M e t r o p o l i t a n M u s e u m S t u d i e s

Separate Reprinted from Volume IV, Part 2

M a r c h , 1933

A M A N U S C R I P T OF “ THE B O O K OF THE F I X E D S T A R S ”

BY 'A B D A R - R A H M A N A S - S U F l

B y J o s e p h M . U p t o n

A M A N U S C R I P T OF “ THE B O O K OF THE F I X E D S T A R S ”

BY 'A B D A R - R A H M A N A S - S U F l

By J o s e p h M . U p t o n

A ll through the history o f Islamic art and liter­ature one is constantly coming across instances o f the flourishing o f some practice strongly con­demned by the theologians and their legal col­leagues. It is so in the case o f miniature paint­ing and in that o f a large part o f Persian poet­ry. Astrology, too, was almost unanimously dis­approved by the official guardians o f Islamic morals; nevertheless its study was encouraged and its practice enthusiastically indulged in, not only at the royal courts but also among the people. The zeal with which the mathematical sciences were pursued in the early centuries o f Islam and the popularity o f astrology explain the great interest in its basic science, astronomy.

Long before the advent o f Islam, the Arabs had, like all nomads, a knowledge o f the prin­cipal stars and constellations, together with the times and places o f rising and setting, so that in night travel, a necessity in the scorching months o f summer, they could estimate direc­tions and hours. But this knowledge was not merely a means o f self-preservation. The sim­plicity o f their lives, the almost incredible rich­ness o f their vocabulary, the invigorating clarity o f desert air at night, the awesome splendor o f the starlit firmament stretching crystal clear and uninterrupted over a seemingly boundless desert or lighting up a clump o f date palms that marked the presence o f water—all o f these com­bined to fill Arabic poetry with imaginative ref­erences to the starry sphere. The settled agri­

1 Suter, in Encyclopaedia of Islam, p. 57. For further information about this book, and a list of known manuscripts, including one in the former Konigliche Bibliothek in Berlin dated A. H. 630 ( a .d . 1233), see A. Hauber, “ Zur Verbreitung des Astronomen Sufi,” Der Islam, vol. 8, p. 48.

cultural tribes determined the seasons o f the year and the times o f planting and harvesting by the presence o f the moon in one o f twenty- eight successive groups of stars known as the “ mansions o f the moon.” The scientific study o f astronomy was begun by the Arabs in the seventh century under the influence o f two In­dian books, the Brahmasphutasiddhanta o f Brahmagupta and the treatise o f Aryabhata. A much greater impetus was given in the eighth century when the Greek astronomers were studied in the translation o f Ptolemy’s work, known to us through a corruption o f its Arabic title (al-Majisti) as the Almagest. Both the Arabic script and the literature o f the Arabs were adopted by the countries won over to Islam, and from the eighth century to the death in 1449 o f the T imurid ruler o f Persia, Ulugh Beg, the scientific study o f astronomy was vig­orously pursued in the Islamic world.

' Abd ar-Rahman as-Sufi, one o f the most eminent o f the Arab astronomers and astrolo­gers, was born at Rayy, near Tihran, Persia, in December, 903, and died in May, 986. He was the tutor o f the Buwayid ruler o f Fars, ' Adud ad-Daulah, and wrote four important scientific works in Arabic, o f which the one described here is the Kitab al-Kawakjb ath-Thabitah Mu- sawwar ( “ The Book o f the Fixed Stars, Illus­trated” ) or, as it was sometimes called, the Kitab as-Suwar as-Sama'iyah Musawwar (“ The Book o f the Heavenly Signs, Illustrated” ).1 In the introduction to his complete translation o f this work Schelljerup writes:

The description of the fixed stars given by Sufi is founded, it is true, upon that of Ptolemy, but it is not simply a translation. All the stars have been examined and reexamined in their proper position in the heav­ens, as indicated in the catalogue of Ptolemy, and

179

18 o M E T R O P O L I T A N M U S E U M S T U D I E S

each one has been submitted to an attentive study.. . . Considered all in all, Sufi has given us in his de­scription an account o f the starry firmament in his day which merits the greatest confidence, which in its achievement has surpassed its model, which for nine centuries has been without a rival, finding its equal only in the Urametria Nova by the illustrious Argelander. . . . It includes also the catalogue o f Ptolemy in a more perfect form than we had previ­ously possessed it. . . . These figures [the constella­tions] have been composed and have been given names. Their stars have been noted one by one so that each might have a distinct name by which it could be unmistakably indicated. Furthermore, the position o f the stars has been marked with reference to the fig­ures and the zodiac, as well as to their deviation north or south o f the ecliptic, so that one can at all times know the hours o f the night, the rising o f the stars, and other very useful things which one can learn from a knowledge o f the stars.2

There are six copies o f as-Sufl’s “ Book of the Fixed Stars,” in London, Paris, Leningrad, Copenhagen, Berlin, and N ew York, o f which the illustrations have been wholly or partially published. The manuscript in the British M u­seum (Arabic 5323), o f which ten illustrations were published by Martin,3 contains none o f the information which is so helpful in clas­sification, such as the name o f the scribe or the patron for whom the book was copied, the place in which the work was done, and the date. Martin assigns the manuscript to about 1300 and describes it as belonging to the Mon­gol school o f Persian painting which flourished under the Il-Khan dynasty (1258-1353). The British Museum Guide4 classes it as fourteenth century, an attribution which seems to be right. As has been suggested by J. V . S. Wilkinson in a letter to the writer, Chinese influence is evi­dent in the purely linear technique, but many ' Abbasid features, reminiscent o f the late classi­cal period, are to be found, especially in the drapery (cf. fig. 2). According to the British

Schjellerup, Description des etoiles fixes, p. 4, para­graph 3, translated by the writer o f this article. The name o f the author is misspelled on the title-page.

