Items · The Medicine Chest

Chest: a botanical ecology

Illness and disease affect us all. The treatment of these conditions however, has been vast and varied, depending on the historical periods and the cultural context in and during which they are practiced. Situated in the rock art gallery, where healing power is expressed in San paintings, this mobile set of cabinets explores a rich complex of healing practices through the display of a medicine chest which was donated to the university of Cape Town in 1978. This chest belonged to a British dentist, who practiced in Cape Town from 1904, and who bought the chest for a hunting trip he undertook in 1913 to (then) Northern Rhodesia. The idea of the chest then gives rise to a variety of forms of healing: from instruments used to exorcise evil spirits and children's letters written to celebrate a heart transplant; to medicinal flowers bought at the Adderley Street flower market. The exhibition aims to visualise and materialise illness and its treatment from historical, cultural and disciplinary perspectives. Drawing on well-established historical and contemporary connections between the disciplines of Botany, Medicine and Pharmacology, the exhibits also suggest latent links which are at times political, at times whimsical.

'Do you think women could be heartsurgens?'

Dear Dr Barnard, I am ten years old. How old are you? I like your heart transplants. When is going to be the next heart transplant? I am a girl. I have two sisters and three brothers. Its too bad I can't see you in person. I live at 2326 Charles St. now. I am moving in 1 day. I will live at 3610 Denny Lane, Franksville, Wisconsin. My name is Sheri Lee Fors. If you have time please write back. Will you please send me your address. Love, Sheri Fors. P.S. Do you think women could be heartsurgens?

Foxgloves

Called variously foxgloves, witch’s gloves, dead men’s bells, fairy’s gloves, bloody fingers, gloves of our lady, fairy caps, virgin’s gloves or fairy thimbles, Digitalis purpurea is popular with children, who pluck the tempting bell-shaped blooms and wear them like thimbles, admonished not to lick their fingers afterwards for fear they will go blind (Young 2002: 57). While the flower can be lethal if ingested, the drug digitalis derived from foxglove is most commonly used as a heart stimulant. Digitalis has been prescribed since the 17th century, perhaps earlier, as a diuretic and to slow the pulse and is still the drug of choice for atrial fibrillation. In the 1770s, William Withering got an old family recipe, a herbal infusion for treating swollen legs, from a Shropshire woman and identified digitalis as the active one of the twenty ingredients. Many more antiarrhythmic drugs now exist (Young 2002: 57). Made up of surgical gloves, Band-Aids, syringes and IV-tubing (with an infusion of foxglove leaves in its stem) the work mimicked the language of the herbarium specimen, drawing a viewer in to examine the content they were expecting, only to surprise them with its incongruous materials.

Eucalyptus

"The plants [dislayed in this cabinet] were bought from the Adderley Street flower market in central Cape Town and are used by the sellers for medicinal purposes to treat chest and respiratory problems, with the leaves of the eucalyptus added to a bath and those of the protea infused in hot water and drunk as a broth. The flower sellers trading in Trafalgar Place and along Adderley Street have been doing so since at least the mid-1880s but became viewed as threats to the local flora by the European settlers at about the same time the medicine chest was first introduced to the city at the beginning of the 20th century. The settlers initially preferred to cultivate plants imported from their home countries to indigenous varieties, introducing many species to South Africa for nostalgic or practical reasons (subsequently problematic for local biodiversity) (Van Sittert 2002: 103). In the wake of emerging white nationalism in the 1890s, interest in indigenous plants gained momentum and was deployed to create a sense of belonging to the ‘foreign’ land (Boehi 2013: 133). A botanical discourse was mobilised to underscore ideas about identity and belonging, such as ‘roots’ and ‘ideas of rootedness’, and laws regulating flower picking (which usually occurred on the mountain) were passed in this period and were secured by the Wild Flower Protections Act in 1905 and an amendment thereto in 1908 (Boehi 2013: 133)"(Liebenberg 2021: 275).

