̽��ֱ�� of Cambridge - manuscript

Discarded history: Cairo Genizah treasures

zs332 — Tue, 31 May 2022 08:00:00 +0000

How the discovery and study of ancient deeds, fables, letters, magical amulets, contracts and lists in a sacred storeroom created unparalleled engagement with a forgotten chapter of Jewish history.

Cambridge and Heidelberg announce major project to digitise treasured medieval manuscripts

sjr81 — Wed, 27 Mar 2019 17:10:35 +0000

Centuries-old manuscripts feature the works of Plato, Aristotle, Sophocles and Euripides.

̽��ֱ��Billingford Hutch and the moonwort fern – a medieval mystery solved

amb206 — Sun, 10 Dec 2017 01:53:30 +0000

A visitor to the Parker Library at Corpus Christi College may have solved the puzzle of a curious decorative detail on a chest dating from the early 15th century. ̽��ֱ��massive oak chest is known as the Billingford Hutch and takes its name from Richard de Billingford, the fifth Master of Corpus Christi (1398-1432).

Jeremy Purseglove, environmentalist and Cambridge resident, visited the Library during Open Cambridge in September 2017. “It was a wonderful chance to get a glimpse of some of the Library’s medieval manuscripts,” he said.

“We were given a fascinating talk by Alexander Devine, one of the librarians. He showed us a massive chest that had recently been moved to the Library from elsewhere in the College. My eye was drawn to the leaf shapes in the metal work.”

̽��ֱ��chest is made from oak planks and measures approximately 1.8m x 0.5m x 0.4m. It is reinforced by numerous iron bands and five iron hasps, secured in three locks, all operated by different keys. Each of the lock plates (the metal plates containing the locks, hasps and keyholes) is decorated with the outline of a plant punched into the metal.

No-one knew the significance of this decorative detail. Purseglove, who is passionate about plants, suspected the distinctive shape was likely to be that of moonwort, a fern much mentioned by 16th- century herbalists. He said: “I rushed home and looked it up. I found that it had been associated with the opening of locks and guarding of silver.”

According to the renowned herbalist Nicholas Culpepper, writing in the 17th century: “Moonwort is an herb which (they say) will open locks, and unshoe such horses as tread upon it. This some laugh to scorn, and those no small fools neither; but country people, that I know, call it Unshoe the Horse.” Moonwort is also mentioned by dramatist Ben Jonson as an ingredient of witches’ broth.

In both design and structure, the Billingford Hutch is similar to many surviving chests made for the storage of valuables in late medieval Europe, from strongboxes and trunks to coffers and caskets. However, what makes the Billingford Hutch remarkable is that it’s a loan chest, a rare example of late medieval ‘financial furniture’.

̽��ֱ�� loan chests operated a bit like pawn shops and afforded temporary financial assistance to struggling scholars. “Richard de Billingford gave the College a sum of £20 which was placed in the chest under the guardianship of three custodians,” said Devine.

“Masters and Fellows of Corpus Christi were able to obtain loans up to a value of 40 shillings, around £2, by pledging objects of greater value, most often manuscripts, which would be held in the chest. After a specified time, the pledge – if unredeemed – would be sold and the original loan repaid to the chest with any profit going to the borrower.”

Billingford created the loan fund in 1420 but the chest itself may be even older. Other Cambridge colleges also had loan chests during the late Middle Ages but precious few survive. Corpus has retained not only the chest itself but also its register, containing its administrative records for more than 300 years.

̽��ֱ��register offers great insight into the role of the chest in late medieval academic life at Corpus. Every one of the College’s Fellows and its Masters is named in the register, and many were repeat borrowers, demonstrating that the chest fulfilled a genuine need. ̽��ֱ��most frequent objects pledged to the Hutch were books. Other valuables included sacred vessels and chalices, silver spoons and salt cellars.

Devine said: “ ̽��ֱ��Billingford Hutch is probably the best surviving example of its kind in Europe. To have a possible answer to the puzzle of its decorative motif is fantastic. We’re immensely grateful to Jeremy for enriching our understanding of its history. His wonderful discovery is further proof that sharing your collections with the public is the key to unlocking their secrets.”

Inset images: decorative motif on the hasp of the Billingford Hutch; the Hutch in its present position in the Parker Library; illustrations of 'the lunaria plant' from a 15th-century Catalan compilation of alchemical tracts (Corpus Christi College).

A heavy oak chest in the Parker Library (Corpus Christi College) was used to store objects left as collateral for loans of money. Its ironwork features the outline of a plant – but no-one knew why. Now a visitor to the Library may have unravelled the meaning of this decorative motif.

Jeremy Purseglove's discovery is proof that sharing your collections with the public is the key to unlocking their secrets.

