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Stories from the History of Science Museum, University of Oxford

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Death at The Farm – (Re-)visiting Harry on Gallipoli

8 June 2015 by Scott Billings Leave a Comment

Moseley memorial

Our current special exhibition, ‘Dear Harry…‘, presents an intimate portrait of Henry Moseley, a brilliant British physicist who was killed, aged 27, in World War I in Gallipoli, Turkey on 10 August 1915. To mark the exhibition and the centenary of the Dardanelles campaign, our director Dr Silke Ackermann embarked on a pilgrimage to Gallipoli and retraced some of Harry’s final steps.

By Silke Ackermann

View from Chunuk Bair across the gullies towards the landing beaches in the distance

View from Chunuk Bair across the gullies towards the landing beaches in the distance

The first thing that strikes you is the serene beauty of the place. Turquoise waters, shady woods, and the flowers – so many flowers, blood-red poppies amongst them. And then it strikes you that Harry, who loved his cottage garden so much, would never have seen it like this. When he first landed at Helles at the southern-most tip of Gallipoli the landscape already showed the brutal scars of months of heavy fighting. When he returned as part of the infamous August offensive, the last few days of his life were spent in chaos and turmoil.

Following the opening of our exhibition I have come to Gallipoli to find Harry, or at least trace his last footsteps. Like so many others, his body was never identified and the Commonwealth War Graves Commission website states that his name is on Helles Memorial, one of the countless memorials for soldiers of all sides. ‘Panels 23 to 25 or 325 to 328’, the website states somewhat enigmatically. What on earth does that mean? Don’t they know exactly?

When I get there in the midday heat (and it is only late May, what must it have been like in August?!) I start looking for Harry. With a jolt his name suddenly jumps out to me, in the middle of panel 24, looking out into the calm waters. The panels are organised by division, then by rank, not by name. So Harry is amongst the Second Lieutenants of the Royal Engineers, name upon name over seven panels in two different positions on the vast memorial.

Helles memorial, panels 23 to 25. Harry’s name on panel 24 is marked by a poppy.

Helles memorial, panels 23 to 25. Harry’s name on panel 24 is marked by a poppy.

But he didn’t die here, that we know for sure. So I retrace my steps and with the help of my excellent guide Seyhan return to the landing beaches on the western side of the peninsula. We get out of the car at every possible point. ‘Embarkation Pier’? Or ‘Anzac Cove’? Or maybe ‘Suvla Point, the most northerly of the possible spots? The available information is patchy, so we stop at every one of them and look up across the shrubbery to the point Harry and his comrades were meant to take: Hill Q, near the much better known Chunuk Bair.

Battle_of_Sari_Bair,_first_phase

A map of the region. Click to view a larger version.

I had intended to climb up through the gullies as Harry would have done, but the snakes prevent that. So we drive up to Chunuk Bair and walk down the steep 400 metres or so to an area known as ‘The Farm’. ‘The Farm’ is the least visited of the many cemeteries on Gallipoli, Seyhan tells me, and I soon understand why. We slip several times on the pine needles, and soon we sweat profusely. Unfamiliar sounds all around us. What must it have been like in the August heat, where every crack could have meant death?

When we finally get to the cemetery I am struck by how peaceful it seems. There is a surprisingly small number, just seven gravestones, all of rather senior officers, all ‘believed to be buried’ here. But in this small area of about 30×60 metres there lie 652 British soldiers, 634 of whom remained unidentified. It is to here that Harry and his men retreated after the failed attempt to take Hill Q on 9 August; it is here that heavy hand-to-hand fighting ensued on the following morning; and it is likely here, or close by, that Harry died. He may well be one of those lying here, never identified.

The Farm cemetery

The Farm cemetery

And it is here that the thought hits you full on – what a loss to humanity, all those young men from both sides, all those mothers and sisters, not just Harry’s, mourning the loss of a loved one, with nothing gained whatsoever.

On the way back up the hill Seyhan bends down and hands me a small grey marble-like object. It is a piece of shrapnel. Even after 100 years the area is still littered with it.

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Posted in: Collections, Exhibitions, Research Tagged: Gallipoli, Henry Moseley, World War I

Building time machines

28 May 2015 by Scott Billings Leave a Comment

47632_complete_front

The Museum is famous for its collection of astrolabes, the largest and most significant in the world and particularly strong in Islamic instruments. An astrolabe is a brilliant astronomical device used, very roughly speaking, for timekeeping. But as researcher Taha Yasin Arslan explains, timekeeping in the medieval Muslim world involved many different things…

by Taha Yasin Arslan

Perhaps the most fundamental definition of timekeeping is the reading of the position of the Sun or stars. But in the medieval Muslim world it had a much broader meaning. Knowledge of timekeeping or ilm al-mīqāt covered the finding of instantaneous time; the times of the five daily prayers; the direction of Mecca; as well as making instruments and writing manuals for observational devices. People who worked on timekeeping were called muwaqqīt or mīqātī, which means ‘timekeeper’.

