A Black Rooster and the Angel of Dread: Jewish Magical Recipes Against Fear

By Andrea Gondos

Illness and a desperate longing for wellness and healing defined Jewish magical recipes books, written in a thriving manuscript culture of practical Kabbalah that existed alongside printed works in Jewish communities of East-Central Europe in the seventeenth and eighteenth centuries.[i] These manuscripts, many of them cherished by their compilers, played an important role in recording, accumulating, and subsequently transmitting knowledge about the natural and the supernatural worlds. As recipe compilations, they include lists of ingredients that are accompanied by detailed instructions directed at a practical goal, which in this case aimed to improve a person’s material and spiritual wellbeing. The writers of these amulets were collectively called ba’alei shem[ii] or masters of the (divine) name who deployed experiential types of knowledge in combination with traditions of angelic and divine names. These expose a holistic outlook based on the careful alignment and calibration of three interrelated spheres of human existence: the religious, derived from prayer and proper conduct; artisanal knowledge of the natural world, the unique qualities of herbs, plants, and animal substances; and the mastery of supernatural forces and processes by wielding power over demons, forces of impurity, and astrological influences.  The acquisition of this unique type of expertise, enumerated in these magical recipe books, bequeathed upon its master extraordinary powers and charisma. Here, I will survey three visually interesting amulets designed to counteract demonic forces that were believed to cause negative mental and emotional states such as fear.

Image courtesy of The National Library of Israel, MS 38 3279, fol. 109v: an amulet against fear for a child.


“[An] amulet for a child gripped by terror. It should be hung on the child and her/his name should be written on it; he can also hang on the child the foot of a black rooster.”

A curious ingredient and technique presented in this recipe is the use of charaktêres, or angelic alphabet, that was meant to directly command and address specific angelic interlocutors to produce a desired outcome.[iii] Defined as “an alphabetic sign or a simple ideogram which does not belong to any of the alphabets used in that specific magical text, or to any known system of meaningful symbols,”[iv] charaktêres constituted a form of linguistic magic and were frequently deployed through cross-cultural borrowing and adaptation in a variety of cultural settings, including Judaism, from Antiquity to modern times.

Another recipe that addresses fear was supposed to be written on parchment made from a kosher animal, one that was considered in compliance with Jewish dietary laws. Here the visual element is the formation of a square from the angelic name PAHAD’EL, which is a composite of the words ‘fear’ (pahad) and God (‘El). At the upper corners of the recipe, on the left and right sides, two additional angelic names are indicated: Hasadi’el (left), and Rahami’el (right). Both names are cognates of mercy, thus visually these two merciful angels flank the Angel of Dread (Pahad’el) overpowering and diminishing its negative effect on the person, who is gripped by fear. When confronted by the debilitating effects of mental distress, such as fear or dread, the Jewish shaman thus had recourse to a cache of magical modalities to affect healing. Ingredients here are comprised of a magic square, letter mysticism, alongside theoretical elements of Jewish mysticism, the Kabbalah, which invokes the mystical principle of containment. Accordingly, the demonic powers of the left side of the divinity need to be included, encompassed, and subsumed in the right, the sacred aspect of God. Kabbalistic theosophy places great emphasis on the idea of tricks and ruse to co-opt the dark forces of the left, instead of confronting them directly; this conceptualization is visually demarcated in the diagrammatic features of this recipe formula.

Image courtesy of The National Library of Israel. MS 8 1070, fol. 31r


In the final recipe for fear, food and plant substances, bread and garlic, are promoted as effective therapeutic ingredients to overcome this negative emotional state. This particular compilation does not contain any distinctly Jewish elements. Rather, it draws on more common cross-cultural practices, which are adopted and offered as part of a ba’alei shem’s stock of natural remedies:

“For one who goes out at night so he would not fear evil spirits even in a place of danger: He should take a loaf of bread in his right hand and in his left hand some garlic, and no harm will come to him, God willing, who saves and protects.”