Alexander Devine

Parker Library, Corpus Christi College

Decorative detail on the Billingford Hutch

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

Yes

Study reveals Leonardo da Vinci’s “irrelevant” scribbles mark the spot where he first recorded the laws of friction

tdk25 — Thu, 21 Jul 2016 14:19:45 +0000

Scribbled notes and sketches on a page in a notebook by Leonardo da Vinci, previously dismissed as irrelevant by an art historian, have been identified as the place where he first recorded his understanding of the laws of friction.

̽��ֱ��research by Professor Ian Hutchings, Professor of Manufacturing Engineering at the ̽��ֱ�� of Cambridge and a Fellow of St John’s College, is the first detailed chronological study of Leonardo’s work on friction, and has also shown how he continued to apply his knowledge of the subject to wider work on machines over the next two decades.

It is widely known that Leonardo conducted the first systematic study of friction, which underpins the modern science of “tribology”, but exactly when and how he developed these ideas has been uncertain until now.

Professor Hutchings has discovered that Leonardo’s first statement of the laws of friction is in a tiny notebook measuring just 92 mm x 63 mm. ̽��ֱ��book, which dates from 1493 and is now held in the Victoria and Albert Museum in London, contains a statement scribbled quickly in Leonardo’s characteristic “mirror writing” from right to left.

Ironically the page had already attracted interest because it also carries a sketch of an old woman in black pencil with a line below reading “cosa bella mortal passa e non dura”, which can be translated as “mortal beauty passes and does not last”. Amid debate surrounding the significance of the quote and speculation that the sketch could represent an aged Helen of Troy, the Director of the V & A in the 1920s referred to the jottings below as “irrelevant notes and diagrams in red chalk”.

Professor Hutchings’s study has, however, revealed that the script and diagrams in red are of great interest to the history of tribology, marking a pivotal moment in Leonardo’s work on the subject.

̽��ֱ��rough geometrical figures underneath Leonardo’s red notes show rows of blocks being pulled by a weight hanging over a pulley – in exactly the same kind of experiment students might do today to demonstrate the laws of friction.

Professor Hutchings said: “ ̽��ֱ��sketches and text show Leonardo understood the fundamentals of friction in 1493. He knew that the force of friction acting between two sliding surfaces is proportional to the load pressing the surfaces together and that friction is independent of the apparent area of contact between the two surfaces. These are the ‘laws of friction’ that we nowadays usually credit to a French scientist, Guillaume Amontons, working two hundred years later.”

“Leonardo’s 20-year study of friction, which incorporated his empirical understanding into models for several mechanical systems, confirms his position as a remarkable and inspirational pioneer of tribology.”

Professor Hutchings’s research traces a clear path of development in Leonardo’s studies of friction and demonstrates that he realised that friction, while sometimes useful and even essential, also played a key role in limiting the efficiency of machines.

Sketches of machine elements and mechanisms are pervasive in Leonardo’s notebooks and he used his remarkably sophisticated understanding of friction to analyse the behaviour of wheels and axles, screw threads and pulleys, all important components of the complicated machines he sketched.

He wanted to understand the rules that governed the operation of these machines and knew that friction was important in limiting their efficiency and precision, grasping, for example, that resistance to the rotation of a wheel arose from friction at the axle bearing and calculating its effect.

“Leonardo’s sketches and notes were undoubtedly based on experiments, probably with lubricated contacts,” added Hutchings. “He appreciated that friction depends on the nature of surfaces and the state of lubrication and his use and understanding of the ratios between frictional force and weight was much more nuanced than many have suggested.”

Although he undoubtedly discovered the laws of friction, Leonardo’s work had no influence on the development of the subject over the following centuries and it was certainly unknown to Amontons.

“Leonardo da Vinci’s studies of friction” by Professor Ian Hutchings is published in the journal Wear. ̽��ֱ��paper can be accessed in full via: https://www.sciencedirect.com/science/article/pii/S0043164816300588

or https://www.ifm.eng.cam.ac.uk/uploads/Hutchings_Leonardo_Friction_2016_v2.pdf

A general article on tribology that discusses its importance in modern engineering can be found at:

https://www.ingenia.org.uk/Content/ingenia/issues/issue66/hutchings.pdf

A new detailed study of notes and sketches by Leonardo da Vinci has identified a page of scribbles in a tiny notebook as the place where Leonardo first recorded the laws of friction. ̽��ֱ��research also shows that he went on to apply this knowledge repeatedly to mechanical problems for more than 20 years.

̽��ֱ��sketches and text show Leonardo understood the fundamentals of friction in 1493

Ian Hutchings

V&A Museum, London

Codex Forster III folio 72r

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

Yes

First performance in 1,000 years: ‘lost’ songs from the Middle Ages are brought back to life

sjr81 — Sat, 23 Apr 2016 13:09:39 +0000

‘Songs of Consolation’, to be performed at Pembroke College Chapel, Cambridge on April 23, is reconstructed from neumes (symbols representing musical notation in the Middle Ages) and draws heavily on an 11th century manuscript leaf that was stolen from Cambridge and presumed lost for 142 years.

