All posts by Elaine Leong

True Colors, or the Revelatory Nature of Cold

By Thijs Hagendijk

Heat is transformative, brings about change, separates substances or bring them together. Every student of chemistry knows how to enable or enhance a chemical reaction by applying energy to a system, usually in the form of heat. Early modern practitioners did not think otherwise. Fire was the transformative element and key to the production of all kinds of different materials, ranging from the philosopher’s stone to artisanal products such as glass, porcelain or pigments. Applying heat to bring about change is publicly ingrained thermodynamics, but one thing is even more obvious. Once heated, things have to cool down again.

Figure 1: Eikelenberg’s notes on the art of painting, comprising five different manuscripts. Photograph: Regionaal Archief Alkmaar.

When the request came to write a blogpost on cold and recipes, I was somewhat hesitant. Heat seems to elicit the most interesting stories and anecdotes, but interesting cases with respect to cold failed to come to mind immediately. Hence, I tried a different approach and looked at how cold featured in a collection of overtly practical notes on the preparation of paint materials collected by the Dutch polymath and painter Simon Eikelenberg (1663-1738). Intended for publication, he promised his readers an “accurate descriptions of the origin of making, preparation and general use of paint materials, oils, mix-fluids and varnishes.”[1]  It was within the confines of this manuscript that I began to discern two themes with respect to cold in practices of making.

Figure 2: Reconstruction of one of Eikelenberg’s varnish recipes. The varnish was prepared in a glazed pot, placed in a sand bath and heated on fire. Photograph: Thijs Hagendijk.

It is only when things have cooled down that the transformative work of heat can really be judged. Eikelenberg describes for instance how he experimented with minium, a red lead-based pigment, which he heated in a crucible and placed in a fire. “The more it glowed, the more the minium turned yellow near the sides of the crucible, the lowest parts alike; which, when it was cold, appeared to be nothing else but yellow massicot.” [2] Eikelenberg also describes the preparation of various varnishes. Here too, quality and properties of substances are explicitly observed after the varnishes have cooled down. “When the varnish was cold I found that it was rather thin and that it did not cover well.” [3]  Another varnish was prepared on a hot sand bath, after which Eikelenberg “filtered it through a cloth and let it cool: it appeared then as a thickish and yellowish varnish.” [4]  Pay attention to the word “then”: there is a clear order of things that speaks through Eikelenberg’s notes. Being cold is a condition that precedes testing and Eikelenberg makes that rather explicit.

Figure 3: It is hard to achieve a homogeneous mixture when preparing varnishes. A whitish sediment is developing in this varnish, which is in coherence with Eikelenberg’s notes. Photograph: Thijs Hagendijk.

Whereas heat is transformative, it is only in the absence of heat that things can be trusted to stay the same. Continuing with the varnishes, Eikelenberg was well aware that their preparation does not stop after the ingredients have been heated and combined. As long as it is still hot, the apparently homogeneous concoction can easily coagulate and fall apart. Eikelenberg wrote in his notes: “We can conclude that to prevent curdling it is necessary not to stop stirring before the mixture is cold.” [5] Indeed, each time he made varnishes, Eikelenberg made sure to keep stirring until everything was cooled down: “stirring steadily until all was cold” or “having stirred until it became cold”.[6]

Figure 4: Eikelenberg mentions that: “[w]e can conclude that to prevent curdling it is necessary not to stop stirring before the mixture is cold.” Passage marked in red. Photograph: Regionaal Archief Alkmaar.

For Eikelenberg, heat was both friend and foe and until his varnishes reached firm, cool ground, they required careful guidance and attention. Cooling down was thus as arduous a process as heating the mixture was in the first place. Yet, once cooled down, true colors are revealed – deprived from heat and stabilized by the cold.