8 Page 19, pls. 35 -39 . 4 Page 14, no. 6 .

5 Blochet, Les Enluminures, pp. 85-87, pls. X X X V III- X L , Les Peintures, pp. 276-277, pls. X X X -X X X III ,

Museum Guide the work may have been done in Samarkand.

Fifteen illustrations from the manuscript in the Bibliotheque nationale in Paris (arabe5036) have been published and discussed by Blochet, and one by Migeon. The manuscript was cop­ied for the T imurid governor of Transoxiana, Ulugh Beg, the son of Shah Rukh. In Blochet’s opinion, the work was done in Samarkand and was finished a little before 1437, when the calculations for the new astronomical tables, known as “ The Tables o f Ulugh Beg,” were completed. Although, as Blochet points out, the work was clearly done by a Persian artist, there are strong Chinese elements in the tech­nique, such as the use o f pale neutral washes (cf. fig. 3), and in the conceptions o f some o f the figures, for instance, in the similarity o f Cetus to the traditional Chinese dragon (cf. f ig . 1 ) .

O f the two manuscripts used by Schelljerup as a basis for his French translation, one is in the Public Library in Leningrad (no. 191 o f the new series o f Arabic manuscripts) and the other is in the Royal Library in Copenhagen. I am indebted to the Vice-Director and the General Secretary o f the Public Library for the information that the manuscript in Leningrad states that it was written on the eleventh o f Jumada II, 10 15 (October 15, 1606), by Mu­hammad ibn Muhammad (the surname is rubbed out in the manuscript) in the town of Nayin, in Central Persia. The style o f the tur­ban worn (cf. fig. 5) is that most popular dur­ing the reign o f Shah ' Abbas (1587-1629). P. P. V . Pallis o f the Royal Library kindly informs me that the manuscript in Copenhagen states that it was copied in Medina by Muhammad Maghribi in A. H. 1010 ( a .d . 1601-1602) from a

Musulman Painting, pp. 46, 62, pls. L X X X V III- X C III; Migeon, vol. I, p. 156, fig. 29.6 A notice about this manuscript has been published

by B. Dorn, Memoires de l ’ Academie imperiale, series 7, vol. IX , no. 1, p. 77, with illustrations depicting the constellations Serpentarius and Centaurus.

FIG . 2 . T H E CONSTELLATION BOOTES

FRO M T H E M A N U SC R IPT BY AS-SUFI

IN T H E BRITISH M U SEU M

FIG . 3 . T H E CO NSTELLA TIO N BOOTES

FRO M T H E M A N U SC R IPT BY AS-SUFI

IN T H E B IB LIO TH EQ U E NATION A LE

M E T R O P O L I T A N M U S E U M S T U D I E Sl 82

copy made in a . h . 404 (a . d . 10 13-1014) in turn from a copy by as-Sufl. Although the text fol­lows that o f an eleventh-century manuscript, the illustrations were revised to meet more nearly the taste o f the day. The turban (cf. fig. 4) resembles most closely that worn in Con­stantinople about 16007—which is not surpris­ing as Medina was at the time under Turkish rule —and various other elements, such as the armor o f Perseus,8 show a distinctly Western influence.

From the manuscript in the Volkerkunde

F IG . 4. T H E CO NSTELLA TIO N BOOTES

FRO M T H E M A N U SC R IPT BY AS-SUFI

IN T H E ROYAL LIBRARY IN CO PENH A GEN

Museum in Berlin, the constellation Ophiuchus is reproduced by Schulz, plate B, who dates the illustration about 1600.

The manuscript o f as-Sufl’s “ Book o f the Fixed Stars” in The Metropolitan Museum o f Art,9 contains 300 pages, which, though origi­nally somewhat larger, now measure seven by ten inches, as they were trimmed when the manuscript was repaired and rebound. The text, o f which the first few pages are missing, is seriously mutilated after the description o f

7 Martin, pi. 229 c.8 Schjellerup, pi. V , fig. 1 1 . The illustrations in both

manuscripts are reproduced by Schjellerup.9 Acc. no. 13 .16 0 .10 ; purchased in 19 13 ; cf. Bulletin

o f the Metropolitan Museum, vol. V III, p. 253. Tw o illustrations from this manuscript were published byDimand, fig. 6.

Hydra and ends in the midst o f the description o f Lupus (as-Sabuc, “ the Beast o f Prey” ). The manuscript is written in Naskhi script with the various headings in red.

The prefice contains a discussion o f the va­rious astronomical books available in the au­thor’s day, with notes on the errors and omis­sions which led him to the conviction that a new and thorough study o f the constellations was desirable. The preface is followed by a descrip­tion o f forty-five constellations,10 beginning

FIG . 5. T H E CO NSTELLA TIO N BOOTES

FROM T H E M A N U SC R IPT BY AS-SUFI IN TH E PU B L IC LIBRARY IN LENINGRAD

with those o f the northern hemisphere (fig. 6), then describing those of the zodiac, and ending with those o f the southern hemisphere. A n ac­count o f each constellation, in which the stars composing it are discussed in detail and in which such differences from Ptolemy’s record as occur are noted, is followed by two illustrations, showing it as seen on a celestial globe and re­versed, as seen in the heavens (see fig. 24). The outlines are drawn in ink, the stars forming the

10 The complete manuscript had forty-eight. A ra (the Censer), Corona Australis (the Southern Crow n), and Piscis Austrinus (the Southern Fish) are missing. The drawings o f these three, together with those o f Canis M ajor (the Greater D og), Centaurus (the Centaur), and Lupus (the Beast o f Prey), are also missing.

A M A N U S C R I P T OF “ T H E B O O K OF T H E F I X E D S T A R S ”

constellation being painted in gold and out­lined in red, the stars outside o f the figure be­ing painted in silver and outlined in black. It is possible that the hair o f some o f the figures has been retouched (see fig. 36). The principal stars are numbered and frequently have their names written in Arabic alongside them. The various decorative elements, such as the outlines o f the

round nine hundred years which had elapsed since Ptolemy wrote the Almagest.