Saturday’s performance features music set to the poetic portions of Roman philosopher Boethius’ magnum opus ̽��ֱ��Consolation of Philosophy. One of the most widely-read and important works of the Middle Ages, it was written during Boethius’ sixth century imprisonment, before his execution for treason. Such was its importance, it was translated by many major figures, including King Alfred the Great, Chaucer and Elizabeth I.

Hundreds of Latin songs were recorded in neumes from the 9th through to the 13th century. These included passages from the classics by Horace and Virgil, late antique authors such as Boethius, and medieval texts from laments to love songs.

However, the task of performing such ancient works today is not as simple as reading and playing the music in front of you. 1,000 years ago, music was written in a way that recorded melodic outlines, but not ‘notes’ as today’s musicians would recognise them; relying on aural traditions and the memory of musicians to keep them alive. Because these aural traditions died out in the 12th century, it has often been thought impossible to reconstruct ‘lost’ music from this era – precisely because the pitches are unknown.

Now, after more than two decades of painstaking work on identifying the techniques used to set particular verse forms, research undertaken by Cambridge ̽��ֱ��’s Dr Sam Barrett has enabled him to reconstruct melodies from the rediscovered leaf of the 11th century ‘Cambridge Songs’.

“This particular leaf – ‘accidentally’ removed from Cambridge ̽��ֱ�� Library by a German scholar in the 1840s – is a crucial piece of the jigsaw as far as recovering the songs is concerned,” said Dr Barrett.

Part detective, part musical time traveller, Barrett’s scholarly groundwork has involved gathering together surviving notations from the Cambridge Songs and other manuscripts around the world and then applying them to the principles of musical setting during this era.

“After rediscovering the leaf from the Cambridge Songs, what remained was the final leap into sound,” he said. “Neumes indicate melodic direction and details of vocal delivery without specifying every pitch and this poses a major problem.

“ ̽��ֱ��traces of lost song repertoires survive, but not the aural memory that once supported them. We know the contours of the melodies and many details about how they were sung, but not the precise pitches that made up the tunes.”

After piecing together an estimated 80-90 per cent of what can be known about the melodies for ̽��ֱ��Consolation of Philosophy, Barrett enlisted the help of Benjamin Bagby of Sequentia – a three-piece group of experienced performers who have built up their own working memory of medieval song.

Bagby, co-founder of Sequentia, is also a director of the Lost Songs Project which is already credited with bringing back to life repertoires from Beowulf through to the Carmina Burana.

Over the last two years, Bagby and Barrett have experimented by testing scholarly theories against the practical requirements of hand and voice, exploring the possibilities offered by accompaniment on period instruments. Working step-by-step, and joined recently by another member of Sequentia, the harpist-singer Hanna Marti, songs from ̽��ֱ��Consolation of Philosophy have now been brought back to life.

Added Barrett: “Ben tries out various possibilities and I react to them – and vice versa. When I see him working through the options that an 11th century person had, it’s genuinely sensational; at times you just think ‘that’s it!’ He brings the human side to the intellectual puzzle I was trying to solve during years of continual frustration.”

While it’s unclear whether Boethius ever wrote Consolation’s poetry to be sung, the Roman philosopher recorded and collected ideas about music in other hugely influential works. During the Middle Ages, until the end of the 12th century, it was common for great works such as Boethius’ to be set to music as a way of learning and ritualising the texts.

There have been other attempted settings of ̽��ֱ��Consolation of Philosophy across the centuries; especially during the renaissance and the 19th century when melodies were invented to sound like popular songs of the day.

But it was the rediscovered leaf of the Cambridge Songs that allowed the crucial breakthrough in being able to finally reassemble the work as it would have been heard around 1,000 years ago.

Originating in the Rhineland in the first half of the 11th century, the Cambridge Songs makes up the final part of an anthology of Latin texts that was held in Canterbury before making its way to Cambridge ̽��ֱ�� Library by the late 17th century.

In 1840, a Germanic scholar cut out an important leaf and returned home. For 142 years, Cambridge presumed it lost before a chance discovery by historian and Liverpool ̽��ֱ�� academic Margaret Gibson in 1982.

During an unscheduled visit to a Frankfurt library, Gibson enquired as to whether they had any Boethius manuscripts and was told of a single leaf in their collections. Gibson immediately recognised the leaf as coming from a copy of Consolation and its likely importance for the number of neumes it contained.

Gibson then got in touch with Cambridge ̽��ֱ�� medievalist Christopher Page, then a PhD candidate, who realised this was the missing leaf from the Cambridge Songs and secured its return to the city nearly a century and a half after its disappearance.

“Without this extraordinary piece of luck, it would have been much, much harder to reconstruct the songs,” added Barrett. “ ̽��ֱ��notations on this single leaf allow us to achieve a critical mass that may not have been possible without it.

“There have been times while I’ve been working on this that I have thought I’m in the 11th century, when the music has been so close it was almost touchable. And it’s those moments that make the last 20 years of work so worthwhile.”

