uni­ver­si­ty” When Women Were Banned from Pol­ish Uni­ver­si­ties

Pho­tos of 19th-Cen­tu­ry Black Women Activists Dig­i­tized and Put Online by The Library of Con­gress

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Stream Online The Vietnam War, the New Documentary by Ken Burns & Lynn Novick

Right now, PBS is in the midst of air­ing The Viet­nam War, a ten-part, 18-hour doc­u­men­tary film series direct­ed by Ken Burns and Lynn Novick. The “immer­sive 360-degree nar­ra­tive” tells “the epic sto­ry of the Viet­nam War,” using nev­er-before-seen footage and inter­views. If you’re not watch­ing the series on the TV, you can also view it on the web and through PBS apps for smart­phones, tablets, Apple TV, Roku and Ama­zon Fire TV. Episode 1 appears above. Find all of them here.

Note: If these videos don’t stream out­side of the US, we apol­o­gize in advance. Some­times PBS geo-restricts their videos. Also, these videos like­ly won’t stay online for­ev­er. If you’re inter­est­ed in watch­ing the series, I’d get going soon­er than lat­er.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Mick­ey Mouse In Viet­nam: The Under­ground Anti-War Ani­ma­tion from 1968, Co-Cre­at­ed by Mil­ton Glaser

An Aging Louis Arm­strong Sings “What a Won­der­ful World” in 1967, Dur­ing the Viet­nam War & The Civ­il Rights Strug­gle

What Is Apoc­a­lypse Now Real­ly About? An Hour-Long Video Analy­sis of Fran­cis Ford Coppola’s Viet­nam Mas­ter­piece

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Hamilton Mania Inspires the Library of Congress to Put 12,000 Alexander Hamilton Documents Online

Remem­ber when bloody, bloody Andrew Jack­son seemed like a shoe in for Best Sepul­chral His­tor­i­cal Fig­ure Brought Back to Life by an Amer­i­can Musi­cal?

Alas for the 7th Pres­i­dent, a lit­tle jug­ger­naut called Hamil­ton came along, and just like that, it was the first Trea­sury Sec­re­tary and author of the Fed­er­al­ist Papers who had a fan base on the order of Beat­le­ma­nia.

Teach­ers, his­to­ri­ans, and librar­i­ans thrilled to reports of kids singing along with the Hamil­ton sound­track. Play­wright and orig­i­nal star Lin-Manuel Miran­da’s clever rap lyrics ensured that young Hamil­fans (and their par­ents, who report­ed­ly were nev­er allowed to lis­ten to any­thing else in the car) would become well versed in their favorite found­ing father’s per­son­al and pro­fes­sion­al his­to­ry.

Out of town vis­i­tors who spend upwards of a month’s gro­cery bud­get for Broad­way tick­ets vol­un­tar­i­ly side trip way uptown to tour Hamil­ton Grange. The insa­tiable self­ie imper­a­tive dri­ves them to Cen­tral Park and Muse­um of the City of New York in search of larg­er than life sculp­tures. They take the PATH train to Wee­hawken to pay their respects in the spot where Hamil­ton was felled by Aaron Burr

Hamil­ton mer­chan­dise, need­less to say, is sell­ing briskly. Books, t‑shirts, jew­el­ry, bob­ble heads com­mem­o­ra­tive mugs…

The Library of Con­gress is not out to cash in on this cul­tur­al moment in the mon­e­tary sense. But “giv­en the increased inter­est in Hamil­ton,” says Julie Miller, a cura­tor of ear­ly Amer­i­can man­u­scripts, it’s no acci­dent that the Library has tak­en pains to dig­i­tize 12,000 Hamil­ton doc­u­ments and make them avail­able on the web. The col­lec­tion includes speech­es, a draft of the Reynolds Pam­phlet, finan­cial accounts, school exer­cis­es and cor­re­spon­dence, both per­son­al and pub­lic, encom­pass­ing such mar­quee names as John Adams, Thomas Jef­fer­son, the Mar­quis de Lafayette, and George Wash­ing­ton.

One need not be a musi­cal the­ater fan to appre­ci­ate the emo­tion of the let­ter he wrote to his wife, Eliz­a­beth Schuyler, on the eve of his fate­ful duel with Aaron Burr:

I need not tell you of the pangs I feel, from the idea of quit­ting you and expos­ing you to the anguish which I know you would feel.… Adieu best of wives and best of Women. Embrace all my dar­ling Chil­dren for me.

