Herbals, Their Origin and Evolution: A Chapter in the History of Botany 1470-1670Arber, Agnes Robertson
History
Herbals, Their Origin and Evolution: A Chapter in the History of Botany 1470-1670
Arber, Agnes Robertson
Botany -- Europe -- History; Herbals -- Europe -- History
Cole seems to have possessed a philosophic mind, and to have
endeavoured to follow his theories to their logical conclusion. He was
much exercised because a large proportion of the plants with undoubted
medicinal virtues have no obvious signatures. He concluded that a
certain number were endowed with signatures, in order to set man on
the right track in his search for herbal remedies; the remainder were
purposely left blank, in order to encourage his skill and resource in
discovering their properties for himself. A further ingenious argument
is that a number of plants are left without signatures, because if all
were signed, “the rarity of it, which is the delight, would be taken
away by too much harping upon one string.”
Our author was evidently a keen and enthusiastic collector of herbs.
In his book ‘The Art of Simpling’ (1656) he complains bitterly that
physicians leave the gathering of herbs to the apothecaries, and the
latter “rely commonly upon the words of the silly Hearb-women, who many
times bring them _Quid_ for _Quo_, then which nothing can be more sad.”
Another strong supporter in this country of the doctrine of signatures
was the astrological botanist, Robert Turner. He definitely states that
“God hath imprinted upon the Plants, Herbs, and Flowers, as it were in
Hieroglyphicks, the very signature of their Vertues.”
It is interesting to find that the doctrine of signatures was
repudiated by the best of the sixteenth-century herbalists. Dodoens,
for instance, wrote in 1583 that “the doctrine of the Signatures of
Plants has received the authority of no ancient writer who is held in
any esteem: moreover it is so changeable and uncertain that, as far
as science or learning is concerned, it seems absolutely unworthy of
acceptance[38].”
A later writer, Guy de la Brosse, criticised the theory very acutely,
pointing out that it was quite easy to imagine any resemblance between
a plant and an animal that happened to be convenient. “C’est comme des
nuées,” he writes, “que l’on fait ressembler à tout ce que la fantaisie
se represente, à une Gruë, à une Grenoüille, à un homme, à une armee,
et autres semblables visions[39].”
Public-domain text, read in full here on John Shaqi.
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