Saturday’s performance, 'Songs of Consolation from Boethius to the Carmina Burana', takes place at Pembroke College Chapel from 8pm-9.30pm. Tickets are £20, £15 (concessions) and £5 for students and are available from songsofconsolation.eventbrite.co.uk or from Pembroke College Porters’ Lodge.

An ancient song repertory will be heard for the first time in 1,000 years this week after being ‘reconstructed’ by a Cambridge researcher and a world-class performer of medieval music

There have been times while I’ve been working on this that I have thought I’m in the 11th century, when the music has been so close it was almost touchable.

Sam Barrett

Carmina qui quondam (excerpt) - Boethius, Consolation of Philosophy I:1

Cambridge ̽��ֱ�� Library

Detail from the Cambridge Songs manuscript leaf that was stolen from and then recovered by Cambridge ̽��ֱ�� Library.

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

Yes

Licence type:

Attribution-Noncommercial-ShareAlike

From Pulp to Fiction: our love affair with paper

tdk25 — Thu, 17 Mar 2016 08:30:27 +0000

How’s this for a measure of the pace of the tech revolution? Twenty years ago, you would have read this article only on paper; now it is also available on your tablet, smartphone or computer. ̽��ֱ��impact of digital media has become so pervasive that even remarking upon it feels trite. Where predictions that printed books and newspapers are dying once seemed far-fetched, the future now seems less certain.

If we do become a paperless society, we will be terminating a relationship with one of the most successful technologies of all time; one that has endured for 700 years in England, and much longer elsewhere. Our reliance on paper runs so deep that it seems strange to think of it as technology at all. Yet to a person living in 14th-century England, paper would have been an advanced new material. Most writing was on parchment (made from animal skin), and an alternative made of pulped rags represented a truly disruptive innovation.

“Paper was economical – not in the sense that it was cheap, but because it was lighter, more portable and enabled you to write more,” explains Dr Orietta Da Rold from the Faculty of English and St John's College. “Its arrival had a huge impact. People could share ideas in a way that hadn’t happened before. Paper became a pivotal technology for a subsequent explosion in the transmission of knowledge.”

Da Rold is leading a project called Mapping Paper in Medieval England, the pilot phase of which was carried out last year. ̽��ֱ��aim is to understand how and why paper was adopted in England and eventually became a dominant technology – more so even than electronic media have today.

Its historical importance goes beyond paper’s significance as a device for dissemination. Paper, Da Rold suggests, helped to precipitate the spread of literacy and literature. It could be used to teach and practice reading and writing, and it enabled the emergence of a reading public that consumed and shared the works of Geoffrey Chaucer, among others.

It is also a history that has never been fully explored. We know that England was slow to adopt paper, because paper-based manuscripts started to appear in archives only from about 1300 onwards, later than on the continent. How and why this happened, however, has never been properly studied.

In 2015, thanks to a Cambridge Humanities Research Grant, Da Rold and her team spent eight months trawling archives up and down the country in search of paper manuscripts written or based in England between the years 1300 and 1475, when William Caxton set up his first printing press. They found 5,841 manuscripts, of which 736 were paper.

“That’s not the final number because some records don’t state whether a manuscript is paper or not,” Da Rold says. ̽��ֱ��information has, however, been enough to set up an electronic database – the most comprehensive of its kind – with ambitions to crowd-source more data in the future.

Working out how the use of paper spread across England means establishing where each of these manuscripts was based, which is easier said than done because both manuscripts and scribes moved. In some cases, the dialect used in the text suggests a possible point of origin, while other documents can be specifically ‘localised’, usually because they contain a direct reference to their source.

Da Rold has tentatively begun to plot this information onto a map of England. Refining it will be part of the project’s next phase. Each sheet within a manuscript also bears a watermark – an emblem, such as an animal or a star. Tracking this watermark gives some clues as to where the paper was made, where it was used and the wider network of use.

Tentative patterns are already emerging. Some centres in the East of England, like Lincoln and Norwich, appear to have held significant stocks of paper that gradually spread westwards. “There are capillaries that go out across the country, but they don’t go everywhere,” Da Rold says.

Why this happened will be covered in a forthcoming book: From Pulp to Fiction.

Da Rold has two main theories about why paper first came into use, both of which have much wider implications for understanding how any technology succeeds. First, it appears to have undergone a phase of cultural acceptance. This did not necessarily involve people using paper to write – it was just as common in late medieval England to use it to wrap up spices or jam – but the process established paper within the culture.

Second, paper was actively championed by specific groups of people who found it useful: lawyers, merchants, secretaries and anyone who needed to record financial transactions. Paper was easier for them to use than parchment. “It became convenient because people living at the time decided that it met their needs,” Da Rold says.

Why England adopted paper so late remains unclear, but paper is thought to have emerged from China, then gradually spread westwards. England’s position at the end of this paper trail meant that it took longer for the technology to arrive, and the medieval equivalent of a tech cluster to support its development and use may also have been lacking.