Explore the Library of Con­gress’ Hamil­ton col­lec­tion here.

And enter the online lot­tery for $10 Hamil­ton tick­ets because, hey, somebody’s got to win.

via The­ater Mania

Relat­ed Con­tent:

Dis­cov­er Thomas Jefferson’s Cut-and-Paste Ver­sion of the Bible, and Read the Curi­ous Edi­tion Online

Watch a Wit­ty, Grit­ty, Hard­boiled Retelling of the Famous Aaron Burr-Alexan­der Hamil­ton Duel

“Alexan­der Hamil­ton” Per­formed with Amer­i­can Sign Lan­guage

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

Behold the “Book Wheel”: The Renaissance Invention Created to Make Books Portable & Help Scholars Study Several Books at Once (1588)

Devo­tees of print may object, but we read­ers of the 21st cen­tu­ry enjoy a great priv­i­lege in our abil­i­ty to store a prac­ti­cal­ly infi­nite num­ber of dig­i­tized books on our com­put­ers. What’s more, those com­put­ers have them­selves shrunk down to such com­pact­ness that we can car­ry them around day and night with­out dis­com­fort. This would hard­ly have worked just forty years ago, when books came only in print and a seri­ous com­put­er could still fill a room. The paper book may remain rea­son­ably com­pet­i­tive even today with the con­ve­nience refined over hun­dreds and hun­dreds of years, but its first hand­made gen­er­a­tions tend­ed toward lav­ish, weighty dec­o­ra­tion and for­mats that now look com­i­cal­ly over­sized.

These posed real prob­lems of unwield­i­ness, one solu­tion to which took the unlike­ly form of the book­wheel. In 1588’s The Var­i­ous and Inge­nious Machines of Cap­tain Agosti­no Ramel­li, the Ital­ian engi­neer of that name “out­lined his vision for a wheel-o-books that would employ the log­ic of oth­er types of wheel (water, Fer­ris, ‘Price is Right’, etc.) to rotate books clock­work-style before a sta­tion­ary user,” writes the Atlantic’s Megan Gar­ber.

The design used “epicyclic gear­ing — a sys­tem that had at that point been used only in astro­nom­i­cal clocks — to ensure that the shelves bear­ing the wheel’s books (more than a dozen of them) would remain at the same angle no mat­ter the wheel’s posi­tion. The seat­ed read­er could then employ either hand or foot con­trols to move the desired book pret­ty much into her (or, much more like­ly, his) lap.” This rotat­ing book­case gave 16th cen­tu­ry read­ers the abil­i­ty to read heavy books in place, with far greater ease.

In his 1588  book, Ramel­li added:

This is a beau­ti­ful and inge­nious machine, very use­ful and con­ve­nient for any­one who takes plea­sure in study, espe­cial­ly those who are indis­posed and tor­ment­ed by gout. For with this machine a man can see and turn through a large num­ber of books with­out mov­ing from one spot. Moveover, it has anoth­er fine con­ve­nience in that it occu­pies very lit­tle space in the place where it is set, as any­one of intel­li­gence can clear­ly see from the draw­ing.

Inven­tors all over Europe cre­at­ed their own ver­sions of the book­wheel dur­ing the 17th and 18th cen­turies, four­teen exam­ples of which still exist. (The one pic­tured in the mid­dle of the post, built around 1650, now resides in Lei­den.) Even archi­tect Daniel Libe­skind has built one, based on Ramel­li’s design and exhib­it­ed in his home­land at the 1986 Venice Bien­nale. Alas, after it went to Gene­va for an exhi­bi­tion at the Palais Wil­son, it fell vic­tim to a ter­ror­ist fire bomb­ing. Inno­va­tion, it seems, will always have its ene­mies.