Proteas

"The plants [dislayed in this cabinet] were bought from the Adderley Street flower market in central Cape Town and are used by the sellers for medicinal purposes to treat chest and respiratory problems, with the leaves of the eucalyptus added to a bath and those of the protea infused in hot water and drunk as a broth. The flower sellers trading in Trafalgar Place and along Adderley Street have been doing so since at least the mid-1880s but became viewed as threats to the local flora by the European settlers at about the same time the medicine chest was first introduced to the city at the beginning of the 20th century. The settlers initially preferred to cultivate plants imported from their home countries to indigenous varieties, introducing many species to South Africa for nostalgic or practical reasons (subsequently problematic for local biodiversity) (Van Sittert 2002: 103). In the wake of emerging white nationalism in the 1890s, interest in indigenous plants gained momentum and was deployed to create a sense of belonging to the ‘foreign’ land (Boehi 2013: 133). A botanical discourse was mobilised to underscore ideas about identity and belonging, such as ‘roots’ and ‘ideas of rootedness’, and laws regulating flower picking (which usually occurred on the mountain) were passed in this period and were secured by the Wild Flower Protections Act in 1905 and an amendment thereto in 1908 (Boehi 2013: 133)" (Liebenberg 2021: 275).

Livingstone

A small wooden chip from the same object collection as the medicine chest balanced on top of one of the bottles from the chest. "The treatment, the Livingstone rouser, was formulated by Dr Livingstone, who, after an attack of malaria in 1853, patented this mixture of quinine and purgatives (calomel, rhubarb and jalop) mixed with opium (Barrett & Giordani 2017: 1655–1666). The chip balanced on its lid is said to be from the almond tree under which he proposed to Mary Moffat in 1844. The juxtaposition of these two objects, one representing the quantifiable and the other the poetic, draws the viewer to consider the conflation of these two realms" (Liebenberg 2021: 273).

Healing instruments

“I invited Edmund February to the Kirby collection to view the instruments and learn his thoughts on them from a botanical perspective. February identified the dancing rattles as being made of the seed pods of Oncoba spinosa (Venda: mutuzwa) and the seed pod of Adansonia digitata (Venda: muvhuyu). The wood of the iodophone was, however, unrecognisable as a result of its handling. February also contacted colleagues in the Department of Zoology and the School of Mathematical & Natural Sciences at the University of Venda, who connected me to a Venda diviner, Muanalo Dyer, who uses similar baobab rattles (and other materials from that tree) in her healing practices. This interdisciplinary engagement showed that these instruments, supposedly frozen in their early 20th century understanding of being on the brink of extinction, remained very much functional in the present” (Liebenberg 2021: 271).

Listen Laennec

"In this work, the temperature graphs of individuals suffering from malaria, yellow fever, trypanosomiasis and tickborne-relapse fever – all viewed as ‘tropical’ and treatable by the contents of the medicine chest – were converted into a musical score. I punched the strips of paper of a hand-cranked musical box mechanism with holes that corresponded to the graphs – the vertical axis representing temperature variations and the horizontal axis representing the approximate number of days the fever is said to last. The translation of these graphs into notes seems nonsensical, as we do not listen for a temperature; we measure it by feeling a forehead or taking a reading with a thermometer. The practice of listening has, however, been part of the history of medicine since the days of Hippocrates (c.460–c.370 BC), when physicians performed auscultations of the lung and heart by placing their ear directly on the patient’s chest' (Liebenberg 2021: 265).

Broken

"This cabinet displayed a round-bottomed flask that broke during the installation of the exhibition, and which I attempted to mend. The accompanying BWC medicine chest manual highlights the qualities the company wanted to portray as unique to the Tabloid medicine chest and that they believed would set them apart from competitors – such as the longevity of the medicines they sold and the indestructability of the chests (BWC 1925: 2–3). Addressing the supposed indestructability of the chest by focusing specifically on the wide array of glass-stoppered bottles that form a large part of its overall contents and which, according to BWC, ensured the longevity of the medicines, this exhibit displayed a laboratory bottle of similar material, but in a state that demonstrates its fragility. As such, it subverts BWC’s grand claims of indestructability and thereby throws the rest of its claims into doubt" (Liebenberg 2021: 259).

Forest

"The bottles and pipettes in 'Forest' were originally sourced from the storage rooms of the Chemistry department, where they awaited disposal. This cabinet responded to the lacuna of indigenous material represented by the chest and addressed this imbalance by filling the bottles with teas made from local medicinal plants. Staging the bottles and pipettes to simulate a forest references the prejudice of Burroughs, Wellcome and Co (BWC) against these natural remedies, ‘purifying’ them through laboratory processes before they were deemed trustworthy and marketable. This process also occluded the original source of the remedies and sowed the seeds of biopiracy. The various items of glassware in this cabinet were filled with a selection of infusions made from Balotta africana, Sutherlandia frutescens, Agathosma crenulata, Melianthus major, Mentha longifolia, Petroselinum crispum, Hypoxiz villosa and Salvia officinalis" (Liebenberg 2021: 255).

