Commentaries on the Six Books of Dioscorides on Medical Matter

Indeed, as much as I have been able to accomplish for the common good, although I realize it is meager, I have not failed in it so that my zeal, labor, or diligence should be found wanting by you. What I have achieved, however, I know not; the judgment will be yours. But Janus Cornarius seems to have acted far differently than we—a man otherwise most learned in Cornarius’s opinion refuted. both languages, and who perhaps wishes to be considered singular among all others. For he, in his Dioscorides, which he has now for the first time translated and augmented with certain emblems, not only affixed no images, but even sharply condemns those who have inserted them into their commentaries. But whether he was led by malice or by reason, I would wish you to be the judges, if you ever read that good man's preface and diligently explore his mind. For even if it was said by Galen (a point which we also wrote before Cornarius) that images of plants contribute little to the investigation of their knowledge, those who bring icons of plants and animals into their books are not, for this reason, to be accused. Indeed, I have nowhere found that Galen condemned the images of plants that are usually painted in books, but rather those who think they can emerge most skilled in botanical matters not only by the inspection of images, but also by the reading of any books whatsoever, even if they were written by the greatest and most serious authors. Wherefore it is no small wonder that Cornarius, a man otherwise especially learned, not only failed to understand Galen’s words, but even twisted them into a perverse sense. Thus it happens that one can easily suspect that when Cornarius, the last of all the translators of Dioscorides, saw that no place was left for him where he could bring anything new concerning plant images, he took it as his plan to sharply denounce those who have pictures of plants in their books, thinking perhaps by this kind of denunciation not only to acquire great praise for himself, but also to cover his own misfortune and his (if I may say so with his permission) ignorance in the history of plants. For what other reason is there why he condemns the industry of others? As if it were not permitted for posterity to devise something by their own genius and study which was not observed by the ancients through art. But that Galen did not condemn plant images, nor books written on plant history, but rather those who believed anyone could become skilled in botany by the inspection of these alone, is manifest from the fact that Galen himself, in the first book of On the Faculties of Foods, handed down to the memory of posterity when he said: "These books were prepared by us so that they might be monuments to us of those things we learned before, not so that the unrefined and ignorant might attain perfect doctrine through them." But if there be any who lack teachers and wish to apply themselves diligently to what is clearly and copiously written, the same Galen testifies they will receive great fruit therefrom, especially if they do not find it burdensome to reread them. From which it is evident that those are far more to be detested who, envying the labors of most famous men, know nothing else than to babble and carp, than those who, always desiring to benefit the common utility, do nothing else than bring forth something good and new for Cornarius is noted. public use. But why Cornarius condemned images and not books—since by Galen’s opinion one can profit no more from reading them than from inspecting images—I do not sufficiently perceive. Why did he undertake so much labor in vain in translating Dioscorides, even adding emblems, if it were to profit nothing? Was this his zeal, did he take this mind, that he should labor in vain? Furthermore, nothing else remains to be given or said to you. I hope, however, that from those who are grateful (for the ungrateful, malevolent, and envious I truly do not care at all), I shall find favor, since the will to undertake this work was not lacking to me, who am most eager for the common utility, but rather the ability to finish it, which however we continually strive to attain with all zeal. Fare you well, and take our efforts in good part.

Vincenzo Valgrisi

To the Candid Reader, Greetings.

Decorative woodcut initial 'P' featuring a seated figure, possibly a scholar or classical figure, within an architectural and landscape setting.
MY mind presages, candid Reader, that there will be many who with one voice condemn this undertaking of mine, and I seem to hear even now the hateful voices of those who, with minds conspired against me, might institute a new kind of complaint. For they say that I act wrongly and foolishly, who send forth once more into public these Commentaries of Mattioli, so often printed, so often revised, with not only the plant images changed, but also many things added; and that I am the cause of students of the good arts making so many empty and superfluous expenditures. Furthermore, they say it would have been far better if I had deferred the edition for some years. For who would doubt that the author himself, in this space of time, would have approached the matter with full strength (as they say), and would have placed the final hand, like a Colophon, once the work was finished? But now, they say, nothing else is being done by us than that we overwhelm them with new editions from time to time, so that we may more speciously extort money from them. These things and similar ones some perhaps say of me. To whom what should I reply in the meantime, except that this effort of ours is not undertaken for the sake of those whom the pursuit of avarice drives astray? For from these it is so far removed that any little profit...