In the absence o f any written clue in the manuscript as to its date and place o f copying, we are dependent for classification on the char­acter o f the paper, the script, and the illustra­tions. In this particular case an examination o f the paper and o f the script is helpful but

F R O M “ T R A N S A C T IO N S O F T H E R O Y A L A S I A T IC S O C I E T Y ” V O L U M E I I , P A R T 2 , P L A T E F A C I N G P A G E 3 9 2

FIG . 6 . T H E NO RTH ERN H E M ISP H E R E OF T H E GLOBE

B Y M O H AM M ED B E N H E L A L , A .D . 1 2 7 5

superstructure of the ship in the constellation Argo Navis (fig. 48) and o f the throne o f Cas­siopeia (figs. 17, 18), and the jewelry worn by some o f the figures are in gold or silver. The only use o f a color other than red, gold, or sil­ver occurs in the illustration o f Cassiopeia as seen on a globe (fig. 18), where green has been added. Following each illustration is a cata­logue giving the name, latitude, longitude, and size o f each star forming the constellation. The longitude given is that of the Almagest in­creased by 12 0 42', which is the change calcu­lated by as-Sufi as having taken place in the

not entirely conclusive. As Dr. Mehmet Aga- Oglu states in a letter to the writer, it is pos­sible to date most o f the Muhammadan manu­scripts by the character of the script, that is, i f they are written in a clear, stylistic form. “ There are many manuscripts, however,” Dr. Aga- Oglu concludes, “ which show only the individ­ual style o f the calligrapher, and the copy which you have sent me11 falls into this class. I should say it was executed not in the fifteenth century but probably in the late fourteenth century.”

1 1 A photostat o f a page from the Museum’s manu­script; cf. fig. 16.

184 M E T R O P O L I T A N M U S E U M S T U D I E S

The opinion that the writing is o f the four­teenth century is also shared by Professor Mar­tin Sprengling,. who in a letter to the writer pointed out the close similarities to a page from a manuscript copied about 1348 and published by Tisserant, plate 58. The likeness is indeed striking — especially in the writing o f the final forms of lam, ha, cain, and dal and in lam-alif and k,af. Other examples which resemble ours are a page from a history copied in a . h . 748 (a . d . 1347-1348), published by Ahlwardt, plate IV, 17 ; a page from each o f two manuscripts copied in a . h . 733 (a . d . 1333) and a . h . 740 (a . d . 1339), published by Moritz, plate 149; and a page from a manuscript copied in a . h . 788 (a .d . 1387), published by Schulz, plate 105. The paper, also, is o f a type found in manu­scripts o f the late fourteenth or the early fif­teenth century. It must be admitted, however, that the paper has not been so carefully pre­pared, nor the writing and illustration so pains­takingly executed as were those o f many o f the manuscripts o f the period. I f there were no illustrations one would be inclined to believe that the copying had been done in Syria or Egypt, but the strong Tlmurid character o f the drawings makes it practically certain that the work was done in Persia.

Although the faces in the drawings have the lack o f expression characteristic o f Persian miniatures o f the period and although the art­ist was primarily interested in expressing the relationship o f the stars to the figure, there is in the drawings a certain feeling for line and an obvious sense o f decorative composition, as in the figures o f Cassiopeia, Perseus, Auriga, Sagittarius, and Orion (figs. 17-20, 40, 47). There is also a charm in the liveliness o f the animals forming Pegasus, Aries, and Leo (figs. 25, 3 1, 34) and in the humor o f the winsome dolphin (fig. 24).

In trying to arrive at a date from the internal evidence o f the illustrations it is important to

12 Upton, Metropolitan Museum Studies, 1930, vol. II, pp. 206-220, figs. 5, 6.

remember that in Persian paintings the details o f the costumes tend to reflect the styles in fash­ion at the time and in the place at which the work was done. That this principle also applies to astronomical manuscripts is shown by the fact that the style o f the turbans in the Lenin­grad manuscript, written in Nayin (near Isfa­han) in 1606, is identical with that in a Shah Namah written probably in Isfahan in 1605- i6o8.12 Another point to bear in mind is the mixture o f styles, found not only in Persian painting but also in Islamic art in general, due to the policy o f successive conquerors o f as­sembling at their capitals artists from the vari­ous sections o f their domains. The most strik­ing example o f this mixture o f styles in Persian manuscripts is to be seen in the Mandfic al-Ha- yawan o f a . h . 695 (a .d . 1295)13 in the Morgan Library, in which the vigorous, bold, colorful painting o f the Mesopotamian school contrasts with the lively calligraphic manner o f the Far East introduced by the Mongol invaders. The more purely Far Eastern characteristics preva­lent in northern Persia at the beginning o f the fourteenth century, notably in the famous Jam f at-Tawarihji, a . h . 707 and 714 (a .d . 1306 and 13 14 ) ,14 tended in the course o f the century to become modified or abandoned as the typical style o f Persian miniature painting was evolved.