A 'Jungle'

"A ‘jungle’ consisted of a selection of pathological specimens from the Pathology Learning Centre that had been affected by typhoid fever, ascaris adult worms, yellow fever, amoebic ulcerations, tuberculosis and malaria. The diseases that afflicted these specimens were regarded as ‘tropical’. As described in Chapter One, BWC used the jungle as a significant terrain that called for a medicine chest to combat pathogens: ‘Whether you were valiantly saving your compatriot in war, traversing a dark African jungle, navigating one of the world’s first flying machines, exploring the most desolate place on earth, ascending the highest mountain in the world, or simply enjoying the windswept British coast, the chest would be there, ready for any ailment’ (Johnson 2008b: 255). BWC promoted their chests as the ideal antidote for a tropical landscape ‘at once full of potential wealth for imperial Britain, but simultaneously rife with disease’ (Johnson 2008b: 258) and claimed that the tropical colonies were ‘by far the most dangerous regions for travellers’ (BWC 1934: 8). It was here that ‘desolating ailments’ were encountered, all ‘particularly fatal to the so-called white man who originates in temperate climates’ (BWC 1934: 8). I adapted the colour of the images of afflicted intestines, livers, stomachs and brains and used them as material to construct a dense jungle that referenced this aspect of the medicine chest’s history. Printed on separate glass sections that fit into the cabinet at spaced intervals to create an illusion of depth and three-dimensionality, the work draws on the cross-sectional display technique used in many anatomy museums worldwide, in projects such as the Visible Human Project (1995) and that the artist Damien Hirst references in his works . Creating a visual link between the UCT specimens and the history of these diseases surfaces the occluded racial undertones of these understandings" (Liebenberg 2021: 267).

Hosts and Carriers

A selection of glass slides of the insects, ticks and worms that are the primary or intermediate hosts or carriers of human diseases. These slides also featured in the 'Curiosity CLXXV' and 'Subtle thresholds' exhibitions, sourced from the Pathology Learning Centre (PLC), where they were originally donated by the secretary of the Department of Microbiology. Dr Yeats identified them as glass photomicrographs and speculated that they were probably made for a special projector used for teaching many years ago.

BC666

A page of the Tabloid guide.

Breath Sculptures

In the exhibition, 'Chest: a botanical ecology', "this cabinet extended the ideas of fragility and fallibility represented by the broken glass laboratory bottle, displaying four ‘breath sculptures’ made by the five individual breaths of children who suffer from asthma: Thaakira Salie (aged 8), Ziyaad Small (aged 10), Blake Leppan (aged 9) and Jessie Allot (aged 11). Working in collaboration with the Allergy Foundation of South Africa and Andre de Jager, UCT’s resident glass blower in the Department of Chemistry, I facilitated a workshop in which the children were taught the practice of blowing glass and then produced their own sculptures by breathing into molten glass. The breath sculptures made by these children were far removed from the functional bespoke glassware usually produced in the workshop for chemical experiments or for those conducted for physics and chemical engineering (A. de Jager, personal communication, 20 August 2018)" (Liebenberg 2021: 263).

"I have scars on my hands from touching certain people"

"The words of Seymour Glass, eldest sibling of the Glass family – a lesser known creation of J.D. Salinger’s literary world. The story of this family of child geniuses, who appeared on a 1927 radio quiz show called 'It’s a Wise Child', is chronicled in three of his books – mostly centering on the relationship between the two eldest brothers, Buddy and Seymour. Salinger favours Seymour. He was the most brilliant and idiosyncratic of all the children and unfortunately, for the most part, only present as a memory – since he committed suicide, age 31. Buddy reminisces about one specific Seymour moment: His mother urging him to see a psychiatrist and him telling her that he doesn’t need a head doctor – he needs a hand doctor or a dermatologist, whereupon he looks at his hands and tells her he has these scars – these discolourations on them – from touching certain people. Certain heads, certain colours and textures of human hair leave permanent marks on him. When he put his hand on his little sister Franny’s head when she was still in the carriage, it left a mark. Or with her twin brother, Zooey, when he was six or seven, during a spooky movie. He put his hand on Zooey’s head when he went under the seat to avoid watching a scary scene. It left a mark. Other things, too. Charlotte, the girl he was in love with, tried to run away from him once and he grabbed her dress. It left a permanent lemon-yellow mark on the palm of his right-hand (Salinger 1964:59). His hands were filled with these discolourations – these physical manifestations of his emotions. They became a type of medical condition. And he needed to cure it" (Liebenberg 2011: 91 - 93). Salinger recounts the day of Seymour's suicide in a short story he later wrote, called 'A Perfect Day for Bananafish'.

