Ancient astronomical device reveals ties between Muslims, Jews in medieval Europe

A file photo of an astrolabe from the Ottoman period displayed the Petrie Museum of Egyptian Archaeology at University College London (AFP)
Short Url
Updated 04 March 2024
Follow

Ancient astronomical device reveals ties between Muslims, Jews in medieval Europe

  • Astrolabe is believed to have been produced in 11th-century Al-Andalus
  • Historian discovers hidden Arabic, Hebrew, Western etchings after chance online encounter

London: A reappraisal of an ancient astronomical device in Italy has sparked new interest in the medieval interaction between Muslim and Jewish scientists, The Times reported on Monday.

The astrolabe, an instrument once used by astronomers to measure time and distance based on the position of stars, has been on display at a museum in Verona for decades.

But a historian’s chance online encounter with the device, long thought to be a fake, has opened new theories about social and scientific interactions between the Islamic and Jewish faiths in medieval Europe.

Federica Gigante from Cambridge University came across an image of the astrolabe in an online post, and traveled to the museum to investigate the object.

The device is believed to have been produced in Al-Andalus, the Muslim-ruled kingdom of the Iberian Peninsula that encompassed much of modern-day Spain and Portugal.

At the museum, Gigante held the astrolabe in the sunlight and discovered a series of hidden Arabic, Hebrew and modern Western etchings.

She said: “The museum didn’t know what it was and thought it might be fake. It’s now the single most important object in their collection.”

The device is said to be from 11th-century Toledo, during a period known as the Convivencia, or Coexistence, when members of all three Abrahamic faiths lived in relative harmony.

The first markings on the astrolabe are in Arabic and denote the times of Muslim prayers in Toledo and Cordoba.

A brass plate later added to the device allowed the user of the astrolabe to determine prayer times in North Africa.

Further Arabic etchings contain two Jewish names, suggesting that the device was later used by Sephardic Arabic-speaking communities in Al-Andalus.

Hebrew text is also inscribed on the astrolabe, implying that “at a certain point the object left Spain or North Africa and circulated among the Jewish diaspora in Italy,” Gigante said.

Further Hebrew etchings translate the Arabic terms for the astrological signs Scorpio, Sagittarius, Capricorn, Aquarius, Pisces and Aries.

Gigante believes that the astrolabe may have reached Italy in the 12th century. Once in medieval Verona, Western numerals are believed to have been added to the device by a Latin or Italian speaker.

A 17th-century Veronese nobleman, Ludovico Moscardo, is thought to have obtained the astrolabe, before it was passed to the prominent aristocratic Miniscalschi family which, in 1990, founded the museum where the device remains today.

Gigante said: “The Verona astrolabe stands out, attesting to the contacts and exchanges between Arabs, Jews and Europeans in the medieval and early modern periods.”


Elie Saab stages show at Paris Fashion Week

Updated 08 March 2026
Follow

Elie Saab stages show at Paris Fashion Week

DUBAI/ PARIS: Lebanese designer Elie Saab showcased his latest collection at Paris Fashion Week on Saturday, as part of a packed schedule of international luxury labels.

The designer’s Fall/Winter 2026-2027 collection was inspired by New York with billowing ballgowns printed with Central Park-themed florals and more fitted, business chic looks seen on the runway.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

The “Elie Saab woman immerses herself in the 90s New York art scene. Intellectual and seductive, her look embraces downtown power tailoring and uptown florals with a twist,” the fashion house said in its show notes.

The showcase was held on the same day as the likes of Hermes, Vivienne Westwood and Balenciaga, among other labels.

In a Paris Fashion Week that still has Chanel and Louis Vuitton to come, Hermes made a case that luxury at its most persuasive doesn’t shout.

Models emerged from luminous circular openings in the walls, like figures stepping through a full moon, and walked a raised, winding catwalk above vegetation.

It was theatrical, but never gimmicky.

The set did exactly what creative director Nadege Vanhee wanted: it knocked you off balance.

Vanhee, who has led Hermes womenswear since 2014, titled the fall-winter collection “Entre chien et loup” — the French expression for dusk, that uneasy moment when you can’t tell a dog from a wolf.

Her show notes invoked Hecate, the torch-wielding goddess of darkness, though the clothes were less mythological than muscular — precise, body-conscious, built to move.

Leather dominated. Fluid overcoats with enormous Tuscan sheepskin collars.

Zip-front mini dresses in inky blue that opened to reveal contrasting shirts beneath.

An orange ostrich-leather jumpsuit, belted at the waist, that merged biker attitude with Hermes refinement.

Paris Fashion Week is delivering a forceful reminder of why it remains a capital of fashion, with blockbuster celebrity front rows, boundary-pushing design, and collections that are tackling big ideas about power, craft and the female body.

Oprah Winfrey turned heads at both Stella McCartney and Chloé. Sissy Spacek, Julia Garner and Lil Yachty claimed front-row seats at Loewe.