Relat­ed Con­tent:

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

The Art of Mak­ing Old-Fash­ioned, Hand-Print­ed Books

Won­der­ful­ly Weird & Inge­nious Medieval Books

Wear­able Books: In Medieval Times, They Took Old Man­u­scripts & Turned Them into Clothes

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

New Study Reveals How the Neanderthals Made Super Glue 200,000 Years Ago: The World’s Oldest Synthetic Material

It’s become increas­ing­ly clear how much we’ve under­es­ti­mat­ed the Nean­derthals, the archa­ic humans who evolved in Europe and went extinct about 40,000 years ago. Though we’ve long used them as a byword for a lum­ber­ing, beast-like lack of devel­op­ment and intel­li­gence — com­pared, of course, to we glo­ri­ous exam­ples of Homo sapi­ens — evi­dence has come to reveal a greater sim­i­lar­i­ty between us and Homo nean­derthalen­sis than we’d imag­ined. Not only did they devel­op stone tools, they even invent­ed a kind of “super glue,” one that, as you can see in the NOVA seg­ment above, we have dif­fi­cul­ty repli­cat­ing even today.

“Archae­ol­o­gists first found tar-cov­ered stones and black lumps at Nean­derthal sites across Europe about two decades ago,” writes the New York Times’ Nicholas St. Fleur. “The tar was dis­tilled from the bark of birch trees some 200,000 years ago, and seemed to have been used for haft­ing, or attach­ing han­dles to stone tools and weapons. But sci­en­tists did not know how Nean­derthals pro­duced the dark, sticky sub­stance, more than 100,000 years before Homo sapi­ens in Africa used tree resin and ocher adhe­sives.” But in a new study in Sci­en­tif­ic Reports, “a team of archae­ol­o­gists has used mate­ri­als avail­able dur­ing pre­his­toric times to demon­strate three pos­si­ble ways Nean­derthals could have delib­er­ate­ly made tar.”

The process might have looked some­thing like that in the video above, an attempt by archae­ol­o­gists Wil Roe­broeks and Friedrich Palmer to make this of old­est known syn­thet­ic mate­r­i­al just as the Nean­derthals might have exe­cut­ed it. Their only mate­ri­als: “an upturned ani­mal skull to catch the pitch; a small stone on which the pitch would con­dense; some rolls of birch bark, the source of the pitch; and a lay­er of ash, to exclude oxy­gen and pre­vent the bark from burn­ing.”

Image by Paul Kozowyk

They tech­ni­cal­ly get it to work, man­ag­ing to heat the bark to just the right tem­per­a­ture, but the exper­i­ment does­n’t pro­duce very much of this ancient super glue — cer­tain­ly not as much as Nean­derthals would have used to make spears, which might turn out to have been the very first indus­tri­al process in his­to­ry. Inno­va­tion, in the 21st cen­tu­ry as well as 250,000 years ago, does tend to come from unex­pect­ed places.

You can read more about arche­ol­o­gists lat­est the­o­ries on the mak­ing of Nean­derthal super glue over at Sci­en­tif­ic Reports.

via Giz­mo­do

Relat­ed Con­tent:

What Did the Voice of Nean­derthals, Our Dis­tant Cousins, Sound Like?: Sci­en­tists Demon­strate Their “High Pitch” The­o­ry

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

Richard Dawkins Explains Why There Was Nev­er a First Human Being

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Who Painted the First Abstract Painting?: Wassily Kandinsky? Hilma af Klint? Or Another Contender?

Kandin­sky, Unti­tled, 1910

Many painters today con­cen­trate on pro­duc­ing abstract work — and a fair few of those have only ever pro­duced abstract work. But look not so very far back in human his­to­ry, and you’ll find that to paint meant to paint rep­re­sen­ta­tive­ly, to repli­cate on can­vas the like­ness­es of the actu­al peo­ple, places, and things out there in the world. Human­i­ty, of course did­n’t evolve with its rep­re­sen­ta­tion­al art skills pre-installed: though some cave paint­ings do rec­og­niz­ably depict men and beasts, many strike us today as what we would call abstract, or at least abstract­ed. So which mod­ern artists can lay claim to hav­ing redis­cov­ered abstrac­tion first?

Kandin­sky, Com­po­si­tion V, 1911

If you’ve stud­ied any art his­to­ry, you might well name the ear­ly 20th-cen­tu­ry Russ­ian painter Wass­i­ly Kandin­sky (whose first abstract water­col­or from 1910 appears at the top of the post). But “while Kandin­sky is today hailed as the father of abstract paint­ing,” writes Art­sy’s Abi­gail Cain, “he was by no means the only play­er in the devel­op­ment of non-rep­re­sen­ta­tion­al paint­ing,” though “his work Kom­po­si­tion V did, admit­ted­ly, jump­start pub­lic inter­est in abstract paint­ing.”

