Category Archives: Bodies

HEAT! A Recipes Project Thematic Series

Astronomy- the Earth and the sun during summer in the Northern hemisphere. Wellcome Collection.

As humans, we want to control heat. We want to create heat, temper or even extinguish it, depending on context and purpose. We have a very limited temperature range at which we are comfortable (some microbes and bacteria can survive temperatures as low as -20C and as high as 130C), so we spend an incredible amount of time managing heat, whether it is our body temperature or that of our homes, offices, laboratories, cars, or food.

When we started planning this series of blog posts in early May, we could not have suspected how appropriate the theme would feel by now. While much of northwestern Europe has not seen rain in weeks and is sighing under a heatwave with temperatures rising to 37C/98F, we have fled to airconditioned spaces to edit the posts. Climate-wise, heat is seasonal in these regions, but it has always played an important role in recipes year-round, all around the world, from antiquity to the present day, in fields as diverse as alchemy, chemistry, art, cooking, medicine, and personal grooming.

The common denominators of heat in all these realms are that it is either internal – emanating from the human body – or external, naturally occurring from the sun, thunder, or lava, or man-made through friction or fire. In the posts in this series, we will see a wide variety of attempts to control these different kinds of heat through recipes and instructions.

Managing natural heat: Venice turpentine is a thick paste (aka sticky mess) at room temperature, but becomes fluid around 25C, and nicely mixes into the rest of the varnish ingredients when left out in the sun. Photo: Marieke Hendriksen

Some of our authors recreate such attempts by reconstructing experiments outlined in historical art technical and chemical sources. Indra Kneepkens recounts how she discovered through reconstruction research that sometimes for a recipe to make sense, it should not only be followed to the letter, but also be read between the lines. Ruben Verwaal and Marieke Hendriksen use their experiments with two reconstructions of small chemical ovens to reflect on the role of experimental heat in the development of theories on the nature of life in the eighteenth century. Working in a similar vein but with culinary recipes, Marissa Nicosia, from Cooking the Archive, examines the problem of heat control in her recipe recreation adventures, outlining the challenges of translating cooking instructions meant for the early modern hearth to the modern gas stove.

The four elements, four qualities, four humours, four seasons, and four ages of man. Airbrush by Lois Hague, 1991. Wellcome Collection.

Other authors in the series took our invitation as an opportunity to investigate heat in medical theories across time and place. Aileen Das kicks off this series by arguing that heat occupied a central place in ancient Greek, Roman and medieval Islamicate theories about the human body and its care. Taking on the smelly problem of perspiration and body odor, Cari Casteel reminds us that this issue is as old as mankind and offers several remedies from Roman authors.  Catherine Rider, on the other hand, examines notions of heat in fertility remedies in medieval England, noting that, whilst popular, heat-based treatments (to either increase or reduce heat in the body) were not the only kind of fertility aid available to English couples. The series concludes with two posts focused on fever and disease. Fittingly in this current heatwave, Laurence Totelin offers a post on fever and dog days of summer in antiquity. Finally, writing on in Late Imperial China, Marta Hanson introduces us to ideas of fever in Chinese medicine.

We’ve had a great time editing this series – hope you enjoy reading the posts wherever you are. Happy summer and stay cool!

Marieke Hendriksen and Elaine Leong

P.s. We were so inspired by our contributors’ posts that we’ve decided to dedicate the December issue to (you guessed it) COLD!. If you’re interested in joining the conversation, send a short pitch to recipes@mpiwg-berlin.mpg.de.

Beauty and Global Trade in Margaret Baker’s Book

This is the second part of a two-part post by a former student of mine, who also happens to be an author of popular history.  Karen has written on fun things like fashion and Essex Girls in history. Her original, longer post is taken from a digital group project on Margaret Baker’s recipe book that was completed for my 2016-7 module, The Digital Recipe Book Project.


By Karen Bowman

 

The unlovely looking ambergris. Source: Wikimedia Commons.

In my last post, I examined themes of alchemy and beauty in Margaret Baker’s early modern recipe book.  Today I want to consider what her beauty recipes can tell us about England’s growing global connections in the late seventeenth century.  At first glance, the  list of ingredients in Baker’s recipes appear domestic. But those seemingly-simple household recipes had extensive connections to trade and empire. For those who could afford them, there were an increasing number of luxury ingredients available from around the world.