One o f the interesting features o f the illus­trations o f our manuscript o f as-Sufi’s treatise is a number o f elaborate hats or headdresses (see figs. 18, 2 1, 26-28, 36, 47), all obviously developed from the Mongolian hat but here rendered decoratively and without the repre­sentation o f the crown which after about 1430 was almost invariably shown. A Far Eastern origin is also to be sought for the trousers (see figs. 2, 18, 19, 26), o f which the type in figure 26 is closest to that shown in a manuscript o f Kazw lnl’s Cosmography dated a . h . 768 (a . d . 1366)15 and in one o f about the year 1400.16 The turbans (see figs. 11 ,2 0 ) , derived from the

13 Martin, pis. 21-26. 14 idem, pis. 27-32.15 Schulz, pi. 12 b. 16 idem, pi. 13 a.

FIG. 7 . URSA M INOR FIG. 8 . URSA M AJOR FIG. 9 . CORONA BOREALIS

FIG. 10. BOOTES FIG. I I . HERCULES FIG. 12. CEPHEUS

FIG. 1 3 . DRACO FIG. 1 5 . CYGNUS

1 86 M E T R O P O L I T A N M U S E U M S T U D I E S

Mesopotamian school, and the peculiar crinkly representation o f the drapery (see figs. n , 12) are to be found in a manuscript o f Hariri dated a . h . 733 ( a . d . 1334).1 ' The female headdress seen in figure 17 is found in a miniature from an early fourteenth-century Shah Namahls and the peculiar sort o f overskirt which appears in figures 10 ,19 ,26 , and 28 occurs in a manuscript o f Kazw m l’s Cosmography dated a . h . 768

Ij3 y i & i

; .-. -; j•s &

FIG . l 6 . SAGITTA

( a . d . 1366).19 Considering then the evidence presented by the paleography, the paper, and the illustrations, it seems reasonable to con­clude that the manuscript was produced at the end o f the fourteenth century or the beginning o f the fifteenth.

To decide definitely where the work was done is, at the moment, impossible. Dr. Di- mand suggests in A Handbook^ o f Mohammed­an Decorative Arts20 that the Metropolitan Mu­seum’s manuscript was probably written at Sa­markand, basing his opinion on the fact that

Ulugh Beg established there a famous observa­tory where noted astronomers were employed, that the manuscript in the Bibliotheque natio­n a l , referred to above, was written for Ulugh Beg, presumably at Samarkand, and that the style o f drawing and details o f costume indicate the earlyTlmurid period. The characteristics o f the school o f Samarkand at that time, how­ever, are still too little known to permit o f a positive attribution.

The principal stars in each illustration in the Museum manuscript have their Arabic names written beside them. In the following notes these names and any pertinent remarks by as- Sufi have been translated; the number o f the stars in each figure is that given by as-Sufl and does not always correspond to the number actu­ally shown in the illustration. This material represents an interesting phase o f Islamic cul­ture, a knowledge of which is invaluable for the full appreciation o f Islamic art.

Constellations o f the Northern Hemisphere1 . U r s a M in o r , ad-dubb al-asghar, “ the Lesser Bear” (fig. 7). The figure is made up o f seven stars called “ the daughters o f the little stretch­er.” The four forming the quadrilateral are called an-nacsh,“ the stretcher” ; the three form­ing the tail, banat, “ daughters” ; and the two on the shoulder and upper foreleg, al-far^adan, “ the two calves” ; the one at the end o f the tail is called al-jady, “ the kid.” It is from this last star that the direction o f the Kabbah in Mecca is determined. In the illustration the position o f the North Pole is noted below the kid.

2. U r s a M a j o r , ad-dubb al-al{bar“ the Greater Bear” (fig. 8). The figure is made up o f twen­ty-seven stars. The twenty-one named in the illustration are the four forming the quadrilat­eral called an-nacsh,“ the stretcher” ; the one at the beginning o f the tail, al-jiln, “ the g u lf” ;

17 Martin, figs. 15 , 16. 18 Schulz, pi. 23.19 idem, pi. 13 a.20 Page 27.

A M A N U S C R I P T O F “ T H E B O O K O F T H E F I X E D S T A R S ”

the one in the middle o f the tail, al-cana1 ,“ the badger” ; the one at the end, al-%aid, “ the gov­ernor” ; the small star alongside the badger, as- suhd, “ the neglected one” ; the three sets o f two stars each composing the feet, al-h afzah al­ula, “ the first leap [o f a gazelle],” al-b afzah ath-thaniyah, “ the second leap,” and al-b afzah ath-thalithah,“ \L\\c third leap” ; the seven stars

FIG . 1 7 . CASSIOPEIA

forming the neck, breast, and knees, al-haud, “ the basin.”

3. D r a c o , at-tin«z», “ theDragon” (fig. 1 3 ) .The figure is made up o f thirty-one stars o f which those noted in the illustration are the one on the tongue, called ar-rahjs, “ the dancer” ; the four stars in the head, al-cawaith, “ the old she- camels” ; a small star below the eye, ar-rubac, “ the young camel born in the spring” ; the three stars forming a triangle between the first and second coils, al-athafi, “ the tripod” ; the two

187

stars just below the third coil, azfar adh-dhi’b, “ the claws o f the wolf.”

4. C e p h e u s , fil^awus for kjjawus (fig. 12 ) . The constellation is formed by eleven internal and two external stars. The circle o f stars including the two at the shoulders and the two at the elbows is called al-fydr, “ the urn” ; the star at

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ I

FIG . 1 8 . CASSIO PEIA

the waist and the star at the left shoulder are called al-fark’ , “ the part in the hair” ; the star at the right ankle is called ar-rdci “ the shepherd” ; the star at the left knee, J{alb ar-raci, “ the shep­herd’s dog.” On the illustration is a note to the effect that the four stars on the right leg and the group near the left elbow were not men­tioned by Ptolemy.

5. B o o t e s , al-cawwa, “ the Howler” (fig. 10). Twenty-two internal stars and one external star form the constellation. As noted in the

i8 8 M E T R O P O L I T A N M U S E U M S T U D I E S

illustration, the four stars on the left arm are

called aulad ad-dibac “ the sons ot the hyenas” ;

the large star at the bottom o f the illustration between the legs is called as-sima\ ar-rdmih, “ the one holding up the lancer” ; the star at the

right hip and the top star o f the three on the

left leg are called ar-rumh, “ the lance.”

6. C o r o n a B o r e a l i s , al-iklll ash-shamali, “ the

Northern Crow n,” or al-fa\\ah, “ the C row n”

(fig. 9). E ight stars make up the figure. T he

comes from the fancied resemblance o f the out­

line suggested by other stars in the constella­

tion to the folded wings o f an eagle.