First exhib­it­ed in Munich in Decem­ber 1911, “this mon­u­men­tal work was just bare­ly rep­re­sen­ta­tion­al” and also “the first such work to be put on dis­play,” inspir­ing the art world not just to take abstrac­tion seri­ous­ly but to see it as the future.

Hilma af Klint, Sva­nen, 1915

Kandin­sky, inspired by Goethe’s The­o­ry of Col­ors, had already giv­en the sub­ject of abstrac­tion no small amount of thought. He’d first writ­ten a man­i­festo defin­ing abstract art a few years ear­li­er, titling it On the Spir­i­tu­al in Art, a title that would have res­onat­ed with Hilma af Klint, a painter who might have actu­al­ly gone abstract first.  “Af Klint, who was born in Stock­holm, showed an ear­ly inter­est in nature, math­e­mat­ics and art, and she began study­ing at the Roy­al Swedish Acad­e­my of Fine Arts in 1882,” writes the New York Times’ Natalia Rach­lin. She made her name as a land­scape and por­trait painter after grad­u­a­tion, but at the same time “also con­tin­ued a more pri­vate pur­suit: she had begun show­ing an inter­est in the occult and attend­ing séances as ear­ly as 1879, at the age of 17.”

Hilma af Klint, ‘Stag­ger­ing’: The Ten Largest, Youth, 1907.

Af Klin­t’s “curios­i­ty about the spir­i­tu­al realm soon devel­oped into a life­long inter­est in spiritism, theos­o­phy and anthro­pos­o­phy,” and dur­ing one séance she heard a spir­it tell her to “make paint­ings that would rep­re­sent the immor­tal aspects of man. This proved to be the turn­ing point in af Klint’s work: from the nat­u­ral­is­tic to the abstract, from por­tray­als of phys­i­cal real­i­ty to con­vey­ing the invis­i­ble.” She went on to pro­duce the 193 abstract Paint­ings for the Tem­ple. The exhi­bi­tions of her rep­re­sen­ta­tion­al work con­tin­ued, but she kept the rest pri­vate, and in her will “even asked that her abstract paint­ings not be shown in pub­lic until at least twen­ty years after her death, not­ing that audi­ences were not yet capa­ble of under­stand­ing her work.”

Fran­cis Picabia, Caoutchouc, 1909.

Both Kandin­sky and Af Klint look like plau­si­ble can­di­dates for the first abstract painter — it just depends on how you define the begin­ning of abstrac­tion — but they’re hard­ly the only ones. Cain also brings up the Czech-born, Paris-based artist Fran­tišek Kup­ka, or his col­league in the French avant-garde Fran­cis Picabia, whose 1909 water­col­or Caoutchouc (Rub­ber), pic­tured just above, came before Kandin­sky had paint­ed an abstract image or even com­plet­ed any writ­ing on the sub­ject. Still, some objec­tors note that “the work still retains some sem­blance of form, rem­i­nis­cent of a bou­quet of flow­ers.” These ques­tions of puri­ty, inno­va­tion, and espe­cial­ly orig­i­nal­i­ty do get com­pli­cat­ed. As Clive James once said, “It’s very hard to be total­ly inven­tive, so I’m not ter­ri­bly inter­est­ed in orig­i­nal­i­ty. Vital­i­ty is all I care about” — a qual­i­ty that all these works exude still today.

via Art­sy/Tate

Relat­ed Con­tent:

Helen Mir­ren Tells Us Why Wass­i­ly Kandin­sky Is Her Favorite Artist (And What Act­ing & Mod­ern Art Have in Com­mon)

Goethe’s Col­or­ful & Abstract Illus­tra­tions for His 1810 Trea­tise, The­o­ry of Col­ors: Scans of the First Edi­tion

Time Trav­el Back to 1926 and Watch Wass­i­ly Kandin­sky Make Art in Some Rare Vin­tage Video

The MoMA Teach­es You How to Paint Like Pol­lock, Rothko, de Koon­ing & Oth­er Abstract Painters