[1] Simon Eikelenberg, “Aantekeningen betreffende schilderen,” MS 391, Collectie Aanwinsten, Regionaal Archief Alkmaar: fol. 1. “Naukeurige beschrijving van de oorsprong of making, bereiding en ’t algemeen gebruik der verfstoffen, olijen, mengvogten en vernissen.”
[2] Simon Eikelenberg, “Aantekeningen betreffende schilderen,” MS 390, Collectie Aanwinsten, Regionaal Archief Alkmaar, fol. 806. Original: “na mate dat het gloejend wierd, veranderde de menij die naast tegen de zijden van de kroes aan-zat en wierd geel, gelyk ook ’t onderdtste; ‘t welk doe ‘t kout was niet anders dan gele masticot geleek”.
[3] Eikelenberg, “Aantekeningen betreffende schilderen,” MS 390, fol. 827. Original: “Doe de vernis koud was bevond ik ze wat dun en datze niet genoeg dekte.” Translation from: A. van Schendel, “Simon Eikelenberg’s Experiments on the Preparation of Varnishes,” Studies in Conservation 3 (1958), 130.
[4] Eikelenberg, “Aantekeningen betreffende schilderen,” MS 390, fol. 802. Original: “Doe ‘t wel vermengt was, kleijnsde ik ‘t door een doek en liet het kout worden, wanneer ‘tzelve een dikagtige en geelagtige vernis vertoonde” Translation from: Schendel, “Simon Eikelenberg’s Experiments,” 128.
[5] Eikelenberg, “Aantekeningen betreffende schilderen,” MS 390, fol. 824. Original: “Hieruijt kan men afnemen dat om ’t schiften voor te komen, men niet moet op-houden met roeren voordat se kout is.” Translation from: Schendel, “Simon Eikelenberg’s Experiments,” 129.
[6] Eikelenberg, “Aantekeningen betreffende schilderen,” MS 390, fol. 827. Original: “gestadig omroerende totdat het gantschelijk koud was.” Translation from: Schendel, “Simon Eikelenberg’s Experiments,” 130. Eikelenberg, “Aantekeningen betreffende schilderen,” MS 390, fol. 832. Original: “tot koutwordens toe geroert te hebben”.


Cold! A Recipe Project Thematic Series

Hiroshige, Two men by a gate in the mountains. Image from Wikimedia Commons.

– it’s cold! A dreary chill and rain have just descended across Europe and perhaps most of you are also cranking up the heat and bringing out winter scarves and hats. December has arrived and it seems apt for us to follow our fun and successful series on “Heat!” with a thematic series on “Cold!”. Within medical conceptions of the human body across a number of cultures, notions of hot and cold are hardly be separated. Within kitchens, craft and artisanal workshops, although heat played a crucial role in production processes, cold was also essential occasionally – especially if ingredients had to be preserved for a period of time, or if heat had to be tempered in some way.

To get ready for the long winter, our contributors have explored the notion of “Cold!” in a number of areas. Thijs Hagendijk returns to the RP with a post on the Dutch polymath and painter Simon Eikelenberg (1663-1738), detailing how cold features in the practices of his paint making with surprising insights.  Jean-Olivier Richard, a historian with interests in early modern natural philosophy, alchemy and environmental history, invites us reflect upon mankind’s impact on our planet by offering a reading of “divine recipes for a cooling earth”.

Having written about how to “treat the heat in 1793 Beijing”, Marta Hanson returns to the RP this month with a post titled “Treating the Deadly Cold in 1918 China”, co-authored with Michael Shiyung Liu. Returning to another theme explored in the Heat! Series – fertility recipes – Yi-Li Wu will tell us about Chinese formulas dealing with cold genitals, the standard historical explanation for male and female infertility.

Finally, as we move closer to the holidays, we offer a few posts to “warm” you up. Marieke Hendriksen and Ruben Verwaal return with more adventures with Boerhaave’s “little furnace” (go here for part 1 of their explorations). New contributor historian Reinhild Kreis will tell us about Christmas Cookies in 20th century Germany and our Tales from the Archives will feature the wonderful post on “snowballs” by Rachel Snell.

“Christmas Dessert of layers of fruit, arranged for color effect. ‘Snowball’ is one of the most attractive Christmas Desserts” from American Homes and Gardens, 1911.

We can’t do much about the chilly weather outside but we hope that this wide-ranging edition of the Recipes Project might distract you from the weather and inspire you to think about the cold and chills in different ways.

Enjoy and happy holidays!

Marieke Hendriksen and Elaine Leong


Ps. This is my last edition for a little while as I’m taking a tiny break from editing the Recipes Project in 2019. Things have been all-go at the RP headquarters over the past few months, and we have some really exciting news to share with you after the holidays. So, watch this space and see you all soon, Elaine.