9. C y g n u s , ad-dajajah, “ the Sw an” (fig. 15).

This constellation is formed by seventeen in­

ternal and two external stars. T he four stars in

a row, two on the right w ing, one on the upper

breast, and one on the left w ing, are called al- fawaris“ t\\c horsemen,” because they seem like

four horsemen setting out together; the single

F IG . 1 9 . PE R S E U S F IG . 20. A U R IG A F IG . 2 1 . O P H IU C H U S A N D SE R PE N S

largest, called al-munlr min al-fakj{ah, “ the brilliant one in the crown,” is the star marked on the astrolabe.

7. H e r c u l e s , al-jatjil cala rukbatihi,“ theKneel-

er on His K nee” (fig. n ) . T h e figure o f a

kneeling m an is formed by twenty-eight stars.

The star on the right temple is called \alb ar- raci, “ the shepherd’s dog” ; the row o f stars

across the chest, including those on the arms,

an-nasa\ ash-shami, “ the Syrian series.”

8. L y r a , ash-shalyal^,“ th eL yre” (fig. 14 ).There are ten stars in this figure, o f w hich the largest,

called an-nasr al-wakic, “ the falling eagle,” is the one represented on the astrolabe. The name

star at the base o f the tail is called ar-ridf, “he

who comes behind,” because it follows the four

horsemen.

10. C a s s io p e ia , dhdt al-\ursi, “ the Seated O ne”

(figs. 17, 18). T he constellation, composed o f

thirteen stars, represents the figure o f a wom an

seated on a cushioned chair. T h e largest o f the

stars, in the cushion upon w hich one o f Cas­siopeia’s elbows rests, is called al-\aff al-\hadlb

(written al-hadib), “ the hand o f the dyed

one” ; it is the star shown on the astrolabe. On

the back ot the chair in figure 18 are the Arabic

words al-cizz ad-daim, “ lasting power.”

1 1 . P e r s e u s , barshdwush, or hamil ras al-ghul,

A M A N U S C R I P T O F “ T H E B O O K OF T H E F I X E D S T A R S ” 1 8 9

“ the Bearer of the G orgon’s H ead” (fig. 19). This constellation is formed by twenty-six in­

ternal and three external stars. O f the stars

named in the illustration, that on the wrist o f

the raised arm is called sahabi, “ the cloudy

one” ; the tw o on the left foot are called cati}<

ath-thurayya, “ the shoulder blade o f the Pleia-

note alongside the lowest star states that it is

common to the constellations A uriga and T au ­

rus; it appears on the side o f the left horn o f the Bull (see Taurus, no. 23).

13. O p h i u c h u s a n d S e r p e n s , al-hawwa wa-l- hayyah, “ the Serpent Bearer and the Serpent”

F IG . 22 . E Q U U L E U S

» 9

ws

des.” The large star at the waist, which is the one shown on the astrolabe, is called janb bar- shawush ( wa huwa marfi)\ ath-thurayya) “ the

side o f Perseus (and it is the elbow o f the

Pleiades).”

12. A u r i g a , m um si\ al-ar-innah, “ H e W ho

Holds the Reins” (i.e., “ the Charioteer” ) (fig.

20). This figure is composed o f fourteen stars. T he most brilliant, which is shown on the as­

trolabe, is that on the right shoulder; it is called

al-cayyu\, “ the goat.” In the illustration the

(fig. 21). This constellation, representing a man holding a serpent w ith both hands, is com­

posed o f forty-eight internal and five external

stars. T he star on the face o f Ophiuchus (not

marked in fig. 21) is called ar-racl, “ the shep­

herd,” and is shown on the astrolabe. T he star

on the left shoulder is called kalb ar-rafi, “ the

shepherd’s dog.” Beside the largest o f the stars

in the serpent’s head is the note mansha cum\ al-hayyah, “ the beginning o f the neck o f the

serpent” (the beginning o f the Syrian series);

by the star over the right hand are the words

190 M E T R O P O L I T A N M U S E U M S T U D I E S

ibtida an-nasi\ al-yamam,“ t\\c beginning o f the series o f Yemen.” Part o f the Syrian series and the stars known as “ the shepherd” and “ the shepherd’s dog” are common to the constella­tions Hercules and Ophiuchus and Serpens.

14. S a g i t t a , as-sahm, “ the Arrow ” (fig. 16). The arrow is composed o f five stars.

15. A q u i l a , al-cu\ab,“ the Eagle” (fig. 23). O f the nine internal and six external stars compos­ing this constellation, the three in the head are

17. E q u u l e u s , hjfat al-faras, “ the Part o f the Horse” (fig. 22). This constellation is com­posed o f four stars. It is sometimes referred to as “ the first horse” in contrast to the second horse, Pegasus.

18. P e g a s u s , al-faras al-aczam, “ the Greater Horse” (fig. 25). The figure, a winged horse with no hind quarters, is composed o f twenty stars. The star on the right at the bottom o f the illustration is called surrat al-faras, “ the navel o f the horse” ; it is common to the constella-

called an-nasr at-tair, “ the flying eagle,” in contrast to “ the falling eagle” (see Lyra, no. 8), which is opposite in the heavens. The largest o f the three —that on the neck —is the one shown on the astrolabe.