Free Course: An Intro­duc­tion to the Art of the Ital­ian Renais­sance

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

1,000-Year-Old Illustrated Guide to the Medicinal Use of Plants Now Digitized & Put Online

If you don’t much care for mod­ern med­i­cine, entire indus­tries have arisen to pro­vide you with more “alter­na­tive” or “nat­ur­al” vari­eties of reme­dies, most­ly involv­ing the con­sump­tion of plants. Pub­lish­ers have put out guides to their use by the dozens. In a way, those books have a place in a long tra­di­tion, stretch­ing back to a time well before mod­ern med­i­cine exist­ed as some­thing to be an alter­na­tive to. Just recent­ly, the British Library dig­i­tized the old­est such vol­ume, a thou­sand-year-old illu­mi­nat­ed man­u­script known as the Cot­ton MS Vitel­lius C III. The book, writes the British Library’s Ali­son Hud­son, “is the only sur­viv­ing illus­trat­ed Old Eng­lish herbal, or book describ­ing plants and their uses.” (The sole con­di­tion note: “leaves dam­aged by fire in 1731.”)

The man­u­script’s Old Eng­lish is actu­al­ly the trans­la­tion of “a text which used to be attrib­uted to a 4th-cen­tu­ry writer known as Pseu­do-Apuleius, now rec­og­nized as sev­er­al dif­fer­ent Late Antique authors whose texts were sub­se­quent­ly com­bined.” It also includes “trans­la­tions of Late Antique texts on the med­i­c­i­nal prop­er­ties of bad­gers” and anoth­er text “on med­i­cines derived from parts of four-legged ani­mals.”

(Some­how one does­n’t imag­ine those lat­ter sec­tions play­ing quite as well with today’s alter­na­tive-med­i­cine mar­ket.) Each entry about a plant or ani­mal fea­tures “its name in var­i­ous lan­guages; descrip­tions of ail­ments it can be used to treat; and instruc­tions for find­ing and prepar­ing it.”

Quite a few of the species with which the guide deals would have been direct­ly known to few or no Anglo-Sax­ons in those days, and some of the entries, such as the one describ­ing drag­onswort as ide­al­ly “grown in dragon’s blood,” seem more fan­ci­ful than oth­ers. As with many a Medieval work, the book freely mix­es fact and lore: to pick the man­drake root (pic­tured at the top of the post), “said to shine at night and to flee from impure per­sons,” the guide rec­om­mends “an iron tool (to dig around it), an ivory staff (to dig the plant itself up), a dog (to help you pull it out), and quick reflex­es.” You can behold these and oth­er pages of the Cot­ton MS Vitel­lius C III in zoomable high res­o­lu­tion at the British Library’s online man­u­script view­er. While the reme­dies them­selves might nev­er have been par­tic­u­lar­ly effec­tive, their accom­pa­ny­ing illus­tra­tions do remain strange and amus­ing even a mil­len­ni­um lat­er — and isn’t laugh­ter sup­posed to be the best med­i­cine?

via Hyper­al­ler­gic

Relat­ed Con­tent:

1,000-Year-Old Man­u­script of Beowulf Dig­i­tized and Now Online

2,000-Year-Old Man­u­script of the Ten Com­mand­ments Gets Dig­i­tized: See/Download “Nash Papyrus” in High Res­o­lu­tion

The Art of Swim­ming, 1587: A Man­u­al with Wood­cut Illus­tra­tions

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Trigonometry Discovered on a 3700-Year-Old Ancient Babylonian Tablet

One pre­sump­tion of tele­vi­sion shows like Ancient Aliens and books like Char­i­ots of the Gods is that ancient people—particularly non-west­ern people—couldn’t pos­si­bly have con­struct­ed the elab­o­rate infra­struc­ture and mon­u­men­tal archi­tec­ture and stat­u­ary they did with­out the help of extra-ter­res­tri­als. The idea is intrigu­ing, giv­ing us the huge­ly ambi­tious sci-fi fan­tasies woven into Rid­ley Scott’s revived Alien fran­chise. It is also insult­ing in its lev­el of dis­be­lief about the capa­bil­i­ties of ancient Egyp­tians, Mesopotami­ans, South Amer­i­cans, South Sea Islanders, etc.