How Best to Treat the Heat in 1793 Beijing

By Marta Hanson

Translating traditional Chinese medical terms into modern English forces one to consider dramatic changes in medicine over the past two centuries. Take, for example, the modern Chinese phrase fa re for “fever,” which literally means “to produce (fa) heat (re).” Although today it refers to elevated body temperature, traditionally it referred to the preternatural heat that patients experienced dispersed throughout their bodies and only sometimes referred to elevated skin temperature.[1] In fact, before the late 19th-century, the English term “fever” also contained multivalent meanings and multifarious patterns of excessive heat.[2] Fever in the sense of having a temperature above the 97.3 to 99.5 °F human range was not even defined in western medicine, nor a convenient clinical thermometer invented to measure it, until the late 1860s.[3] Although many of the febrile-related symptoms that fall under the Chinese disease concept “Hot diseases” (rebing) could fit under the biomedical umbrella of acute-infectious diseases, in classical Chinese medicine they were originally conceptualized as caused by climatic configurations of qi (i.e., vital energy/matter).[4]

The Yellow Emperor’s Inner Canon: Basic Questions (ca. 1st c. BCE) originally distinguished two types of Hot diseases related to different types of climatic qi. The first included an acute-onset febrile disorders caused by external pathogenic qi related to changing seasons or local weather. The second was a type of “Cold Damage” (shanghan) acquired in the winter but which went dormant until the heat of the spring or summer manifested it as excessive heat and internally impairing dryness. The first Inner-Canon definition that Hot diseases could be due to other types of pathogenic climatic qi also facilitated conceptualizing epidemics as due to pathogenic environmental qi unrelated to the winter cold or local climate.[5] Nonetheless, no matter the original cause when excessive heat was the result, it had to be expelled.

An interesting case of disagreement on how best to “treat the heat” occurred in Beijing during a febrile epidemic (wenyi) in the spring and summer of 1793. The Qing official, Ji Yun (1724–1805) unusually responded to this epidemic by comparing the success rate of three therapeutic drug strategies. The first, associated with Zhang Jiebin (1563-1640), resulted in 80–90% mortality. The second, promoted by Wu Youxing (1582?-1652), was no more effective. But a third formula created by the living doctor, Yu Lin (ca. late 18th cent.), had successfully cured the concubine of the Chief Minister of the Court of State Ceremonies, Feng Yingliu (1741–1801) with a strong gypsum-based formula.[6] Ji noted that those who witnessed this were shocked but those who followed his method ended up saving countless lives.[7]

The three competing cures in Ji’s short anecdote illustrate well how Cold and Heat were the main metaphors used to understand the cause of epidemics and legitimate drug choices for treating them. Zhang’s “warming and tonifying” (wenbu) tonics were based on what the Cold Damage Treatise (Shanghan lun, ca. 220 CE) recommended for treating Hot diseases (believed to have their origin in winter Cold manifested in the summer). These included warming herbs such as Cassia twig (guizhi) and Ephedra (mahuang) to release cold via the exterior and Aconite (fuzi) to warm the exterior and expel cold.  [See rebing entry to far left in Figure 1]

Medication chart from the Gold-Dusted Cold Damage [Treatise] (Shanghan diandian jin, completed 1341, date of this printing unknown). Image credit: Wellcome Collection.
 Wu’s “purgative” (gongxia) formulas contained Rhubarb root and rhizome (dahuang) to purge downward, and even Betel Nut (binglang) to expel pathogenic qi.  Wu termed this anomalous qi (yiqi), deviant qi (liqi), or pestilential qi (liqi) in his Treatise on Febrile Epidemics (Wenyi lun, 1642). [See figure 2] As He Bian has written on this blog, Chinese rhubarb had its heyday in the eighteenth century, yet not all physicians were in accord with its suitability during epidemics.


Rhubarb from Li Shizhen’s Systematic Materia Medica (Bencao Gangmu) printed in 1596.

The third author named in this story, Yu Lin, later became famous for his recipe titled: “Epidemic-Clearing and Toxin-Dispersing Beverage” (Qing wen bai du yin). [8]  The fourteen-ingredient recipe was based on a combination of the White Tiger Decoction (baihu tang) that cleared out heat on the exterior with two other formulas.[9]  Yu’s recipe, however, featured crude gypsum (i.e., the “White Tiger”) in quantities at least three times the other main ingredients (raw foxglove root, rhinoceros horn, and coptis root). This made it an extremely Cold formula, and potentially life-threatening for those who thought Cold was the underlying cause and so used Zhang’s formulas. For Yu, however, Gypsum’s cold-cooling quality cleared excessive heat accumulated in the stomach system. [Figure 3 depicts this heat-clearing function of gypsum at the center of the man’s chest).

Depiction for White Tiger Decoction in Illustrations and Explanation of the Major Formulas of the Cold Damage Treatise (Shanghan lun dafang tu jie, 1833). Image credit: Wellcome Collection.