16 . D e l p h i n u s , ad-duljin, “ the Dolphin” (fig. 24). O f the ten stars forming the constellation, the star at the beginning o f the tail, called djianab ad-duljin, “ the tail o f the dolphin” (or camud as-salib, “ the column of the cross” ), is the one marked on the astrolabe. The four stars which form a rhomboid (at the top, left, in the illustration) are called al-h acud, “ the young camel,” or as-salib, “ the cross.”

tions Pegasus and Andromeda (no. 19). This star and three others - first, the one on the left at the bottom o f the illustration, called matn al-faras, “ the spine o f the horse” ; second, the large star about in the center o f the fore wing, called janah al-faras, “ the wing o f the horse” ; and third, the one at the upper joint o f the right leg called mankjb al-faras, “ the shoulder o f the horse”—form a rectangle called ad-dalw, “ the bucket.” They are all marked on the astro­labe. The upper pair is called al-fargh al-mut\- addam,“ t\\c front opening” ; the lower pair, al- fargh al-mu’a\h \har“ t\\e. back opening.” The star at the tip o f the nose is called jahfalat al- faras, “ the lip o f the horse,” or fum al-faras,

A M A N U S C R I P T O F “ T H E B O O K O F T H E F I X E D S T A R S ” 1 9 1

“ the mouth o f the horse.” The two stars at the lower edge o f the w ing are called an-nacam, “ the bower” ; the two stars on the cheek, sacd al-bihdm (written niham), “ the blessedness o f prudence.” O f the three stars in a row on the neck, the two upper are called sacd al-humam, “ the blessedness of the hero” ; the two on the chest, scfd al-baric, “ the blessedness o f the pre­eminent one” ; the two on the right knee, sacd mutr, “ the blessedness o f habit.”

19 . A n d r o m e d a , al-marah al-musalsalah, “ th e

o f the fish’s nose in figure 27 bears the name al-ca n d l “ the badger,” and a note to the effect that it is at the end o f the figure o f the fish.

20. al-faras, “ the Horse” (fig. 29). This con­stellation is composed o f thirty stars. The one on the tip o f the horse’s muzzle bears a note to the effect that it is the twenty-third star and the same as that at the tip o f one hand in the con­stellation Andromeda. The star at the right knee is called manhjb al-faras, “ the shoulder [upper leg] o f the horse,” and the two stars at

FIG . 2 7 . ANDROMEDA FIG . 2 8 . ANDROMEDA

Enchained W oman” (figs. 26-28). This con­stellation is composed o f twenty-three stars. The large one on the cheek in figure 26 bears a note to the effect that it is common to the head o f the woman and the constellation Peg­asus (see “ the navel o f the horse,” no. 18). The star above the right ankle in figure 26 and on the left leg in figure 28 is called al-cana\\, “ the badger.” The star on the cheek in figures 27 and 28 bears a note to the effect that it is common to the constellations Andromeda and Pegasus (see no. 18). The large star on the hip is called batn al-hut,“xhc belly o f the fish” ; be­side it is the note, “The side of Andromeda and the heart o f the great fish.” The star at the tip

the left knee are called sacd al-barf, “ the bless­edness o f the preeminent one.”

21. T r i a n g u l u m , al-muthallath,'‘the Triangle” (fig. 30). This figure is composed o f four stars. The one at the top, which is marked on the as­trolabe, is called ra’s al-muthallath, “ the head o f the triangle.”

Signs of the Zodiac22. A r i e s , al-hamal, “ the Ram ” (fig. 3 1) . This constellation is composed o f thirteen internal and five external stars. The large star above the head, which is the one marked on the astrolabe, is called an-natih, “ he who strikes

I92 M E T R O P O L I T A N M U S E U M S T U D I E S

with the horn.” The two stars at the base o f the horns are called ash-sharatain,“ the two be­ginnings o f spring” ; they compose the first mansion o f the moon. The three stars forming a triangle in the tail are called al-butain, “ the little belly” ; they compose the second mansion o f the moon. O f the five external stars above the rump, the two lower are on the leg o f Per­seus (see no. 18).

23. T a u r u s , ath-thaur, “ the Bull” (fig. 32). This constellation is composed of thirty-two internal and eleven external stars, exclusive of the one at the tip o f the left horn, which bears the note, “ Common to the horn o f the Bull and the leg o f Auriga” (see no. 12 ). In the il­lustration the four on the back o f the bull are called ath-thurayya, “ the Pleiades,” from the word tharwah, “ abundance,” since a good au­gury is taken from them. The large red star21 on the forehead is called ad-dabaran, “ the fol­lower,” because it follows the Pleiades. It is the third mansion o f the moon.

24. G e m in i , at-tu mayn,“ the Tw ins” (fig. 33). This constellation is composed o f eighteen in­ternal and seven external stars. The two large ones in the heads are called adji-djiira!- ( al-

mabsutah), “ the arm [extended].” The two stars at the ankles o f the rear figure are called al-hancah, “ the brand on the base o f the neck o f a camel” ; they compose the sixth mansion o f the moon. The two stars on the extended arm o f the rear figure compose the seventh mansion o f the moon. The three stars behind the back leg o f the rear figure bear a note to the effect that they were not mentioned by Ptolemy.

25. C a n c e r , as-saratan, “ the Crab” (fig. 35). This constellation consists o f nine internal and four external stars. The large star in the center o f the body constitutes the eighth mansion o f

21 ad-dabaran refers sometimes to one star and some­times to a group o f five stars.

the moon and is called an-nathrah, “ the mid­dle of the nose.” In the illustration the two stars above the one just mentioned are named al-himarayn, “ the two asses,” and the group below is named sahabl, “cloudy.” The two ex­ternal stars just below the eyes compose the ninth mansion o f the moon; they appear also in the constellation Leo (see no. 26).

26. L e o , al-asad, “ the Lion” (fig. 3 4 ) .This con­stellation is composed of twenty-seven internal and eight external stars. The star near the lion’s heart is called kalb al-asad al-malik}, “ the heart o f the royal lion” ; it is marked on the astrolabe. The two stars in the constellation Cancer which compose the ninth mansion of the moon (see no. 25) also appear in the head o f Leo. The four stars on the neck and heart are called al-jabhah, “ the forehead” ; they compose the tenth man­sion o f the moon. The two stars on the rump are called zubrat {al-asad), “ the part o f the back between the shoulder blades” ; they com­pose the eleventh mansion o f the moon. The star at the end o f the tail is named as-sarfah, “ the dog tooth o f fortune” ; it constitutes the twelfth mansion o f the moon.