We assume the Greeks per­fect­ed geom­e­try, for exam­ple, and refer to the Pythagore­an the­o­rem, although this prin­ci­ple was prob­a­bly well-known to ancient Indi­ans. Since at least the 1940s, math­e­mati­cians have also known that the “Pythagore­an triples”—inte­ger solu­tions to the theorem—appeared 1000 years before Pythago­ras on a Baby­lon­ian tablet called Plimp­ton 322. Dat­ing back to some­time between 1822 and 1762 B.C. and dis­cov­ered in south­ern Iraq in the ear­ly 1900s, the tablet has recent­ly been re-exam­ined by math­e­mati­cians Daniel Mans­field and Nor­man Wild­berg­er of Australia’s Uni­ver­si­ty of New South Wales and found to con­tain even more ancient math­e­mat­i­cal wis­dom, “a trigono­met­ric table, which is 3,000 years ahead of its time.”

In a paper pub­lished in His­to­ria Math­e­mat­i­ca the two con­clude that Plimp­ton 322’s Baby­lon­ian cre­ators detailed a “nov­el kind of trigonom­e­try,” 1000 years before Pythago­ras and Greek astronomer Hip­parchus, who has typ­i­cal­ly received cred­it for trigonometry’s dis­cov­ery. In the video above, Mans­field intro­duces the unique prop­er­ties of this “sci­en­tif­ic mar­vel of the ancient world,” an enig­ma that has “puz­zled math­e­mati­cians,” he writes in his arti­cle, “for more than 70 years.” Mans­field is con­fi­dent that his research will fun­da­men­tal­ly change the way we under­stand sci­en­tif­ic his­to­ry. He may be over­ly opti­mistic about the cul­tur­al forces that shape his­tor­i­cal nar­ra­tives, and he is not with­out his schol­ar­ly crit­ics either.

Eleanor Rob­son, an expert on Mesopotamia at Uni­ver­si­ty Col­lege Lon­don has not pub­lished a for­mal cri­tique, but she did take to Twit­ter to reg­is­ter her dis­sent, writ­ing, “for any his­tor­i­cal doc­u­ment, you need to be able to read the lan­guage & know the his­tor­i­cal con­text to make sense of it. Maths is no excep­tion.” The trigonom­e­try hypoth­e­sis, she writes in a fol­low-up tweet, is “tedious­ly wrong.” Mans­field and Wild­berg­er may not be experts in ancient Mesopotami­an lan­guage and cul­ture, it’s true, but Rob­son is also not a math­e­mati­cian. “The strongest argu­ment” in the Aus­tralian researchers’ favor, writes Ken­neth Chang at The New York Times, is that “the table works for trigo­nom­ic cal­cu­la­tions.” As Mans­field says, “you don’t make a trigo­nom­ic table by acci­dent.”

Plimp­ton 322 uses ratios rather than angles and cir­cles. “But when you arrange it such a way so that you can use any known ratio of a tri­an­gle to find the oth­er side of a tri­an­gle,” says Mans­field, “then it becomes trigonom­e­try. That’s what we can use this frag­ment for.” As for what the ancient Baby­lo­ni­ans used it for, we can only spec­u­late. Rob­son and oth­ers have pro­posed that the tablet was a teach­ing guide. Mans­field believes “Plimp­ton 322 was a pow­er­ful tool that could have been used for sur­vey­ing fields or mak­ing archi­tec­tur­al cal­cu­la­tions to build palaces, tem­ples or step pyra­mids.”

What­ev­er its ancient use, Mans­field thinks the tablet “has great rel­e­vance for our mod­ern world… prac­ti­cal appli­ca­tions in sur­vey­ing, com­put­er graph­ics and edu­ca­tion.” Giv­en the pos­si­bil­i­ties, Plimp­ton 322 might serve as “a rare exam­ple of the ancient world teach­ing us some­thing new,” should we choose to learn it. That knowl­edge prob­a­bly did not orig­i­nate in out­er space.

Relat­ed Con­tent:

How the Ancient Greeks Shaped Mod­ern Math­e­mat­ics: A Short, Ani­mat­ed Intro­duc­tion

Ancient Maps that Changed the World: See World Maps from Ancient Greece, Baby­lon, Rome, and the Islam­ic World

Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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