Through her beauty recipes, Baker was buying into the expansion of the luxury market. With a growing foothold in India via the East India Company, traders imported silks and spices. In turn, they sold these commodities onto grocers and apothecaries from whom Baker was able to purchase ingredients to make her perfumes.

I was alerted to her participation with empire through her use of luxury ingredients in her culinary recipes, such as wines and quantities of sugar in order to make “sugar cakes” (f.88). In her perfume, she included civet (musky smelling substance from anal glands from civets) and ambergris (waxy substance secreted from the intestines of sperm whales).

Civet and ambergris were regularly used in perfume manufacture. In the seventeenth century, the aromas of musk and spice most effectively covered body odour.  It would not be until the eighteenth century that alternative base notes would be used, allowing some perfumes to become increasingly more fragrant in conjunction with improvements in basic hygiene. Both ingredients continue to be used today, even with our vast range of scent choices.

We can see the use of civet in Baker’s recipe for perfumed gloves, as well (f.98). Spanish and Italian glovers settling in England in the sixteenth century had established the practice to sweeten the smell of leather, as the tanning process could leave an unpleasant scent. The most common fragrances were cinnamon or cloves, but the more expensive gloves were infused with musk, civet, ambergris and spirit of roses.

Seventeenth-century embroidered gloves. Credit: Metropolitan Museum.

The fact that Baker was perfuming her gloves is a significant social comment. By indicating in the first line of her recipe that damask rose water should used could signify to readers that her gloves were expensive, hinting at a level of wealth. Of course, it is equally plausible that her gloves were only made of linen. In that case, we can see an earlier connection to the Lady Croon’s pomatum that I discussed last week. In both cases their inclusion may point to Baker as a woman with social aspirations.

Baker’s instructions for perfuming gloves are similar to those found in seventeenth-century manuals, such as Sir Hugh Plat’s Delights For Ladies, which were considered part of a woman’s ‘secret knowledge’ (Rankin and Leong, 172). Plat provided instructions for perfuming up to eight pairs of kid-skin gloves at a time, proof that women knew how to redress the leather at home (Dugan, 150).

In a manuscript recipe book from 1685, Mary Doggett included instructions for perfuming gloves in the ‘spanish manner’. The gloves should be anointed until they ‘swim with amber [ambergris] and ‘drink up the ointment’–emphasizing the Spanish ingredients: ambergris, civit, and musk. Again echoing Baker’s recipe, Doggett suggested that the gloves should then be ‘Rowled up in fair paper very close so they do not lose their smell’ and next ‘layed 3 nights under the first bed quilt of the bed you lie on’ (Dugan,150).

Baker’s links with global trade rest with the transference of geographical, specialist, and domestic knowledge, as well as a household’s connections with foreign markets. The sourcing of ingredients resulted in the smells of luxury infusing the early modern kitchen (Dugan, 151).

It also gives us a social link to Baker via her gloves. Was she wealthy enough to afford expensive gloves that she would have wanted to keep scented? Or, was she simply buying into the early modern expansion of empire and perfuming cheaper gloves to give an impression of status? Whether the recipe was aspirational or reveling, Baker’s scented gloves were not just ornamental. The ingredients used in their perfuming highlight the ways in which recipes, global trade, and social status were tightly entwined.

Nature’s Coin: Beauty and Alchemy in Margaret Baker’s Book

This two-part post is by a former student of mine, who also happens to be an author of popular history. Karen has written on fun things like fashion and Essex Girls (in history). Her original, longer post is taken from a digital group project on Margaret Baker’s recipe book that was complete for my 2016-7 module, The Digital Recipe Book Project.


By Karen Bowman

A delicate powder for the face, Margaret Baker, Folger Shakespeare Library, V.a.169, f. 97.

In the late seventeenth-century, recipe book compiler Margaret Baker listed twenty-eight recipes for beauty, amidst medicines for dropsy and distemper and recipes for custards and the stewing of racks of mutton. Baker’s recipes for beauty ranged from face powder and whitened hands to face waters and hair growth treatments (ff. 51, 109).  Baker had the chemical knowledge to beautify. Not only do the beauty treatments suggest her agency, status, and knowledge, but hint at strong connections between beauty and alchemy.