Expelling pathogenic Cold qi and warming the interior with aconite and cassia twigs, purging pestilential qi through the bowls with rhubarb, and clearing out the pathogenic Heat from the stomach with gypsum were thus all therapeutic strategies at play during the 1793 epidemic in the capital. The first framed the cause of the epidemic in latent winter cold that had to be dispersed. The second saw it as externally contracted pestilential qi that needed to be purged. Finally, the third considered it excessive heat that had to be cleared. Despite these major differences all three approaches nonetheless treated the febrile symptoms subsumed under fa re or, in the modern term, “fevers” as something that drugs could manage by adjusting the internal balance of Hot and Cold.


Translations for Figures 1 and 3

Figure 1: From right to left are listed three disease concepts – Cold Damage, Wind Damage, and Hot Diseases. Their commonly used formulas are written below. The six formulas listed under rebing are from right going down and then to left going down: With sweat cassia twig decoction (han guizhi tang), Cassia twig and gypsum decoction (guizhi jia shigao), Cassia twig decoction together with gypsum, anemarrhena, cohosh, and ephedra (guizhi jia shigao zhimu sheng[ma] ma[huang], Without sweat ephedra decoction (wuhan mahuang tang), Evening produced (i.e., heat) gardenia, cohosh, and ephedra decoction (wan fa zhizi sheng[ma] ma[huang]), and Cassia twig decoction with ephedra and gypsum (guizhitang jia mahuang shigao).

Figure 3: From the right to left across the top is written. 1) “The assistant [drug] Amemarrhena (zhima) disperses dryness [and] produces jin [fluids].” 2) the space below the chin reads “protects the lungs.” 3) and to the left is written “licorice (gancao) harmonizes the stomach and rice (gengmi) assists the stomach qi.” 4) The 5-character phrases on either side of the oblong circle together state the therapeutic strategy “[When] the pathogenic [qi] has already changed into Fire, then clear, cool, and make it disperse.5)  In the long oval at the center of the body, the phrase instructs: “When it [i.e., the Fire} enters the stomach, use gypsum.”

[1] Nathan Sivin, Traditional Medicine in Contemporary China, Science, Medicine, & Technology in East Asia 2 (Ann Arbor: The University of Michigan Center for Chinese Studies, 1987), xxiv-xxv, 86, 108.

[2] Christopher Hamlin, More Than Hot: A Short History of Fever, Johns Hopkins Biographies of Disease (Baltimore: John Hopkins University Press, 2014).

[3] J.M.S. Pearce, “A brief history of the clinical thermometer,” QJM: An International Journal of Medicine 95.4 (1 April 2002): 251-52. Thomas Clifford Allbutt (1836-1925) invented the 6-inch thermometer that was first able to record a temperature in 5 minutes in 1866 and in 1868 Carl Wunderlich, using a foot-long thermometer put in the axilla (i.e., armpit), established the normal range from 36.3 to 37.5 °C or 97.3 to 99.5 °F.

[4] Shigehisa Kuriyama, “Epidemics, Weather, and Contagion in Traditional Chinese Medicine,” in Lawrence I. Conrad and Dominik Wujastyk, eds., Contagion: Perspectives from Pre-Modern Societies, (Aldershot, Hampshire: Ashgate Publishing Limited, 2000), 3-22.

[5] Marta Hanson, Speaking of Epidemics in Chinese Medicine: Disease and the geographic imagination in late imperial China (London: Routledge, 2011), 16-17.

[6] Gypsum is monoclinic calcium sulfate. See discussion of this episode in Hanson, Speaking of Epidemics, 2011, 126-27.

[7] Ji Yun 紀昀, Yuewei caotang biji 閱微草堂筆記(Jottings from Yuewei Hall), printed 1800. Repr. Shanghai: Shanghai guji chubanshe, 1980. Passage in juan 18, jotting #24, 458-9. Online access

[8] Jian Min Wen and Garry Seifert, translators, Warm Disease Theory, Wēn bing xúe (Brookline, Mass.: Paradigm Publications, 2000), 141.

[9] White Tiger Decoction is used to treat an illness pattern with great heat, thirst, and sweating and a surging and large pulse. For analysis of the logic of the formula see Craig Mitchel, Feng Ye, Nigel Wiseman, Shang Han Lun: On Cold Damage: Translations & Commentaries (Brookline, Mass.: Paradigm Publications, 1999), 316-24

Tales From the Archives: A Recipe for Disaster: How Not to Distill Turpentine

In September 2018, The Recipes Project will be six years old. There’s been a lot of blogging on this platform, and we are so grateful to all our wonderful contributors. But with so much material on the site, it’s easy for earlier pieces to be forgotten. So, the editors have decided that, once a month, we’ll pull something out of the archives to share with our readers anew.