Neck-support

"Made from oak, the object was used to support the neck of an individual during post-mortem examinations conducted at the University of Cape Town’s mortuary unit. My first encounter with it was in Dr Yeats’s office in the Pathology Learning Centre, many years ago. Heavy in weight and invested with the traces of hundreds of individuals, it somehow seemed more representative of disease, than the 3500 specimens floating in formaldehyde displayed in the surrounding rooms " ( Liebenberg 2021: 257).

Skin

I collected leaves from the gardens around Groote Schuur Hospital and gave them to UCT dermatologist Ranks Lehloenya for analysis. Using the strategy of directing insider focus to an outsider object, Lehloenya treated these specimens as sections of skin and read them accordingly, highlighting sections that showed signs of nummular eczema, acne, ageing, miliary tuberculosis and melanoma, to name a few (Liebenberg 2021: 277). This example was diagnosed as follows: "This section shows characteristics which could point at various causes. The darker raised sections could be blackheads as seen in acne (note the darker central area reminiscent of an open pore); villous hair cysts ( a condition in which hair follicles are trapped under the skin to form pimple-like structures with the hair giving a dark hue in the centre; syringomas (non-cancerous proliferation of sweat glands); infections such as chicken pox or miliary tuberculosis in which the infection spreads from the blood onto the skin (miliary mean it looks like a millet seed). It could also be metastatic melanoma that has spread from another area onto this skin".

Skin

I collected leaves from the gardens around Groote Schuur Hospital and gave them to UCT dermatologist Ranks Lehloenya for analysis. Using the strategy of directing insider focus to an outsider object, Lehloenya treated these specimens as sections of skin and read them accordingly, highlighting sections that showed signs of nummular eczema, acne, ageing, miliary tuberculosis and melanoma, to name a few (Liebenberg 2021: 277). This example exhibits an annular pattern which could be an infection like a ringworm (fungus) and erythema migrans of Lyme’s disease; or inflammatory conditions like nummular eczema, erythema marginatum as seen in rheumatic fever and granuloma annulare.

Iroko

Structurally, 'Chest: a botanical ecology' consisted of 15 modular interlocking cabinets of differing sizes which rested on top of one another, making up the front of the display. These were constructed from two types of wood, the darker iroko wood, and a lighter ash wood – with the iroko originating from the repurposed cabinets used for Curiosity CLXXV in 2004. The Iroko tree is a large hardwood tree from the west coast of tropical Africa, known by the Yoruba as ìrókò, logo or loko. Believed to have supernatural properties, it can live up to 500 years. Yoruba people believe that a spirit inhabits the tree, and anybody who sees the Iroko-man face to face becomes insane and dies. According to the Yoruba, any man who cuts down any Iroko tree causes devastating misfortune on himself and all of his family. In West Africa, the iroko wood is also used to make the djembe drum. If they however, need to cut down the tree, they can make a prayer afterwards to protect themselves. Used for a variety of purposes including boat-building, domestic flooring, furniture and outdoor gates, from the late 1990s, it was also used as part of the txalaparta, a Basque musical instrument constructed of wooden boards, due to its lively sound and classified as an idiophone (a percussion instrument) (Ogumfe 1929: online)).

"Bought fresh in streets of Cape Town"

"The flower sellers trading in Trafalgar Place and along Adderley Street have been doing so since at least the mid-1880s but became viewed as threats to the local flora by the European settlers at about the same time the medicine chest was first introduced to the city at the beginning of the 20th century. The settlers initially preferred to cultivate plants imported from their home countries to indigenous varieties, introducing many species to South Africa for nostalgic or practical reasons (subsequently problematic for local biodiversity) (Van Sittert 2002: 103). In the wake of the emerging nationalism of the white settlers in the 1890s, interest in indigenous plants gained momentum and was deployed to create a sense of belonging to the ‘foreign’ land (Boehi 2013: 133). A botanical discourse was mobilised to underscore ideas about identity and belonging, such as ‘roots’ and ‘ideas of rootedness’, and laws regulating flower picking (which usually occurred on the mountain) were passed in this period and were secured by the Wild Flower Protections Act in 1905 and an amendment thereto in 1908 (Boehi 2013: 133)" (Liebenberg 2021: 275). This is a label on a botanical specimen (K000225239) found in the Royal Botanic Gardens of Kew that was donated to the Gardens by UCT. Described in pen in the notes section, the specimen is of the local Erica latiflora and was collected in 1908, when it was ‘bought fresh in the streets of Cape Town’. The insider details noted on this specimen reveal much to outsiders such as Boehi (2013) and Van Sittert (2010) – scholars who have written about the colonial history of botany in the Cape and the unofficial presence of the flower sellers in the provenance of many specimens from the Cape kept in international herbaria.