Certainly, after the first attempt at establishing an English paper mill, near Hertford, failed in 1507, paper was not produced domestically until the 17th century. This contrasts with, for example, Italy, where major centres like Fabriano emerged. These paper mills, however, drew on a network of supporting industries that helped to refine the production process. It may be that these vital clusters of ideas and expertise were what appeared faster overseas than in England, thereby determining the rate at which paper was adopted and diffused.

Importantly, the paper revolution failed to end the use of parchment overnight. Indeed, there seems to have been a prolonged period of hybridisation during which time those who wrote used paper and parchment (which had different and complementary properties) side by side.

This, Da Rold suggests, has implications not just for establishing how England became a paper-based culture, but also for understanding any process of technological acquisition. It also hints that paper should not, perhaps, be written off just yet.

“ ̽��ֱ��human mind is constantly preoccupied with what is new, and at the same time instinctively conservative,” she reflects. “History such as this shows that at moments of transition the most successful people are those who work with all technologies, and get the most out of everything. There is coexistence as well as friction, and sometimes there is no winner. That may explain why even though we now have iPads we are still taking notes and writing on paper.”

Inset image: A dragon-shaped watermark can be seen on the fold between the sheets of this medieval manuscript, giving clues about where the paper was made and used (credit: Cambridge ̽��ֱ�� Library).

It may seem strange to describe paper as technology, but its arrival in England in about 1300 was a pivotal moment in cultural history. That story is being pieced together for the first time in a new project that also promises to reveal much about why some innovations succeed where others fail

Paper became a pivotal technology for a subsequent explosion in the transmission of knowledge.

Orietta Da Rold

St John's College Library, Cambridge

Page from an edition of ̽��ֱ��Brus, produced in the early 15th century, and an example of an early manuscript on paper

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

Yes

Elephants and humans: a love affair over 1300 years

amb206 — Wed, 01 Jul 2015 09:22:01 +0000

Scroll to the end of the article to listen to the podcast.

̽��ֱ��Parker Library (Corpus Christi College) is proud of its elephants. At least five illustrations of them are to be found in the Library’s collection of medieval manuscripts. Among them is an exceptionally beautiful copy of Kalila wa Dimna, the 8th-century Arabic text by Abdu llah ibn al-Mugaffa. ̽��ֱ��manuscript dates from the 14th century, and is in a fine hand with superb illustrations.

̽��ֱ��text contains a series of instructive animal fables which can be compared to Aesop’s Fables. One of the fables has an illustration of a white elephant being shown by a fakir to the king. ̽��ֱ��regal dress of the elephant is mirrored exactly in the king’s garments, and the fables reflect the close relationship between the ruler and the animal. In a list of the king’s greatest treasures, the white elephant is given next after his kingdom, his wives and his sons.

One of the Library’s most popular illustrations is a drawing of the African elephant which was given by Louis IX of France to Henry III of England in 1255 as a diplomatic present. ̽��ֱ��drawing appears in the Chronica Maiora, a history of the world compiled by Matthew Paris, a Benedictine monk and the official chronicler of St Albans.

̽��ֱ��elephant Paris drew is the earliest western depiction of an elephant drawn from life. “Unlike many earlier western drawings of elephants, which are wildly inaccurate, Paris’s sketch captures the essence of the animal with its wrinkled trunk, jointed legs and toe nails,” says Steven Archer, sub librarian. Elephants are traditionally pictured in medieval manuscripts without knees; it was believed that they were unable to right themselves should they fall over.

̽��ֱ��elephant is shown with its keeper (magister bestie) who is named as Henri de Flor (Henry of Florence). Archer says: “Paris helpfully includes the figure of Henri squeezed between the animal’s trunk and its front legs in order to give the reader an idea of the size of the elephant.”

Presented to Henry III in France, the elephant was transported across the Channel at a cost of £6 17s 5d. Accommodation measuring 20 feet by 4O feet (pitifully small by today’s standards) was especially created at the Tower of London, where the elephant joined a royal menagerie which included lions and leopards.

In London, the elephant was an object of great curiosity. Matthew Paris recorded that “people flocked together to see the novel sight”. However, knowledge about its dietary needs was sadly lacking. It was fed meat and beer – and survived for just two years. ̽��ֱ��animal was buried in the grounds of the Tower of London in 1257 but, a year later, the bones were dug up and sent to the Sacrist of Westminster.

Matthew Paris also drew an elephant carrying a party of musicians on his back. ̽��ֱ��elephant he depicts was sent by the Emperor Frederick II to meet the crusader, Richard, Earl of Cornwall, in 1241. It's thought that he made this drawing before seeing the real animal in London.

Another of the Parker Library’s treasures, the Peterborough bestiary, shows an elephant carrying on its back a castle, complete with turret and knights in chain mail. ̽��ֱ��image reflects an Indian tradition of elephants being used in battles as mobile forts. Traditionally, a wooden tower is shown on the elephant’s back, protecting an army of men inside. ̽��ֱ��‘elephant and castle’ is now remembered in the London place-name.