Image courtesy of The National Library of Israel. MS 8 1070, fol. 11v


The above recipes which were offered as panacea against fear, a form of mental distress, highlight the multiplicity of approaches that ba’alei shem in East-Central Europe took to alleviate the debilitating grip of negative states of the mind. While some recipes display theoretical, particularistic, and more elite forms of knowledge, other variants for the same illness exhibit a more universal, folkloristic, and popular stance.


[i] See Agata Paluch, “Practical Kabbalah and Practical Knowledge: Kabbalistic Manuals and Natural Knowledge in Early Modern East-Central Europe,” History of Knowledge, April 11, 2019, https://historyofknowledge.net/2019/04/11/practical-kabbalah-and-practical-knowledge-kabbalistic-manuals-and-natural-knowledge-in-early-modern-east-central-europe/.

[ii] On ba’alei shem, see Yohanan Petrovsky-Shtern, “The Master of an Evil Name: Hillel Ba’al Shem and His Sefer ḥa-Heshek,”AJS Review 28.2 (2004): 217–248; and Immanuel Etkes. The Besht: Magician, Mystic, and Leader, translated by Saadya Sternberg (Hanover and London: Brandeis University, 2005).

[iii] Gideon Bohak, “The Charaktêres in Ancient and Medieval Jewish Magic,” Acta Classica Universitatis Scientiarum Debreceniensis, 47 (2011): 25-44.

[iv] Ibid., p. 25.




Andrea Gondos’s scholarship has focused on knowledge organization and transmission reflected in early modern study guides in the field of Kabbalah. Currently, she is a Postdoctoral Research Associate in the DFG-Emmy Noether Research Group “Patterns of Knowledge Circulation” at the Institute of Jewish Studies, Freie Universität Berlin, where she examines the conceptualization of the female body, gender, and reproductive health as expressed by Jewish male healers in early modern manuscripts of magic in East-Central Europe.

Revisiting Christopher Heaney’s How to Make an Inca Mummy

In this last “revisiting” post in our August 2020 series, we return to a piece by Christopher Heaney in 2016 to learn about sixteenth-century Europeans and their use of the dead in medical recipes. Practitioners believed that preserved bodies were powerful ingredients — but as Heaney shows, whether these bodies originated in Egypt or in Peru, what it meant for these bodies to be non-white, and whether they could or should retain a sense of gender, was a matter of debate. 
Thank you for joining us this month as we explored the intersections of race, medicine, sexuality, and gender in recipes! –AH

Christopher Heaney

As any National Geographic reader will tell you, the Incas and their predecessors in the Andes made mummies, that category of deceased being whose selfhood is artificially or environmentally preserved. In the sixteenth century, however, learned Europeans weren’t sure of anything of the sort, given that ‘mummy,’ or momía, mostly referred to dried flesh of the ancient Egyptian dead that had been ground up to become a materia medica. Admitting the Incas to the Egyptians’ company meant an expansion of medical prowess, and civilization, well beyond the allowances of the day. In Les vrais pourtraits et vies des homes illustres grecz, latins et payens (1584), the French cosmographer André Thevet challenged Claude Guichard—a cataloguer of funerary customs who had claimed that the Andes yielded “mummy”

to ask merchants who deal at the Lyon merchant-fairs to enquire whether any of these good Mummies are found by these drug peddlers in these parts [Peru] and in that case (otherwise I presume that, had he known, he would never have dared publish such a lie) he will learn that there is no trace, any more than there is in his Lagnieu [Guichard’s hometown].

For Thevet, mummies came only from Egypt.