27. V i r g o , al-cad_hrd, “ the Virgin” (fig. 36). This constellation is composed o f twenty-six internal and six external stars. The four on the body above the belt are called al-cawwa, “ the howler” ; they compose the thirteenth man­sion o f the moon. The large star in the palm o f the right hand is called as-sima\ al-aczal, “ the unarmed simak [?] (Spica Virginis),” is marked on the astrolabe, and constitutes the fourteenth mansion o f the moon. The star on the right foot and the two stars on the border o f the skirt nearest it are called al-ghafr, “ the obscured” ; they compose the fifteenth mansion o f the moon.

28. L i b r a , al-mtzan, “ the Balance” (fig. 37). Eight internal and nine external stars form this constellation. The two at the top o f the pans

i 94 M E T R O P O L I T A N M U S E U M S T U D I E S

are called az-zubana, “ the claws,” i.e., o f the scorpion (al-ca}$rab) ; they form the sixteenth mansion of the moon. The three stars forming the bar across the top are known as cd-iklil“ the crown” ; they form the seventeenth mansion of the moon. In the illustration there is a note alongside the three stars at the left stating that they were not mentioned by Ptolemy.

29. S c o r p io , al-ca \r a b “the Scorpion” (fig. 38). This constellation is made up of twenty inter­nal and three external stars. The three in a row on the forehead are called “ the crown” ; they also appear in Libra (see no.28). The brilliant red star in the body is called 1$alb al-cabirab, “ the heart o f the scorpion.” It is marked on the astrolabe and constitutes the eighteenth mansion of the moon.The two stars at the tip of the tail are called ash-shaulah,“t\\t raised part o f the tail of the scorpion” ; they compose the nineteenth mansion of the moon.

30. S a g i t t a r iu s , ar-rami,“ the Archer” (fig. 40) .

This constellation is composed of thirty-one stars. Four stars which form a quadrilateral- the two on the arrow near the right hand, the one at the upper end of the bow, and the one on the horse’s right forefoot — are called an-na- cdm al-wand, “ the ostrich going to the water­ing place.” Four other stars which form a quad­rilateral — the one on the left shoulder, the one on the shoulder blade, the one at the feather end of the arrow, and the one beneath the arm­pit—are called an-nacam as-sadir, “ the ostrich returning from the watering place.” Two of the stars in the first group lie in the Milky Way, the other two in the first group and all four in the second group lie to the east of it; so that if the Milky Way is regarded as a river, the sig­nificance of the names becomes clear. Between the two groups is written the word an-nacaim , “ the ostriches” ; this is the position of the twen­tieth mansion of the moon. The star at the eye of the figure is called as-sahabl, “ the cloudy one” ; that on the knee of the left foreleg, ru\-

bat ar-raml, “ the knee of the archer” ; and that on the hoof below, cur^ub ar-rami, “ the heel o f the archer.” The space above the seven stars forming the streamers in the illustration is the position of the twenty-first mansion of the moon.

31. C a p r ic o r n u s , al-jady, “ the K id” (fig. 39). This constellation is composed o f twenty-eight stars. The two in the left horn are called sacd ad_h-d_hdbih“ t\\c blessedness of the sacrificer” ; they compose the twenty-second mansion of the moon. The two stars at the beginning of the tail are called sacd nashirah, “ the blessed­ness o f a sinew.”

32. A q u a r iu s , saJ{ib a l-m a“ t\\c Water Pourer” (fig. 41) T he constellation is composed of forty- two internal and three external stars. The two on the left hand are called sacd bulac,“ the bless­edness which devours” ; they compose the twen­ty-third mansion of the moon. The two stars at the left shoulder are called sacd as-sucud, “ the blessedness of good fortune” ; they compose the twenty-fourth mansion o f the moon. The two stars on the right shoulder are called sacd al- mali\, “ the blessedness o f the king” ; the four near the right hand (of the one nearest the sleeve only the letter is shown), scfd al-a\h- biyah, “ the blessedness of the tents.” The latter form the twenty-fifth mansion of the moon.

33. P is c e s , as-samahatayn, “ the [two] Fish” (fig. 42).This constellation is formed o f thirty- four internal and four external stars.

Constellations o f the Southern Hemisphere34. C e t u s , al-h itus,“ the Whale” (fig. 43). This constellation is composed of twenty-six stars. The six stars in the head are called al-kaff al- jad_h md ( written hadma ) ,“ the mutilated hand” ; the five in the central part o f the body, an-na- camdt, “ the ostriches.” The star on the tip of the first section of the tail at the left is called ad-dijdic ath-thani, “ the second frog” ; the one

FIG . 45. ERIDANUS

F IG . 47. ORIONF IG . 49. HYDRAFIG . 48. ARGO NAVIS

196 M E T R O P O L I T A N M U S E U M S T U D I E S

on the right side o f the tail, dhanab fetus, “ the tail o f Cetus.” According to the note on the il­lustration, the latter is marked on the astrolabe.

35. O r io n , al-jabbar, “ the Giant” (fig. 47) . 2 2

This constellation is composed o f thirty-eight stars. The giant has a scepter in one hand and is girded with a sword. The three stars on the cheek marked as-sahabi, “ the cloudy ones,” are called, according to a note written over the left shoulder, al-hahfah, “ the star o f hair on the upper part o f a horse’s breast” ; they compose the fifth mansion o f the moon. The large star23 on the right shoulder is called al-mirzam, “ the band o f a parcel.” Above the three stars at the waist is written al-minta\ah, “ the belt” ; they are called an-nazm, “ the string o f pearls.” The nine stars forming the sleeve o f the right arm are called at-taj, “ the crown,” and also adh- dhawaib, “ the locks [of the giant].” The large star on the toes of one of the giant’s feet is marked rijl al-jauza24 al-yusra, “ the left [prop­erly the right] leg o f the giant” ; this star is com­mon to the constellations Orion and Eridanus (see no. 36).