It was The Lady Croon’s recipe for pomatum (f. 106) that first caught my attention, pointing to chemical transformation in the social sense. While Lady Croon appears to be the author of the pomatum recipe, the contributor’s name “Mistress Anne Corbett” appears in the margin. If Mistress Corbett had passed on the recipe directly from Lady Croon, it seems likely that both had the means to make the pomatum and shared in an aristocratic social network (or aspired to one). Lady Croon’s pomatum was more than a means of creating a beautifying substance; the transference of knowledge was a gift that affirmed friendship bonds, social standing, and aspirations.

Pomatum was a greasy, waxy, or water-based substance used to style hair before applying powder. Given that powdered hair was a sign of class identity, the recipe suggests that Baker may had occasions to attend polite gatherings. Dressing one’s hair and caring for one’s skin required ‘self knowledge and inward identity and knowledge beyond one’s self reflecting an understanding of the body, its cultural and social meanings’ (Snook, 7). In a patriarchal society, in the absence of of wider legal and political representation, the ability to transform oneself was powerful information.

One’s face and body was the blank canvas for identity and social standing. For famed beauty Margaret Cavendish, Duchess of Newcastle (b. 1623), fair white skin was even political. She insisted that her mother was ‘a woman with perfect skin and politics’; skin thus represented social order and familial harmony–and, in her case, the Royalist cause. Other women, too, recognized beauty as nature’s coin and a way of forging identity within their own domestic structures and hierarchies.

Unknown, Lady at her Toilet, c. 1650-60. Source: Wikimedia Commons.

Of course, the real achievement for women was not the face and body they showed the world. It was the the female knowledge of how to manipulate nature through chemistry and alchemy in order to transform basic materials into healing and beautifying physic.

There were relatively few make-up items in Baker’s book, as we today would understand them. Many were even gender neutral. Her products include items to ‘take away heat and pimples in the face’, ‘to make a clense from spotts’, ‘waters for the face’, ‘to take away freckles’, ‘to stop hair falling and grow thicke’, ‘to take away chapped hands’, and to keep the face smooth’ (ff.14, 44, 51, 83, 109, 49, 92). In addition there are instructions for making ‘a butter to curl the hair’, ‘to make hands soft and white’, ‘make a perfume’ and to perfume gloves’. (ff. 94, 85, 31, 98).

What many of the recipes have in common is that they were designed to transform the skin rather than cover it. Even hand ointments had a higher purpose, not just removing blemishes; keeping hands soft avoided drying and cracking, and becoming susceptible to disease. Protecting and preserving the skin was central to beauty.

Oyle of talcum, Margaret Baker, Folger Shakespeare Library V.a.619, f. 21.

Many of the recipes required extensive time, skill, and effort to prepare. Baker included a powder recipe is for ‘oyle of talcume’ (f. 21), which was labourious to make. At one point in the process it needed to be let down by a rope

into a well some yard & a halfe or two yardes from the water nere to the well soe it touch it not’ & soe let it hang .20. or. 25. daies then if you find that it begine to cast out some oyle take it out of the well & set it in some moyst place, in some corner of your seller to defend it from the ayre: wind or other harmes & soe leaue it soe longe untill all the liccor become out of it.

The result was powder that could be mixed with water to wash the hands and body, making ‘them very white, soft and free from freckles or spottes – good for ladies’.

An alchemist in his laboratory. Oil painting by a follower of David Teniers the younger,. c. 1610-1690. Credit: Wellcome Library, London.

Sometimes, the connections between alchemy (or chemical medicine) and beauty were literal. Baker used mercury in both her medicinal recipes and beautifying physic. This was not just an ingredient. Its knowledgeable deployment put Baker within the (assumed) masculine spheres of medicine, surgery and alchemy. Throughout her book, there are clues that Baker read widely on medicine and alchemy.