The burial of Huayna Capac Inka in Cuzco (379-380)
The body of Huayna Capac Inka, being carried from Quito to Cuzco. Felipe Guaman Poma, Nueva corónica y buen gobierno (1615). Credit: Det Kongeliege Bibliotek

In other words, before we recover the sacred and medical indigenous recipe of how “ancient Peruvians” made mummies, we must understand how Europeans made mummies Peruvian. That latterly recipe, centuries in the crafting, had two key ingredients: the sixteenth century study by Spanish chroniclers and natural historians of the means by which skilled Inca made embalmed bodies—embalsamados—of their emperors; and the Atlantic celebration of that recipe by half-Inca chroniclers, English translators, and French encyclopedistes, who made embalsamados into mummies.[1]

That the Incas and other Andean peoples preserved their elite dead to make sacred and still-living ancestors, illapa, or mallqui, is well-established, having intrigued the earliest Spaniards to the Andes. In 1533, when the first two Spaniards to Cusco found the breathless bodies of Huayna Capac, the last undisputed emperor of the Incas, and a second person—likely his principal wife, Coya Cusirimay—they described them as “two Indians in the manner of embalmed dead.” By the late 1550s, the chronicler Juan de Betanzos had learned—possibly from his wife, Angelina Cuxirumay Ocllo, formerly betrothed to Atahualpa—that Huayna Capac’s lords “had him opened, and all his flesh removed, adorning him”— aderezándole, which implies the use of a substance—

“so that no damage would be done to him, without breaking a single bone; they adorned and seasoned him in the sun and the air, and after he was dried and seasoned, they dressed him in expensive clothes and placed him on a litter.”[2]

Subsequent Spaniards declared that this was embalming, a distinction that credited the Incas’ medical expertise—and possibly advertised the New World balsam that to this day bears the name “balsam of Peru”—but also limited speculation that their preservation resembled the grace of Europe’s saintly dead. To further control their meaning, the Spanish in 1559 confiscated the illapa and displayed the best-preserved among them in Lima’s most sophisticated center of European healing and botanical knowledge—the Hospital of San Andrés. Once there, the Jesuit natural historian José de Acosta studied them, deciding (1590) that their “astonishing” preservation owed to the use of a certain resin or bitumen: literally, betún, a word redolent of associations with the Egyptian dead.

November, month of carrying the dead (258-259)
The eleventh month, November; Aya Marq’ay Killa, month of carrying the dead. Felipe Guaman Poma, Nueva corónica y buen gobierno (1615). Credit: Det Kongeliege Bibliotek

The Incas’ embalsamados only became mummies, however, through the process of celebration by their half-Inca heirs, and their interpreation by the English and French. In 1609, “El Inca” Garcilaso de la Vega remembered touching the finger of his great-uncle, Huayna Capac, which “seemed like that of a wooden statue, it was so hard and stiff.” Responding to Acosta, Garcilaso suggested that it was a combination of betún and the dry Andean environment, which the Incas had harnessed to “leave the bodies as whole as if they were still alive and in good health, lacking only the power of speech, as the saying goes.” The translator of Garcilaso into English in 1688 took the embalsamados to still greater heights, claiming that “these Bodies were more entire than the Mummies”—that is, the Egyptian dead. And in 1749, the French naturalist Jean-Marie Daubenton simply included the Inca dead as mummies, alongside those of the Egyptians.

Daubenton’s contemporaries had to take it on faith, however; the Inca illapa had long since disappeared, likely having deteriorated in Lima’s damp climate and been buried somewhere in the hospital. Hope remains that their bones might be someday be found, but until the means of their owners’ preservation is recovered via new archaeological studies of their contemporaries, our recipe for their making is as colonial and Atlantic as it is indigenous.


[1] This post draws from my recent dissertation, Christopher Heaney, “The Pre-Columbian Exchange: The Circulation of the Ancient Peruvian Dead in the Americas and Atlantic World” (Ph.D. Diss, University of Texas at Austin, 2016), Chapter Four.

[2] Juan de Betanzos, Suma y Narración de los Incas, Ed. María del Carmen Martín Rubio (Lima: Universidad Nacional Mayor de San Marcos, 2010 [Cuzco: 1557]), 235 [1557: Pt. I, Ch. 48].

