Capella

Martianus Capella (fl. 450), De nuptijs philologie [et] Mercurij (Vicenza, 1499), 1st printed ed. “On the Marriage of Philology and Mercury.”

Capella described the seven liberal arts. The first three are grammar, logic or dialectic, and rhetoric. Then come the mathematical sciences, geometry and arithmetic. Geometrical circles in motion make astronomy. Numbers in motion make music. 

Capella also argued that Venus and Mercury revolve around the Sun. Capella’s cosmic system was consistent with Galileo’s later discovery of the phases of Venus.

 

Mathematics in the Liberal Arts Tradition

The strange title, The Marriage of Philology and Mercury, refers to a wedding of the swiftest god and the most learned goddess.  Its meaning is the joining of speech and insight, as if our thoughts and language were as agile as a spherule of mercury rolling around on a sheet of glass. 

 

Quadrivium Numbers Magnitudes
Entities Arithmetic Geometry
Entities in motion Music Astronomy

 

Capella (5th century C.E.) described the seven liberal arts, i.e., the education appropriate to a free citizen rather than a slave. 

According to the opening page, the first three liberal arts are grammar, how to write well; logic or dialectic, how to think well; and rhetoric, how to speak well. These three became known as the trivium. 

Next come the last four liberal arts, the quadrivium. These are all mathematical sciences, beginning with geometry, the study of magnitudes, like lines and circles; and arithmetic, the study of numbers.  If magnitudes are put in motion, we then have astronomy, a branch of geometry. If numbers are put in motion, we then have music, a branch of arithmetic. So music and astronomy, for the liberal arts tradition as for the ancient Pythagoreans, are sister sciences.

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Complex Armillary Sphere replica

This replica combines two armillary spheres into one, containing models for both the Sun and the Moon.  The annual motion of the Sun along the “ecliptic,” its apparent path around the sky, is inclined to the Earth’s equator by 23.5°.  The motion of the Moon follows a path inclined by 5° to the plane of the ecliptic.  This instrument also demonstrates the precession of the equinoxes.

Armillary spheres, serving diverse purposes, were made in many sizes and designs, with different numbers of rings and various accessories.  For ancient astronomers, a simple armillary sphere represented the fundamental circles of the sky, including the local horizon, the celestial equator, the tropics of Cancer and Capricorn, and the ecliptic (or apparent path of the Sun).  Using such an instrument, with the Earth at the center, one may observe the positions of stars, demonstrate the motion of the Sun, and calculate the position of the Sun, bright stars and Zodiac constellations for any date.  

By the 16th century, the crafting of ever more complex armillary spheres in brass and wood reflected attempts to realize, in material form, a functioning model of the celestial orbs described in astronomical works such as Peurbach’s Theorica nova planetarum.  Such complex instruments blur the boundaries between armillary spheres and orreries.  One may be referred to as an “orbarium” or “planetolabium.”

This replica is based on an instrument created in Amsterdam between 1725-1750 by Leonhard Gerhard Valk and now held in The National Maritime Museum Collection at Greenwich, England (ASTO625).

  1. Horizon system

At the top of this 2-ft tall instrument, four arms support a horizon ring (60 cm diameter).  Diverse scales inscribed on the horizon ring indicate degrees, zodiacal sign, names of the month (Latin), and names of the 12 winds (Latin and Greek).  The horizon ring intersects a vertical meridian ring, numbered in 10° increments north or south of the horizon.

2.  Primary sphere:  Equatorial system

Within the horizon ring lies the primary sphere (24.5 cm diameter), comprised of 8 brass rings.  One of these rings, the celestial equator, is divided into 360°.  Four other rings lie parallel to the celestial equator:  the polar circles and the two tropics.

Two rings of the primary sphere are fixed perpendicular to the celestial equator, including the equinoctial colure, which is marked with a scale of declination (degrees north or south of the celestial equator).  Declination is numbered at every 10° increment from 0° to 90°.  Declination may be measured down to 1° divisions. 

The primary sphere also features a zodiacal band attached to the colure rings.  It is divided into twelve regions, each 30° long, bearing the Latin names and figures of the Zodiac constellations.