"Bought fresh in streets of Cape Town"

Royal Botanic Gardens, Kew (K). Herbarium: Royal Botanic Gardens, Kew (K), K000225239. Collection: Herbarium Specimens. Resource Type: Specimens. Collector: unknown, #14027. Collection Date:11–1908. Locality: Bought fresh in streets of Cape Town. Country: South Africa (South Africa). Identifications: Type of Erica latiflora L.Bolus [family ERICACEAE] (stored under name). Notes: Herbarium Africanum Bolusianum Flora South Western Region

Resonance

"The revelation of my object-study that the chest was a lacuna in terms of local botanical medicinal remedies and practices served as inspiration for the first department I approached. By engaging with insiders of the Department of Biological Sciences, I reasoned that I could supplement the chest’s Western content with local botanical knowledge. As the first viewing session, it was also the one that initiated the weakening of the chest’s imperial viral load through an inoculation of additional meaning – a treatment with a surprising side-effect. On presenting the chest to other disciplinary insiders afterwards (to Pathology and the College of Music, for example), I noticed characteristics that also resonated with the field of botany within these disciplines and their collections. These botanical resonances accrued as my disciplinary engagements increased and diversified, leading me to embrace this side-effect and to use botany as the central theme of my exhibition. The resonances generated in the different departmental viewing sessions resulted in new links with the chest but also in connections surfacing between disciplines such as zoology, dermatology, pharmacology and sound studies, for example. I drew on these visits and their outcomes to create a range of artworks that materialised the inoculation of the chest by manifesting how intersecting with diverse fields expanded its meaning, and I sourced objects from the collections that encouraged new interpretations" (Liebenberg 2021: 244 - 246).

Heart of Cape Town Museum

"Dear Dr Chris, please tell me how to do a heart transplant". I want to do it to two birds that I have caught. My brother and father own the ELIM Butchery Strand.

1975 (Invasive Species)

1975 (Invasive Species) stems from a historical and botanical enquiry. In 1975, after attaining independence from Portugal, the civil war broke out in Angola. In that same year, the South African Defense Force under the authorization of Vorster, intervened in the war – an intervention which formed part of an ongoing period of conflict in South African history, known as the Border Wars. From a botanical point of departure, the cluster pine (or Pinus Pinaster) is native to Portugal. In South Africa it is seen as invasive, competing with and replacing indigenous species. The work consists of a cross section of cluster pine used as a target practice unit, into which the artist shot a ring of R4 assault rifle bullets – aiming at tree ring 1975.

Flight

A chorus of juvenile heartbeats affected by Atrial Septal (ASD) and Ventricular Septal Defects (VSD), Patent Ductus Arteriosus(PDA), and Aortic Valve Stenosis (AVS), transposed to a higher frequency to simulate birdsong

The Lost Boys

After they left Neverland, Mr and Mrs Darling adopted the Lost Boys. Before they had attended school a week they saw what goats they had been not to remain on the island; but it was too late, and they settled down to being as ordinary as “you or me or Jenkins minor” (Barrie 1989: 180). It is sad to say that the power to fly gradually left them. “At first Nana tied their feet to the bedposts so that they should not fly away in the night; and one of their diversions by day was to pretend to fall off buses; but by and by they ceased to tug at their bonds in bed, and they found that they hurt themselves when they let go of the bus. In time they could not even fly after their hats. Want of practice, they called it; but what it really meant was they no longer believed” ( Barrie 1989: 180-181).

Soda-Mint (Neutralising)

"Antacid, exhilarant and stimulant. From one to three as a neutralising agent, in irritable and acid conditions of the stomach, dyspepsia, flatulence, etc. They may be swallowed with water, or be powdered and dissolved in water and taken as a draught" (BWC 1925:138).