̽��ֱ��accompanying text claims that female elephants woo males with a sprig of the mandoraga tree. More accurately, it states that elephants are animals of remarkable intelligence and memory, “Intellectu et memoria multa vigent”.

̽��ֱ��remarkable intelligence and memory of elephants is at the core of a research programme run by Dr Josh Plotnik, a researcher in the Department of Psychology at Cambridge and a senior lecturer at Mahidol ̽��ֱ�� in Kanchanaburi, Thailand.

Plotnik is founder of Think Elephants International, a US organisation conducting research in the lush and colourful jungles of the Thailand’s Golden Triangle, where for centuries mankind has used elephants for traction and transport. Think Elephants integrates research, education and conservation in an ambitious bid to understand elephant cognition and thus make an important contribution to safeguarding the future of a species facing serious threats.

“In Asia, there are few wildernesses left. People and elephants are in conflict over land with elephants encroaching on farms and eating crops. In Africa, elephants are vulnerable to poachers who kill them in order to sell their tusks into the ivory trade,” says Plotnik. “In both parts of the world, it’s vital that we engage people of all ages in the importance of conservation and in particular that we make sure children grow up with an appreciation of elephants.”

Elephants are known to be smart – but remarkably little empirical scientific evidence exists to support this assertion. Plotnik and colleagues has shown that elephants are capable of thoughtful cooperation and are able to recognise themselves in a mirror. Both abilities are highly unusual in animals and very rare indeed in non-primates.

“In a rope-pulling task that led to a food reward, the elephants learned not only that a partner was necessary, but also that it was the partner’s behaviour and not just their presence that was needed for success,” says Plotnik. “Recognising oneself in the mirror demonstrates that an animal is able to see itself as separate from others. This ability is one of the main traits underlying empathy and complex sociality.”

Elephants ‘see’ and ‘think’ using a combination of their eyes, ears and trunk. “Our observations suggest that elephants are ‘hearing and smelling’ animals rather than ‘seeing’ animals,” says Plotnik. “We are now just beginning to explore the ways in which they use their sense of smell to navigate within their environment – for example, how do they make decisions about the quality of and where to find food and water, and does their sense of smell play an important role in their decision-making process?"

A better understanding of elephants’ sense of smell might well be a useful tool in conservation efforts. If the team at Think Elephants discover, for example, that elephants locate food such as farm crops by smelling them, scientists and local communities might be able to use this information to prevent an elephant's approach before their interaction with crops becomes a significant human-elephant conflict.

In Kenya, Dr Lauren Evans, a post-doctoral researcher at the Department of Geography, is also researching the conflicts that arise when elephants and humans share the same rural landscape. She is an associate director of Space for Giants, a Kenyan-based elephant conservation charity that seeks to ensure a future for elephants through human-elephant conflict mitigation, anti-poaching, securing space and education. Her work focuses on relationships between elephants and farmers in an area of northern Kenya called Laikipia.

“Electrified fences are increasingly being used as the ‘silver bullet’ solution to human-elephant conflict across much of African elephant range by creating a space for elephants, within wildlife areas, and a space for people,” says Evans. “Yet many fences fail in their objectives. Elephants adapt to break even the most sophisticated of fences and engage in an arms race with people trying to maintain them.”

Little is known about how, why and where elephants break fences. Evans’ PhD research has filled this gap. “Fence-breaking elephants occupy a unique niche at the frontline of human-occupied landscapes. These are animals that take risks, and face threats posed by humans, to raid crops for nutritional gain. We’ve found that fence-breakers are invariably older males,” she says.

Evans’ research has shed light on the often-elusive social dynamics of bull elephants, which are considered to be more solitary than females. Through use of GPS collars, camera traps positioned along fence lines, and days and nights of patient observation in the field, Evans found that bull elephants broke fences in loyal groupings.

“Younger adolescent males associate with larger fence-breaking elephants, and watch and follow these experienced bulls as they break fences. Together they would cross the fence, split up and raid crops, and reconvene in the morning to break back into a wildlife conservancy,” she says.

“Furthermore, fence-breaking bulls devised unique ways to avoid getting an electric shock. Some curled their trunks over their heads and pulled back wires with their tusks, while others kicked posts down with their feet. One bull carefully wrapped his trunk around posts, in between the wires, to uproot them and flatten the fence. I even once saw him push a smaller bull through the fence before him.”

An eventual solution used by wildlife departments to manage persistent fence-breaking elephants is to remove them from the population by translocation or, as a last resort, to shoot them. In Laikipia, 12 of the most persistent fence-breaking bulls were moved some 300km to Meru National Park.

