century after the fall of the city, was purchased from Moses Hamon, the Arabic-speaking, Jewish physician to sultan Suleiman the Magnificent, by the Flemish diplomat Ogier Ghiselin de Busbecq, who was in the employ of Emperor Ferdinand I of the Austrian Habsburgs. The manuscript is now held among the manuscripts of the Austrian National Library () in Vienna, where it is identified as the Codex Vindobonensis med. gr. 1. The manuscript was inscribed on UNESCO's Memory of the World Programme Register in 1997 in recognition of its historical significance. Illustrations The manuscript has 383 extant full-page illustrations of plants out of the original 435 illustrations. The illustrations fall into two groups. There are those that faithfully follow earlier classical models and present a quite naturalistic illustration of each plant. There are also other illustrations that are more abstract. The majority of the illustrations were painted in a naturalistic style so as to aid a pharmacologist in the recognition of each plant. However, it is believed that these illustrations were made as copies of an earlier herbal and were not drawn from nature. In addition to the illustrations of the text, the manuscript contains several frontispieces in the form of a series of full-page miniatures. Of special note is the dedication miniature portrait of Anicia Juliana on folio 6 verso. The manuscript was presented to Anicia out of gratitude for her funding the construction of a church in the suburbs of Constantinople. This portrait is the oldest extant dedication portrait. The portrait has Anicia seated in a ceremonial pose distributing alms. She is flanked by personifications of Megalopsychia (magnanimity) and Phronesis (prudence). At her feet, another personification, labeled "Gratitude of the Arts", kneels. A putto holds a dedication copy up to Anicia. Anicia and her attendants are enclosed within an eight-point star within a circle all formed of intertwined rope. Within the outer spandrels of the star are putti, done in grisaille, working as masons and carpenters. This miniature is an altogether original creation and, with the inclusion of the personifications and the putti, shows the endurance of the classical tradition in Constantinople, despite the fact that Anicia herself was a pious Christian.The series of frontispieces in the manuscript begins with two full-page miniatures, each having a group of seven noted pharmacologists. In the second picture (folio 3 verso, see here), the most prominent and only one sitting on a chair