Waste Not, Want Not: Kelp, Cans and MAP: Packaging as Food Preservation

By Anne Murcott

Starting work on a history of food packaging some years ago, rapidly led to the realisation that it is also a history of a very long list of other things, including food preservation.  But preparing a contribution for a conference called ‘Waste Not Want Not’ prompted looking at both the preservation and packaging of food from a slightly different angle.  The two are intimately linked in a way that other relevant histories – such as of transport or the cold chain, the invention of plastic films or the very idea of convenience – associated with the development of food packaging are less so.  For most food preservation techniques involve a wrapping, receptacle or package for storage – exceptions include meats or fruits that are dried solid, biltong or jerky, apple or pear.    

Here are three illustrations which all happen to exploit the significance of oxygen when preserving foodstuffs.  The first two involve drastically reducing atmospheric oxygen pretty much to create a vacuum.  The third entails changing the proportion of oxygen in relation to the other main gases in the air we all breathe, modifying the atmosphere in the package. 

The first example dates from prehistoric New Zealand.  It is a Māori technique for preserving tītī commonly known in English as mutton bird – a fish-eating sooty sheerwater found in Australasia.  A bag, pōhā, is made of split bull kelp which is then inflated then filled with cooked birds sealed with their own fat.  Bags are then placed in woven flax baskets and can be secured with strips of bark for safe handling and transport.

Nereocystis or ‘bull kelp’. A prehistoric algae used by The Māori to preserve tītī (mutton bird). Image credit: Wikimedia Commons.

Next is the history of the ubiquitous tin can.  Nicolas Appert, a French confectioner (1749-1841) is often called the ‘father of canning’.  He published details of his invention – translated as a way ‘of conserving all kinds of food substances in containers’ in 1810.  Within a few months, an Englishman, Peter Durand, was granted a patent by George III that is virtually identical to Appert’s method.   Duran sold the patent to Bryan Donkin, an engineer who already owned the Dartford Iron Works near London and who in 1813 opened a ‘preservatory’ i.e. canning factory in Blue Anchor Road, Bermondsey, London.  The ‘great man’ solo inventor version of the history does not seem to be disturbed by the fact that only a few months separate Appert’s treatise being published in French in France and Durand’s being granted the patent published in English in England.  It is important to remember, this is a time when confectioners, merchants and engineers may not have spoken a second language and a period when both countries were politically extremely wary of one another, if not actually at war. 

 One interpretation depends on suggestions of industrial espionage – casting Donkin as a spy.  Not so well known, however, is a 1994 PhD by Norman Cowell, a retired food scientist who has worked through the archives of the Royal Society and the National Archives.  He has identified a second Frenchman, an inventor called Philippe de Girard, who came to London and used Durand as an agent to patent what was apparently his own idea.  Cowell finds strong circumstantial evidence that Appert and Girard were in contact.  Thus he is led to propose that Durand can no longer ‘be seen as a naked opportunist pirating Appert’s invention: instead he appears as a London agent facilitating the exploitation by Girard (and probably Appert) of their inventions in the more technologically advanced world of British industry.’

Portrait of Nicolas Appert, inventor of food canning in 1795, tiré de Les Artisans illustres de Foucaud, anonymous woodcut, circa 1841. Image credit: Wikimedia Commons.

Where the first two examples involved eliminating oxygen, the third postpones the food’s spoiling, by altering the percentage of this gas relative to carbon dioxide and nitrogen surrounding the foodstuff in proportions that differ from the air everyone breathes. One history identifies a turning point in the spread of Modified Atmosphere Packaging (MAP) technology when, in 1981 Marks and Spencer (in the UK) introduced a wide range of fresh meat products packaged under a modified atmosphere.  The use in the UK of MAP is labelled on the pack.  But the wording avoids the word modified, using ‘Packaged in a protective atmosphere’ instead. 