“ ̽��ֱ��results were two-fold. ̽��ֱ��translocated elephants began to teach the Meru bulls how to break fences, while the younger ‘follower’ bulls of Laikipia began to lead fence-breaks themselves,” says Evans. “Measures to mitigate human-elephant conflict need to accommodate the adaptability and agency of elephants. We need to move away from fortress-like protection of elephants and towards a reciprocal relationship between conservation and local people.”

Next in the Cambridge Animal Alphabet: F is for a creature that looks nothing like humans. But studying them is helping us learn more about devastating conditions, from neurodegenerative diseases to parasite interactions.

Inset images: Illustration of an elephant from Matthew Paris' Chronica Maiora ( ̽��ֱ��Master and Fellows of Corpus Christi College, Cambridge); ̽��ֱ��elephant at Cremona carrying a band of musicians on its back ( ̽��ֱ��Master and Fellows of Corpus Christi College, Cambridge); Josh Plotnik with an elephant (Elise Gilchrist, Think Elephants International).

The Cambridge Animal Alphabet series celebrates Cambridge's connections with animals through literature, art, science and society. Here, E is for Elephant: an animal that takes pride of place in the Parker Library's manuscripts, is frequently in conflict with people in Thailand and parts of Africa, and is the focus of some important conservation projects.

Unlike many earlier western drawings of elephants, which are wildly inaccurate, Paris’s sketch captures the essence of the animal with its wrinkled trunk, jointed legs and toe nails

Steven Archer

̽��ֱ��Master and Fellows of Corpus Christi College, Cambridge

A fakir presents a white elephant to the King, from Kalila wa Dimna by Abdu llah ibn al-Mugaffa

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

Yes

̽��ֱ��1,000-year-old manuscript and the stories it tells

amb206 — Sat, 09 May 2015 08:00:00 +0000

One thousand years ago, a scribe called Sujātabhadra put his name to a manuscript known as the Perfection of Wisdom in Eight-Thousand Stanzas (Skt. Aṣṭasahāsrikā Prajñāparamitā). Sujātabhadra was a skilled craftsman working in or around Kathmandu – a city that has been one of the hubs of the Buddhist world from around 500 CE right up until the present day.

̽��ֱ��Perfection of Wisdom in Eight-Thousand Stanzas is written in Sanskrit, one the of the world’s most ancient languages, using both sides of 222 oblong sheets made from palm leaf (the first missing sheet has been replaced with a paper sheet). Each leaf is punctured by a pair of neat holes, a reminder that the palm leaf pages were originally bound together with cords passing through these holes. ̽��ֱ��entire palm leaf manuscript is held between richly ornate wooden covers.

Today the fabulous manuscript that would have taken Sujātabhadra and fellow craftsman many months — perhaps even a year — to complete is held by the Manuscripts Room at Cambridge ̽��ֱ�� Library. Over the past 140 years, it has been studied by some of the foremost specialists of the medieval Buddhist world.

A digitisation project has now made the manuscript accessible online to scholars worldwide and has revealed fresh evidence about the origins of some of the earliest Buddhist texts.

̽��ֱ��presence of the Perfection of Wisdom, safe in the temperature-controlled environment of one of the world’s greatest libraries, many thousands of miles from its birthplace, is especially poignant at a time when the people of Nepal are struggling to survive in the aftermath of a devastating earthquake.

Buddhist texts are more than scriptures: they are sacred objects in themselves. Many manuscripts were used as protective amulets and installed in shrines and altars in the home of Buddhist followers. Examples include numerous manuscripts of the Five Protections (Skt. Pañcarakṣā), a corpus of scriptures that includes spells, enumerations of benefits and ritual instructions for use, particularly sacred in Nepal.

Manuscripts produced in Nepal, Tibet and Central Asia during the period from the 5^th until the 19^th century are evidence of the thriving ‘cult of the book’ that was the subject of a recent exhibition at Cambridge ̽��ֱ�� Museum of Archaeology and Anthropology.

̽��ֱ��Perfection of Wisdom is also an important historical document that provides valuable information about the dynastic history of medieval Nepal. Its textual content and illustrations, and the skills and materials that went into its production, reveal the ways in which Nepal was one of the most important hubs within a Buddhist world that spanned from Sri Lanka to China.

̽��ֱ��text is lavishly illustrated by a total of 85 miniature paintings: each one is an exquisite representation of Buddhas and Bodhisattvas (beings who resolve to achieve Buddhahood in order to help other sentient beings) – including the historical Buddha Śākyamuni and Maitreya, the Buddha of the Future. ̽��ֱ��figures represented in the miniatures include also the embodied Perfection of Wisdom goddess (Prajñāparamitā) herself on the Vulture Peak Mountain near Rājagṛha, the capital of the ancient kingdom of Māgadha, in today’s Bihar state.

̽��ֱ��settings in which these deities are depicted are drawn in meticulous detail. ̽��ֱ��Bodhisattva Lokanātha, surrounded by White and Green Tārās, is shown in front of the Svayambhu stupa in Kathmandu – a shrine sacred for Nepalese and Tibetan Buddhists, damaged in the recent earthquake. ̽��ֱ��places depicted in the miniatures represent a kind of map of Buddhist lands and sacred sites, from Sri Lanka to Indonesia and from South India to China.