But the connections between alchemical transformation and bodily protection are clearest in beauty recipes. For example, in relation to one particular beautifying physic (f.12v.) it appears that Baker is attempting the impossible. An anomaly arises in the title ‘the taking away ‘quicksilver from mercurie’–the Oxford English Dictionary indicates that mercury and quicksilver are in fact the same. However, it seems that Baker may have been aware of cutting-edge experiments. Natural philosopher Robert Boyle, Baker’s contemporary, explained that through a system of depuration or continuous distillation and reduction, common quicksilver will run from the purified form of mercury left behind, which is then suitable for more sophisticated use (Boyle 645). In Baker’s case she is able to produce a ‘perfect water to keep the face cleare from spots or wrinkles.’

Baker’s recipes reveal her intellect and interaction with ideas of the day, as well as point to the uses of beauty treatments: transforming one’s body chemically and alchemically.  Bodily transformations included protecting and beautifying the skin, or even enabling social elevation.  Beauty and alchemy sat close together in Baker’s book.

 

Bitter as Gall or Sickly Sweet? The Taste of Medicine in Early Modern England

Figure 1: ‘The Bitter Potion’, 1640; by Adriaen Brouwer; © Städel Museum – U. Edelmann – ARTOTHEK

Adriaen Brower’s The Bitter Potion (1640) depicts a man’s reaction to the taste of a medicine – his face is contorted in an expression of deep revulsion (Figure 1). The image seems to confirm Roy Porter’s generalisation that ‘pre-modern medicine tasted foul’.[1] Contemporary medical recipes and patients’ memoirs tell a more complicated story, however. While some remedies were full of bitter ingredients, others were pumped with sugar. Below, we will see why this was the case, and discover that the actual flavours of medicines sometimes bore little relation to how they were actually experienced. This research is part of a new Wellcome Trust project, Sensing Sickness, which investigates the impact of disease on the five senses, and uncovers the sounds, sights, smells, tastes, and tactile sensations of the early modern sickchamber. I also discuss some of these issues in my forthcoming open access book, Misery to Mirth: Recovery from Illness in Early Modern England (OUP, June 2018).

Bitter medicines

Amongst the most common bitter ingredients in early modern medicines were the herbs wormwood and aloes. Lady Barret’s remedy against ‘any illness in the stomach’ contains 4 drams of aloes, together with myrrh, saffron, and brandy. The Ayscough family’s recipe book suggests a remedy ‘to drive away agues’ composed of wormwood, marigold leaves, agrimony, and mugwort. A rare insight into the imagined reaction of a patient to these bitter drugs is provided in a collection of Italian medieval novels, published in English in 1620: as ‘soone as’ the man’s ‘tongue tasted the bitter Aloes, he began to cough and spet extreamly, as being utterly unable to endure the bitternesse’. Once taken, the mere sight of ‘the vessel in which the potion is kept’ is enough to provoke vomiting in some patients, wrote the physician William Bullein (c.1515-76). So notorious was the bitterness of aloes, it was used as a metaphor for describing any unpleasant experience, including pain, grief, and spiritual guilt.[2]

Figure 2: ‘Twenty Trees, Herbs, and Shrubs of the Bible. Chromolithograph, c.1850’, by MacFarlane and Erskine; Wellcome Collection, CC BY
Figure 3 : ‘Twenty Trees, Herbs, and Shrubs of the Bible. Chromolithograph, c.1850’, by MacFarlane and Erskine; Wellcome Collection, CC BY

Why did medicines contain these bitter ingredients? According to popular legend, the medicine has to be ‘as bitter as the disease’ for it to work. This idea is rooted in Galenic understandings of disease and treatment. Disease was due to the malignant alteration of the body’s humours, the constituent fluids of living creatures, and it was removed when the humours had been rectified or evacuated. Bitter medicine facilitated this process in two ways – first, it helped ‘devide, [and] extenuate…grosse and clammy humours, that they may be ready to flowe out’ of the body’.[3] Metaphors of cleaning were used in this context: the Dutch physician Levinus Lemnius (1505-68) averred, ‘the filth…of the humours stick no lesse to these mens bodies than the…dregs do to vessels, which must be soked…with pickle’, a bitter vinegary mixture, ‘to make them clean’. The second stage of evacuation was the movement of the humours from the body’s interior to its exit points, such as the bowels, where it could be expelled through defecation. Bitter medicines could be given to induce such movements. Lemnius explained that seeing that ‘attraction is made by the similitude of substance’, there must be a ‘natural familiarity’ between ‘the humour [to be evacuated] and the medicament’. Since the most noxious humours were bitter, medicines should be bitter too. Quoting Hippocrates, Lemnius expanded, ‘Physick when it come[s] into the body, it first…draws unto itself, that which is most…like unto it, then it moves the…humours…and forceth them out’. This idea was familiar to laypeople as well as doctors.

