The Lasting Presence of Gerard's Herball
The Lasting Presence of Gerard's Herball The Lasting Presence of Gerard's Herball
intimate knowledge of the plants. At the same time, according to Arber (1953), in antiquity “…herb gatherers evidently aimed at creating a monopoly by fencing their craft about with all manner of superstitions handed down by word of mouth, most of which [warned] that herb collecting was too complicated and dangerous a pursuit for the uninitiated” (p.7). Throughout its history, the herbal has included a mix of myth, fantasy, and fact. In many ways, Gerard’s Herball sits at a meeting place between the paths described above. In this section and the next, I explore the ways in which botanists affected change in the Herball and suggest that the Herball in turn gave a nudge to botanists. Gunther (1922) notes that the 1597 edition of Gerard’s Herball was problematic from a botanical point of view. Botanists at the time were interested in scientific accuracy, and while Gerard’s work was popular, the woodcuts and descriptions were not always properly matched. In addition, the woodcuts were from Christophe Plantin’s famous collection in Belgium, created in the 16 th century and used to illustrate the herbals of l’Obel, Dodoens, and de l’Ecluse (Arber, 1953). Gerard’s text, recall, is largely a translation of Dodoens’ work. Thus, comprised of woodcuts and descriptions of plants from other places, the Herball of 1597 was not necessarily useful for identifying plants in England. Both John Goodyer and Thomas Johnson left their own gardens to look at native plants growing wild. Goodyer, who contributed plant descriptions and names to the revised edition of Gerard’s work, placed important emphasis on the locations and proper identifying characteristics of plants found in England. Gunther (1922) points to the notes Goodyer sent to Johnson as examples of Goodyer’s attention to detail. 6
At the same time, Gerard’s Herball quite possibly impacted the study of botany throughout Britain in the early 17 th century. Gunther’s survey of several British botanists of this period provides interesting evidence of Gerard’s influence: Some few years ago I had the satisfaction of finding in the Library of Christ Church a copy of Gerard’s Herbal, with a few dated marginal notes of plants found in 1606-1608 in North Wales, and with notes on the medicinal properties of others. The Herbal is inscribed ‘Sir John Salusbury his booke,’ and the notes are evidently in his own handwriting. They illustrate the manner in which Gerard’s work encouraged the practice of recording exact plant-localities at the time when Goodyer was a boy, even in quite remote parts of the country. (1922, p.238) Thus, one hesitates to suggest that the botanists influenced the herbal more than the other way around. Botanists, after all, were referring to the herbal and taking lessons in observation, as well as in plant location, from it. This point is clarified further upon examination of the changes in botanical illustration occurring in conjunction with the advent of printing. IV. Observation and woodcuts Herbals were a vehicle of expression for new developments in botanical illustration. In the centuries before print, scribes laboriously copied illustrations of plants by hand in order to transfer them from manuscript to manuscript. The emphasis was on the original drawing on the paper, rather than on an accurate depiction of the plant itself. Illustrations were primarily used for decoration, or as symbols, rather than as a way to complement and augment text. During the 16 th and 17 th centuries, a change in the purpose of illustrations is evident and is on display in the herbals. Artists of the period—Durer, da 7
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- Page 3 and 4: years. I say “person to person”
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- Page 9 and 10: additional information. Or perhaps
- Page 11 and 12: The short answer is that we do not
- Page 13 and 14: like. Wright (1935) notes that in t
- Page 15 and 16: a great mixing of people and ideas
- Page 17 and 18: inding the signatures. I looked for
- Page 19 and 20: their own. People like John Jossely
- Page 21: Ioice Norton, and Richard Whitakers
At the same time, Gerard’s <strong>Herball</strong> quite possibly impacted the study <strong>of</strong> botany<br />
throughout Britain in the early 17 th century. Gunther’s survey <strong>of</strong> several British botanists<br />
<strong>of</strong> this period provides interesting evidence <strong>of</strong> Gerard’s influence:<br />
Some few years ago I had the satisfaction <strong>of</strong> finding in the Library <strong>of</strong> Christ<br />
Church a copy <strong>of</strong> Gerard’s Herbal, with a few dated marginal notes <strong>of</strong> plants<br />
found in 1606-1608 in North Wales, and with notes on the medicinal properties <strong>of</strong><br />
others. <strong>The</strong> Herbal is inscribed ‘Sir John Salusbury his booke,’ and the notes are<br />
evidently in his own handwriting. <strong>The</strong>y illustrate the manner in which Gerard’s<br />
work encouraged the practice <strong>of</strong> recording exact plant-localities at the time when<br />
Goodyer was a boy, even in quite remote parts <strong>of</strong> the country. (1922, p.238)<br />
Thus, one hesitates to suggest that the botanists influenced the herbal more than the other<br />
way around. Botanists, after all, were referring to the herbal and taking lessons in<br />
observation, as well as in plant location, from it. This point is clarified further upon<br />
examination <strong>of</strong> the changes in botanical illustration occurring in conjunction with the<br />
advent <strong>of</strong> printing.<br />
IV. Observation and woodcuts<br />
Herbals were a vehicle <strong>of</strong> expression for new developments in botanical illustration.<br />
In the centuries before print, scribes laboriously copied illustrations <strong>of</strong> plants by hand in<br />
order to transfer them from manuscript to manuscript. <strong>The</strong> emphasis was on the original<br />
drawing on the paper, rather than on an accurate depiction <strong>of</strong> the plant itself. Illustrations<br />
were primarily used for decoration, or as symbols, rather than as a way to complement<br />
and augment text. During the 16 th and 17 th centuries, a change in the purpose <strong>of</strong><br />
illustrations is evident and is on display in the herbals. Artists <strong>of</strong> the period—Durer, da<br />
7
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