̽��ֱ��Perfection of Wisdom is one of the world’s oldest illuminated Buddhist manuscripts and the second oldest illuminated manuscript in Cambridge ̽��ֱ�� Library. Its survival – and its passage through time and space – is little short of miraculous.

Without the efforts of a certain Karunavajra, quite probably a Buddhist lay believer, it would have been destroyed in 1138 — in that period the governors challenged the king in a struggle for power over the Kathmandu Valley.

“We know that Karunavajra saved the manuscript because he added a note in verse form,” said Dr Camillo Formigatti of the Sanskrit Manuscripts Project. “He states that he rescued the ‘Perfection of Wisdom, incomparable Mother of the Omniscient’ from falling into the hands of unbelievers who were most probably people of Brahmanical affiliation.”

Cambridge ̽��ֱ�� Library acquired the manuscript in 1876. It was purchased for the Library by Dr Daniel Wright, a civil servant working for the British government in Kathmandu.

“From the second half of the 19^th century, western institutions were hugely interested in the orient - and museums and libraries were busy building collections of everything eastern,” said Dr Hildegard Diemberger of the Mongolia and Inner Asia Studies Unit. “Colonial administrators were almost literally given ‘shopping lists’ of manuscripts to acquire in the course of their travels.”

Scholars are able to pinpoint with remarkable precision the date that Sujātabhadra recorded his name as scribe in the ‘colophon’ (details about the publication of a book).

“Using tables that convert the dates used by Nepalese scribes into the calendar we use today, we can see that Sujātabhadra added his name and the place where he completed the manuscript on 31 March, 1015. ̽��ֱ��study of mathematics, astrology and astronomy were central aspects of ancient and medieval South Asian culture, and time reckoning was very accurate — both the lunar and the solar calendar were employed,” said Formigatti.

A thousand years on from its production, the manuscript is still yielding secrets. In the course of digitising the manuscript in 2014, Formigatti identified 12 of the final verses to be the only surviving witness of the Sanskrit original of the Ripening of the Victory Banner (Skt. Vajradhvajapariṇāmanā), a short hymn hitherto considered to have survived only in its Tibetan translation. ̽��ֱ��popularity of this hymn is borne out by the fact that the Tibetan version of the text is also found in manuscript fragments found in Dunhuang, a city-state along the Silk Route in China.

̽��ֱ��production of this precious manuscript is evidence not only of the thriving communication channels that existed across the 11^th century Buddhist world but also of a well-established network of trade routes. ̽��ֱ��leaves used to make the writing surface came from palm trees. Palms do not flourish in the dry climate of Nepal: it’s thought that palm leaves would have come from North East India.

“ ̽��ֱ�� ̽��ֱ�� Library’s manuscript of Perfection of Wisdom shows us that ten centuries ago Nepal, which westerners often perceive as ‘remote’ and ‘isolated’, had flourishing connections stretching many thousands of miles,” said Formigatti.

“When Sujātabhadra picked up his reed pen and put his name to the manuscript, he was part of a rich network of scholarship, culture, belief and trade. Buddhist manuscripts and texts travelled huge distances. From the fertile plains of Northern India, they crossed the Himalayan range through Nepal and Tibet, reaching the barren landscapes of Central Asia and the city-states along the Silk Route in China, finally arriving in Japan.

“ ̽��ֱ��Perfection of Wisdom is perhaps the most representative textual witness of the Buddhist cult of the book, and this manuscript written, decorated and worshipped in 11^th century Nepal, is one of the finest specimens of Buddhist book culture still extant.”

Inset image top – Folio 123 verso, a representation of a famous caitya (Buddhist reliquary), called Sri Kanaka-caitya, in the city of Peshawar in today's Pakistan. Credit: Cambridge ̽��ֱ�� Library Licensed under Creative Commons Attribution-NonCommercial 3.0 Unported License.

Inset image bottom – Folio 14 recto, a representation of the Bodhisattva Lokanātha in front of Svayambhunath in Kathmandu. Credit: Cambridge ̽��ֱ�� Library Licensed under Creative Commons Attribution-NonCommercial 3.0 Unported License.

One of the greatest treasures of Cambridge ̽��ֱ�� Library is a Buddhist manuscript that was produced in Kathmandu exactly 1,000 years ago. ̽��ֱ��exquisitely-illustrated Perfection of Wisdom is still revealing fresh secrets.

When Sujātabhadra picked up his reed pen and put his name to the manuscript, he was part of a rich network of scholarship, culture, belief and trade

Camillo Formigatti

Cambridge ̽��ֱ�� Library

Folio 13 verso, a representation of the goddess Prajñāpāramitā

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

Yes

Licence type:

Attribution-Noncommerical