Sweet medicines

Although bitterness was necessary for purgative physic to work, the ‘cunning Physician…tempereth his bitter medicines with sweet and pleasant drinke’.[4] It was hoped that by disguising the bitter flavour, the medicine would be easier to swallow. This intervention was particularly important when it came to treating children, whose tolerance for bitter tastes was especially low due to the sensitivity of their taste-buds. This is still an issue today: in one survey, over 90 percent of paediatricians reported that a drug’s taste is the biggest barrier to completing a course of treatment. The most popular sweeteners in early modern England were sugar and honey. Speaking of her ‘speciall medecine’ for jaundice in c.1608, Mrs Corlyon instructed that ‘you must make it pleasant with Sugar according to your taste more or lesse’ (Figure 4). Anne Glyd’s recipe ‘Against the chin cough’ from the mid-seventeenth century states that it should be taken with ‘hony…or what the child likes best’.

Figure 4: Extract from Mrs Corlyon’s ‘A Booke of divers medecines’, 1606; MS 313, Wellcome Library, London

Intriguingly, these sweetened medicines did not always taste sweet. Recalling a recent illness, the natural philosopher Robert Boyle (1627-91), observed that some of his remedies had been, ‘sweetened with as much Sugar, as if they came not from an Apothecaries Shop, but a Confectioners. But my Mouth is too much out of Taste to rellish anything’. The Galenic explanation for these altered perceptions was that the organ of taste, the tongue, is ‘filled with some strange fluid’ during acute illness, which mixes with the gustatory juice of the medicine, so that ‘all things would seem salty to taste, or all bitter’.[5] Other causes were the drying of the tongue from the ‘fiery heat’ of fevers, or the presence of bitter humours in the mouth.[6] So familiar was the experience of altered taste that religious writers found it a useful metaphor to invoke when describing the more abstract idea that sinners fail to relish wholesome counsel. The Yorkshire minister Thomas Watson (d.1686), wrote in his treatise on repentance, ‘Tis with a sinner, as it is with a sick Patient[:] his pallat is distempered; the sweetest things taste bitter to him: So the word of God which is sweeter than honey-comb, tastes bitter to a sinner’.

We tend to be disparaging about premodern medicines, assuming they were deeply unpleasant. This brief foray into the gustatory qualities of remedies demonstrates that such a reading is too simplistic, and does not take into account the often benevolent intentions behind the use of bitter treatments, nor the attempts of practitioners to make their remedies more palatable. In any case, I think we need to be more wary about assuming the actual qualities of medicines were perceived by patients, since many diseases impaired the patient’s capacity to taste. In the next stage of my project, I seek to discover how the other four senses were affected by illness and treatment.

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[1] Roy and Dorothy Porter, In Sickness and in Health: The British Experience 1650-1850 (London, 1988), 105; see also Lucinda Beier, In Sickness and in Health: The Experience of Illness in Seventeenth-Century England (Cambridge, 1985), 170.

[2] E.g. Mark Frank, LI Sermons preached by the Reverend Dr. Mark Frank (1672), 391.

[3] A. T., A rich store-house, or treasury for the diseased (1596), preface. See also William Bullein, The government of health (1595, first publ. 1559), 9-10.

[4] William Kempe, The education of children (1588), image 31.

[5] Galen, ‘On the Causes of Symptoms I’, in Ian Johnston (ed. and trans.), Galen on Diseases and Symptoms (Cambridge, 2006), 203-35, at 220-21, 189. This text was available in Latin in the early modern period, translated from the Greek by Thomas Linacre as De symptomatum differentiis et causis (1524).

[6] Helkiah Crooke, Mikrokosmographia a description of the body of man (1615), 631.