Arabic tables for timekeeping

Arabic tables for timekeeping

Timekeeping in the medieval Muslim world started in Baghdad in the 9th century, but it was the Mamluk-era (1250-1517 CE) astronomers who lived in Egypt, Syria and Palestine who were the real deal. They studied all branches of astronomy but specialised in timekeeping. They prepared tables and invented practical instruments for observation and calculations. In fact, they were excellent instrument makers who made some of the best astrolabes, astrolabe quadrants and sundials in the history of astronomy. Several of these instruments are here in the Museum’s collections.

I am particularly interested in how these instruments were made and used, and how the meticulous and complex tables were drawn up. The astrolabes have many parts, markings and scales and are not easy to understand at first glance. So I have decided to study timekeeping in detail; and the more I studied it the clearer it became that these tables aren’t so hard to understand after all. In fact, the astronomers prepared the tables for timekeeping so that the less initiated would be able to find the time without making extensive observations or calculations.

The same idea was applied to instruments. Astronomers made the instruments user-friendly, even for beginners. Once you learn basic and simple principles, you would know how to use any astrolabe or any other similar instrument.

Replica of Ibn al-Sarraj's Universal Astrolabe by Taha

Replica of Ibn al-Sarraj’s Universal Astrolabe by Taha Yasin Arslan

Preparing tables and making instruments demands an extensive knowledge of spherical trigonometry and astronomy, but using them doesn’t. As a student of the history of astronomy, the best way for me to understand how they work has been to prepare the tables and construct the instruments myself. So, that’s what I did.

First, I have learned the formulas for the markings (altitude, azimuth, hour-lines…) on the instruments. Then I drew various instruments on the computer. Finally, I was ready to make the instruments. With my brother’s help for the 3D modelling, and the pursuit of at least five different artisans for every instrument, I have managed to make my own devices. Some are replicas of medieval instruments, but some are my own adaptations in the same tradition.

When you take an instrument made with your own hands, understanding how it works becomes so easy and it feels amazing. When you appreciate how hard it is to make an instrument, even in these modern times, it’s a wonder how people a thousand years ago managed to make the beautiful objects that you can see in the Museum now.

Building time machines like this is a noble and beautiful endeavour indeed!

Replica of Bayezid Astrolabe

Replica of Bayezid Astrolabe by Taha Yasin Arslan

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Posted in: Astrolabes, Collections, Research Tagged: astrolabe, astronomy, islam, islamic instruments, Mamluk, medieval

Making the Dreams of Homunculi

27 March 2015 by Scott Billings Leave a Comment

By Vid Simoniti

When Charles Ogilvie and I were tasked with making this video work to coincide with the Alchemy and the Laboratory exhibit, we took the painting below as a starting point. It shows a bearded scholar, who directs four putti in his laboratory. Paintings of the genre often satirized the alchemist, but what stands out here is the utter self-confidence of everyone involved. What are these little winged men up to? Are they making the philosophers’ stone, gold from lead, or the homunculus, a proposed miniature, yet fully-formed, man?

Alchemical Laboratory

If not a satire, the painting could perhaps be read as an alchemical allegory—an alchemical recipe described in a visual riddle. Interestingly, it is not the winged putti but the vessels in the background that seem arranged in a hidden, perhaps alchemical order. We played with the vessels as 3D objects, and it’s obvious that many would not be able to stand up in reality; the painter clearly just made them up.

Homunculi 2Around these oddball figures, we weaved the legend of the homunculus. This artificially-made miniature man was said to have been created by the alchemist Paracelsus, and appeared in various guises in alchemical texts – sometimes he was thought of as a spiritual being, who would reveal some secret knowledge to its maker. Perhaps the putti in the painting are themselves homunculi?

However, instead of drawing on alchemical manuscripts proper, we looked at later, 17th-century texts that mention the creature (Early English Books Online is excellent for finding this material). To shape these sources into dramatic form, we drew inspiration from poetry by the natural philosopher Margaret Cavendish. She expressed her idiosyncratic scientific worldview in rather awkward rhymes and riddles, tapping into an older tradition of rhyming alchemists such as George Ripley. Another source was the homunculus in the second part of Goethe’s Faust (1832), who also speaks in rhyme, though he is a much more flippant and amusing creature.

The video above is an excerpt of the final work, on display in the Museum’s Basement Gallery until 7 June 2015. It is a dream sequence, a dialogue on creating the homunculus. The vessels converse about homunculi, play and mate with each other to create a new generation of sentient objects. Alchemy – and to some extent many modern thought systems that replaced it – is partly about becoming enamoured with a self-contained logic. It promises power, wisdom, and transcendence of our earthly limitations. But perhaps its biggest joy is in chasing the puzzles themselves.

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Posted in: Art@MHS, Collections, Exhibitions Tagged: alchemical laboratory, alchemy, homunculi, homunculus
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