3.  Ecliptic system

Within the primary sphere, another movable system of rings is based on the poles of the ecliptic, or path of the Sun.  This system is angled to the equatorial system of the primary sphere, where two short axes indicate the offset north and south ecliptic poles.  The ecliptic system consists of 4 rings which model the motions of the Sun and the Moon.  

Brian Grieg, ca. 2014

One ring, not inscribed, lies in the plane of the ecliptic, to model the motion of the Sun.  Two rings parallel to the ecliptic ring represent circles of latitude, at a given distance north and south of the ecliptic.  

The 4th ring is angled to the ecliptic to model the motion of the Moon.  This Moon ring is inscribed: “Nodus (dragon head) euehens” and “aux.”  An opposite inscription reads:  “Nodus (dragon tail) deuehens” and “Oppositum augis.”

4. Earth

In the center, the Earth appears as a globe, with geographical detail (GLB0246).  The globe is inclined 23.5° to offset (or cancel) the ecliptic system.  As a result, the poles of the Earth always point to the equatorial poles of the primary sphere.  William Dampier’s explorations north of New Guinea are shown as Britannia Nova.  California appears as an island.

5. Base

On the base of the instrument, a compass lies at the center of a 32-point Dutch wind rose.  The outer edge contains the names of winds in two languages.

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Astrolabe replica

Brian Grieg (2014)

The astrolabe, one of the fundamental instruments for observational astronomy, consists of three major parts: the mater, or underlying disk; the climate, a removable disk adjusted for latitude; and the rete, a ring marked with star positions. The removable climate disk in this astrolabe corresponds to OU’s latitude of 35°N. The rete displays 29 stars. One may tell time with this astrolabe to within 20 minutes.

This astrolabe replica consists of acid-etched brass plates. The mater is one centimeter thick and 25 cm in diameter. Two climate disks are designed for the northern hemisphere, one for 10°N (the latitude for a sea route through the Bay of Bengal in the Indian Ocean) and the other for 35°N, the latitude of OU. The rete displays 29 stars.

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Apian 1545

Peter Apian, Cosmographia (Antwerp, 1545)

In this introduction to astronomy and geography, the Moon lies embedded within a solid sphere carrying it around the Earth once a month. The solid sphere explains why the same side of the Moon always faces the Earth.  High overhead the stars appear fixed in the patterns of the constellations, as if they were bright points of light embedded within their own transparent celestial sphere, which rotates around the Earth once each day.  Apian’s cosmic section illustrates the traditional Aristotelian understanding of the universe. 

Another woodcut illustration in Apian’s textbook shows one of Aristotle’s arguments for the sphericity of the Earth: during a lunar eclipse, the Earth’s shadow on the Moon is always curved. If the Earth were any other shape, some time or other its shadow would be angular.  Therefore, neither Aristotle nor his later readers needed to circumnavigate the globe to know that the Earth is round. The mistaken idea that Columbus faced opposition from flat-earthers is a modern myth.

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Flammarion 1888

Camille Flammarion, L’Atmosphere: Météorologie Populaire (Paris, 1888)

Meteorology is a quest of discovery, the challenge of boldly exploring where no one has gone before. That is the appeal and rhetorically durable theme which has made this woodcut so appealing. 

Many who have reprinted this illustration through the years have not recognized that it first appeared in a popular work on meteorology. Often misattributed to the Middle Ages or Renaissance, this book is its original source. Flammarion was an astronomer and popular science writer who worked at the Juvissy Observatory in Paris.


A version colorized by Susanna J. Magruder is available.

Although many attribute this iconic image to the Middle Ages, it first appeared in a 19th century work of meteorology. So it’s fitting that this book opened a Galileo’s World exhibit at the National Weather Center on Copernicus and Meteorology.

Ever wish there were a colorized version available in a suitable resolution which educators and anyone could freely use? Susanna J. Magruder created the colorized version of Flammarion’s woodcut shown above, which she is distributing with a CC-by license. Enjoy! You can put it on your website, a t-shirt, a coffee mug, or print out a copy on quality paper for your wall.

Two decades ago, in 1996, Susanna’s father Kerry Magruder prepared a small website telling the story of the above woodcut and tracing its first appearance to Camille Flammarion in 1888. That old website remains available, largely unchanged (and frequently copied around the web): “This is not a medieval woodcut.” It explores the image as visual rhetoric, concluding that its enduring appeal lies not so much in the flat Earth myth but as an icon of our common quest of discovery and exploration, the challenge of “boldly going where no one has gone before.”