These three examples illustrate the following among other features.  While it is very well known that food preservation is found worldwide and is very old indeed, so too can be what nowadays is called packaging.  The second example illustrates how a history of an invention is not necessarily best written as solely springing from the efforts of a ‘great man’ and the socio-political context should not, of course, be ignored.  And the third once again demonstrates that there are some food preservation technologies that cannot work without a package. 


Introducing Our New Co-Editor: Ryan Kashanipour

Interview by Lisa Smith

As April draws to a close and the temperature is already pushing one hundred degrees here in the desert of Southern Arizona, it is my great pleasure to introduce my fellow new co-editor here at the Recipes Project (not to mention fellow Tucson local) Ryan Kashanipour. Ryan is an ethnohistorian of medicine and science at Northern Arizona University, specializing in Latin American history and the indigenous peoples of Mesoamerica. Lisa Smith recently caught up with Ryan for an interview on his research and his new role here at the Recipes Project:

Welcome to your new role as co-editor of the Recipes Project, Ryan!  What interests you most about recipes?

I love recipes of all sorts: cookery, medicinal, magical, and the like. I see recipes as a unique genre of records, which can simultaneously be deeply personal accounts that can create family connections, local identities, and a sense of belonging, while also being grand references on everything from metaphysics to the environment to the nation. As everyday records, they can offer rare glimpses at personal and family traditions, along with gendered relations that cut across generations.  Because many of them deal with food and health, they are often intimate accounts of emotions and the body.  All the while, recipes can be regimented and formalized works that are state-level programs that aim to carry nationalist agendas and campaigns.  I have to admit that my life is already filled with recipes. In my home, I have a growing collection of modern and historical print cookbooks.  My six-year-old daughter, in fact, has been writing and leaving recipes all around our kitchen:

We know that you work on medicine and science in colonial Mexico. How do recipes feature in your research?

My work operates at the intersection of magic and medicine in colonial Latin America.  In particular, I look at manuscript books of medicine written by indigenous peoples in southern Mexico in the seventeenth and eighteenth centuries. Most of the works that I deal with are written in the local language, Yucatec Maya, which is what first attracted me to them as an historical anthropologist. The records deal with everything from common skin ailments to epidemic diseases to afflictions caused by curses and sorcery. There are cures for broken legs and broken hearts. The remedies themselves often appear in recipe format, that is to say, as a fairly orderly set of instructions on how to make or perform the cure.  However, because these sorts of practice fell outside of the sanctioned practices of Spanish colonial society, these records were highly protected and secretive. The representatives of the Holy Office of the Inquisition, along with the organization that certified physicians and healers, regularly prosecuted those deemed to be malicious or false healers. Nevertheless, one of the interesting things that I have found is that these recipes circulated among different ethnic and social groups.  There was a constant lack of medical professionals within the colonies and, as a result, people developed their own systems of healing that reflected the social make up of local communities.  In the case of the Yucatán, this meant that natives, African peoples, and Europeans exchanged ideas and practices. As such, I treat these remedies as democratic records that show everyday exchanges and encounters.

We’re excited about new developments here at the Recipes Project. What kinds of posts are you hoping to commission for the RP

As a longtime collaborator (and fan) of the Recipes Project, I am very excited by this new role. Having written for and occasionally edited for the site in the past, I am really thrilled to have the opportunity to actively shape its future directions.  As a Latin Americanist interested in everything from ancient practices to modern traditions, I hope to continue to highlight the breadth and depth of work being done on the Spanish and Portuguese worlds.  My aim, at some core level, is to bring together scholars regardless of the geographic divisions that are often ingrained in our professional and academic training. For me, the Recipes Project is a venue to create connections and foster collaborations about scholarship and teaching through the hybrid of traditional and digital mediums.  I have to say, though, that I am really just excited to try to bring people together from diverse backgrounds and approaches.