36. E r id a n u s , an-nahr, “ the River” (fig. 45). This constellation is composed o f thirty-four stars. The first two stars with two neighboring external stars, o f which the lower is rijl al-jauza in the constellation Orion (see no. 35), are called kursi al-jauza, “ the throne o f the giant.” The last star at “ the end o f the river” is called az-zalim, “ the male ostrich.” Near the center are four that form the breast o f Cetus.

3 7 . L e p u s , al-arnab, “ the Hare” (fig. 4 4 ) . This constellation consists o f twelve stars. The four in the center are called carsh al-jauza, “ the throne o f the giant,” because they appear be­tween his legs in place o f a throne (to be dis-

22 Dimand, fig. 6.23 Bellatrix.24 According to Lane’s dictionary al-jauza is used for both Orion and Gemini.

tinguished from the throne o f the giant that occurs in the constellation Eridanus, see no.

36).

38. C a n i s M a j o r , al-I{alb al-a\bar, “ the Great­er Dog.” This constellation is missing from the Museum’s manuscript.

39. C a n i s M in o r , al-kalb al-asghar, “ the Lesser D og” (fig. 46). This constellation consists o f two stars. The larger, on the rump, is called ash-shicra ash-shamiyah, “ the Syrian Sirius,” or ash-shfra al-ghamisa, “ Sirius who has bleared eyes” ; it is marked on the astrolabe. The other star,25 on the collar, is called al-mirzam, “ the band o f a parcel” ; it is common to the constel­lations Canis Minor and Orion (see no. 35).

40. A r go N a v is , as-safinah,“ the Ship” (fig. 48). This constellation is composed o f forty-five stars. The large star26 at the base o f the sec­ond oar is called suhail; it is marked on the as­trolabe.

41. H y d r a , ash-shujac, “ the Serpent” (fig. 49). This constellation is composed o f twenty-five internal and two external stars. The large star, the second below the coil in the illustration, is called fard ash-shujcf , “ the side o f the serpent’s jaw ” ; it is marked on the astrolabe.

42. C r a t e r , al-batiyah, “ the Cup” (fig. 50). This constellation is composed o f seven stars.

43. C o r v u s , al-ghurab,“ the Raven” (fig. 5 127). This constellation consists o f seven stars. The one in the top o f the wing is marked on the as­trolabe.

The figures o f the remaining five constella­tions are missing from the Museum’s manu-

2a Bellatrix. 26 Canopus.27 Figures 7- 1 5 , 19-24, and 29-51 are from drawings by L . }. Longley, which reproduce exactly the draw­ings in the manuscript.

A M A N U S C R I P T O F “ T H E B O O K O F T H E F I X E D S T A R S ” 197

script: 44. C e n t a u r u s , \anturis, “ the Centaur” ; 45. L u p u s , as-sabuc, “ the wild beast” ; 46. A r a ,

al-mijmarah, “ the Censer” ; 47. C o r o n a A u s ­

t r a l i s , al-il^lilal-janubi,“ the Southern Crown” ;

48. Piscis A u s t r in u s , al-hut cd-janubi, “ the Southern Fish.” The figure o f “ the wild beast” is sometimes included with the Centaur.

R E F E R E N C E S C I T E D

Ahlwardt, W . Verzeichnis der arabischen Handschrif- ten, vol. X (Die Handschriften-Verzeichnisse der Koniglichen Bibliothe\ zu Berlin, vol. X X II) . Ber­lin, 1899.

Blochet, Edgard. Les Peintures des manuscrits orien- taux de la Bibliotheque nationale. Paris, 1914-1920.

--------- Les Enluminures des manuscrits orientaux,turcs, arabes, persanes, de la Bibliotheque nationale. Paris, 1926.

--------- Musulman Painting, Xllth-XVIIth Century.Translated by Cicely M. Binyon with an introduc­tion by Sir E . Denison Ross. London, 1929.

British Museum. Guide to an Exhibition o f Persian Art in the Prints and Drawings Gallery, 19 31. Lon­don, 19 3 1.

Dimand, M. S. A Handboo\ of Mohammedan Deco­rative Arts. N ew York, 1930.

Dorn, B. “ Drei in der Koniglichen Bibliothek zu St. Petersbourg bef. astronomische Instrumente mit arabischen Inschriften.” Memoires de I’Academie imperiale des sciences de St. Petersbourg, series 7, vol. IX , no. 1, p. 77.

Hauber, A . “ Zur Verbreitung des Astronomen Sufi.” Der Islam, 19 18 , vol. 8, pp. 48-52.

Lane, E . W . Arabic-English Lexicon. London, 1863- 1893.

Martin, F . R . The Miniature Painting and Painters of Persia, India, and Tur\ey. London, 19 12 .

Metropolitan Museum of Art, The. Bulletin o f The Metropolitan Museum of Art, 19 13 , vol. V III, p. 253.

Migeon, Gaston. Manuel d ’art musulman. Paris, 1927.Moritz, B. Arabic Palaeography. Cairo, 1905.Schjellerup, H . C. F . C. Description des etoiles fixes.

St. Petersburg, 1874.Schulz, Ph. Walter. Die persisch-islamische Miniatur-

malerei. Leipzig, 19 14 .Suter, H . “ f Abd al-Rahman al-Sufl.” In The Ency­

clopaedia o f Islam, p. 57. Leyden and London,

Tisserant, E . Specimina codicum orientalium. Bonn,

I 9 I 4 -Upton, J. M. “ Notes on Persian Costumes o f the Six­

teenth and Seventeenth Centuries.” Metropolitan Museum Studies, 1930, vol. II, part 2, pp. 206-220.