This month, I have chosen a piece written by Tillamann Taape. In this post, first published in July 2013, Tillmann writes vividly about alchemical disasters. Heat, unsurprisingly, comes into play. Enjoy!


By Tillmann Taape

When sifting through early modern alchemical recipes, I am often struck by their inherent dangers which would make modern-day health and safety officers pull their hair out. Renaissance practitioners were remarkably unfazed by temperatures high enough to melt glass and metal, and they frequently recommended heating volatile and flammable liquid in sealed glass vessels which, by their own admission, had a tendency to crack if not handled with the utmost care. Surely these exploits must have gone wrong a lot of the time, resulting in burnt fingers or a faceful of boiling alcohol?

If we look at the stereotype of the alchemist in contemporary satirical literature, it seems that accidents came with the job. In his Ship of Fools (1494), German humanist and satirist Sebastian Brant echoes themes from medieval poetry in his depiction of the alchemist: a greedy and reckless fool whose dangerous and fruitless exploits leave him scarred, financially ruined and even blind. [1] As a source of historical information, satirical genres should of course be taken with a generous pinch of salt. It is significant to note, though, that early modern people saw alchemy as a potentially dangerous thing to do, even in times long before anything like today’s health and safety standards.

More direct evidence of alchemical disasters is, unfortunately, fairly rare. I would of course be delighted to be persuaded otherwise by readers of this blog, but to me it seems that while adepts of alchemy frequently wrote down instructions which sound like they might well blow up, they were frustratingly silent on whether this actually happened. I was quite thrilled, therefore, when I finally stumbled upon a first-hand account of an alchemical disaster: exploding stills, knocked-out practitioners and all. In his 700-page tome entitled Liber de arte distillandi de compositis or Large book of distillation, first published in 1512, my favourite surgeon-apothecary Hieronymus Brunschwig (introduced here and here) includes the following cautionary tale.

Brunschwig was distilling turpentine to separate the watery fraction from the valuable oil, and when nearly all of the water had come out, he was interrupted.

 I was called away to a patient, so the oil went into the water, and when I came back, a layer of oil was sitting on top of the water. I didn’t have the sense to simply decant off the oil, so I poured the lot into a new flask and thought I’d just extract the water by distillation. But I was called away again, and in the meantime the water evaporated from the oil, and some of it condensed on the side of the flask and dripped back into the oil, which rose inside the flask with a great tumult, and fumes erupted from the flask, blowing off the alembic. [2]

 A lot to handle: picture of a still from Brunschwig’s Large book of distillation. © Wellcome Images

A lot to handle: picture of a still from Brunschwig’s Large book of distillation.
© Wellcome Images

Things got worse when Brunschwig came back late at night and went to investigate the accident, telling his servant to bring along a light:

When the light arrived, the fumes touched it, and fire burst forth all around, and in the blink of an eye went out again, nevertheless burning off mine and my servant’s hair, clothes and eyebrows. We fell to the ground and did not know where we were, but before long we got up again and fetched a closed lantern so the same thing would not happen again, and threw ashes in the furnace to smother the fire. [2]

And this, dear readers of the Large book of distillation, is how you do NOT distill turpentine! Once the initial excitement about this truly adventurous tale had worn off, I realised that, to the historian, there was more to this anecdote than merely the satisfying confirmation that some procedures which look so precarious on paper did indeed go up in fire and smoke. In his description of this extraordinary incident, Brunschwig also reveals a number of interesting details about his everyday life and work. We get a glimpse of what it meant for an early modern practitioner to have multiple vocations. Juggling his alchemical activities with his duties as an apothecary and surgeon, it seems that Brunschwig could be called away to the aid of a patient at a moment’s notice, even at night. We also learn that he had at least one servant, and we can surmise that he did his distillations in an enclosed workshop, since a buildup of explosive fumes would be unlikely in the open air. Perhaps most importantly of all, this anecdote provides strong evidence that Brunschwig was actively performing many of the procedures he describes in his works, rather than just copying and compiling them for publication.

Anecdotes like these, then, are more than just an entertaining read and a well-earned reward for ploughing through hundreds of pages of Brunschwig’s Alsatian dialect with its erratic spelling. Descriptions of extraordinary events also grant us a glimpse into the reality of practicing alchemy, and into practitioners’ everyday life.

[1] On the stereotypes and changing ‘personae’ of early modern alchemists, see Tara Nummedal,  Alchemy and Authority in the Holy Roman Empire. Chicago: University of Chicago Press, 2007, Ch. 2.

[2] Brunschwig, Hieronymus. Liber de arte distillandi de compositis […]. Strasbourg: Grüninger, 1512.