Black and white version: Color your own.

Related OER: “Boldly Explore” Learning Leaflet.

Camille Flammarion, L’Atmosphere: Météorologie Populaire (Paris, 1888), p. 163. Colorized by Susanna J. Magruder. Courtesy History of Science Collections, University of Oklahoma Libraries. CC-by.

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Urania’s Mirror 1824

Urania’s Mirror (London 1825), a boxed set of 32 cards; with Jehoshaphat Aspin, A Familiar Treatise on Astronomy (London 1825), 2d ed.

Constellation figures, as in this boxed set of 32 constellation cards, make learning the constellations easy.  Each card illustrates one or a few constellations. Holes punched in the positions of bright stars allow one to hold any card up to a light and compare the star pattern with the constellation figure.  Urania, the Muse of Astronomy, appears on the cover of the box.  

The 66 constellations include several no longer recognized today.

This is the first edition; subsequent editions include stars outside the boundaries of the featured constellations. The creator of the cards remains a mystery.  In a companion book providing a simple introduction to the night sky, Jehoshaphat Aspin explains only that the constellation cards “were designed by a lady.”  The constellation figures are based upon the Celestial Atlas of Alexander Jamieson, published in 1822.

What are your favorite constellations?

Urania’s Mirror was a set of constellation cards designed to aid in the teaching and learning of constellations. This set includes 32 cards, each focused upon one or a few constellations. Holes punched in the positions of bright stars allow one to hold any card up to a light and compare the star pattern with the constellation figure.

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Tennyson 1843

Alfred, Lord Tennyson, Poems (London, 1843), 2 vols.

“Many a night I saw the Pleiades
rising thro’ the mellow shade,
glitter like a swarm of fire-flies
Tangled in a silver braid.”

“Locksley Hall,” 5th couplet.

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Topsell 1658

Edward Topsell, The Historie of Foure-Footed Beastes (London, 1658)

Topsell’s natural history includes both familiar and exotic creatures, drawn from sources both new and old. Topsell describes the horse, reindeer and chameleon. He portrays the magnificent appearance of the rhinoceros in the artistic tradition of Dürer. An appendix surveys what was known of the bee and bee-keeping. He included strange creatures which were frequently or reliably reported, such as the unicorn and the manticore. 

In 1672, Nicolaas Tulp would report that the horn of the unicorn on display in many continental museums was actually the tusk of the narwhal. However, the weight of classical testimony could be taken by many as independent evidence that the unicorn really existed, as a terrestrial version of the aquatic monoceros.

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Gerard 1636

John Gerard, The Herball (London, 1636), 3d ed.

Nutrition from the Americas:

Gerard, an estate manager for Queen Elizabeth’s chief executive, was in contact with naturalists around the world who sent him both plants and soil to grow them in. 

The first illustration of the “Virginia potato” appears in Gerard’s 1st edition, published in 1597 (compare the 1597 illustration with the potato illustration in this 1633 edition). Nutrition is a powerful hidden force in history: imagine how the history of the world would be different if the potato had never been brought to Europe from the Americas.

Gerard grew and described many American plants, including squash, pumpkins, gourds, marijuana and “Turkie” corn, cultivated by the Mayans as a staple crop.

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Gerard 1597

John Gerard, The Herball (London, 1597)

Gerard directed the gardens of William Cecil (Lord Burghley), Queen Elizabeth’s chief executive.  In this capacity, Gerard maintained contacts with naturalists around the world who sent him both exotic plants and the soil to grow them in. The first illustration of the “Virginia potato” appears in this volume. The history of the world would have been quite different if the potato had never been brought to Europe from the Americas.

Gerard grew and described many American plants, including chili peppers, squash, pumpkins, gourds, and Turkie corn, which was cultivated by the Mayans as a staple crop. Although maize originated in Mexico, it became known as Turkey Corn (Turcicum, Türchlich Korn) because it was shipped to Europe through Turkey and the Ottoman empire. 

Gerard’s herbal throws light upon the meanings of plants mentioned by Shakespeare and other contemporary English authors.

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