Banishing the Armpit Goats: Body Odor in Ancient Rome

By Cari Casteel

Cari Casteel is currently working on a manuscript on the social and cultural history of deodorant, based on her dissertation, “The Odor of Things: Deodorant, Gender, and Olfaction in the United States.”Beginning in the fall she will be joining the history department at the University at Buffalo as a Clinical Assistant Professor. You can find her on twitter @thedeodorantone.

Figure 1: Advertisement for Mum deodorant illustrated by Don Herold. Esquire April 1939, 166.

“Remember that night in 1933, Ed Snootz came to the Club Dance with that cave-man aroma? … Just let a man forget himself for one evening and come to a party with a slight case of perspiration fumes and his name is Mr. Goat.” This selection from a 1939 advertisement for Mum—the first commercially available deodorant—reprimanded the fictional Snootz for his body odor.

Many early deodorant advertisements actively shamed consumers into purchasing their product. Men and women were told that if they did not wear a deodorant it would lead to other failures: in love, friendship, and business. In the case of “Mr. Goat” his faux pas was so egregious that women were talking about it 6 years later.

As I write this from the comfort of my airconditioned office, the outside temperature is 90°F. The moment I venture outside, my body will begin to perspire in order to regulate its temperature. One unpleasant side effect of this perspiration is underarm odor. No need to worry, however, because in the 21stcentury, we have a vast array of deodorants and antiperspirants created to banish body odor.

A commonly held refrain about deodorant use is that because of these scolding advertisements consumers were duped into buying a product to hide perspiration and the accompanying offensive odor. While this is not entirely untrue, it is not the whole story. Mum deodorant was not the first—or even the hundredth—attempt to tone down the “cave-man aroma” described by the ad. As long as people have existed, they have worried about their appearance and smell. While the custom of wearing a commercially produced deodorant is rather new—about 130 years—attempting to combat fetid odor is as old as mankind.

Figure 2: Statue of Barberini Faun located in the Glyptothek Munich. Image credit Wikimedia Commons

The Romans particularly worried about foul body odor and worked fastidiously to keep their bodies clean and smelling pleasant. Just as the Mum advertisement shamed Ed Snootz for his lack of deodorant use, Roman playwrights and poets rebuked and joked about malodorous men and women. This can be seen –and smelled—in an epigram by Catullus:

Rufus, you are being hurt by an ugly rumor which asserts

that beneath your armpits dwells a ferocious goat.

This the women fear, and no wonder; for it’s a right rank

beast that no pretty girl will go to bed with.

So either get rid of this painful affront to the nostrils

or cease to wonder why the ladies flee. (Carmina 69)

Rufus—much like his 20th-century counterpart Mr. Snootz—had failed to practice proper hygiene and as a result could not find a female companion. Throughout Roman texts, foul body odor was described as goaty (hircus) and connotatively undesirable. Roman citizens took pride in their appearance and viewed their perceived cleanliness as a mark of superiority over other civilizations.

In a scene from Plautus’ Pseudolus, two characters gossip about a newcomer from Greece.

Pseudolus: But this servant, who is come here from Carystus, does he smell of anything?

Charinus: Yes, of the goat under his armpits.

Pseudolous: It befits the fellow, then, to have a tunic with long sleeves (2.4.46-49)

Much in the same way that 20th-century deodorant advertisements sought to correct a behavior, Roman prose and poems—such as those by Catullas and Plautus—used satire to poke fun at foul odors, but also as a way to educate and encourage cleanliness. Ovid, in The Art of Love, cautioned readers against offensive underarm odor, writing “I warn you that no rude goat find its way beneath your arms” (3.193). Ovid continued by recommending removing underarm hair and using powders to keep the body free from odor.

The Romans had countless remedies for dealing with perspiration odor. For example, In Natural History,Plinyrecorded a number of solutions for dealing with goats under the armpits. One method for combating body odor was a combination of rue, aloe, and rose oil boiled together and then dabbed on the offending areas (20.51). Another—slightly more fitting—recipe was a concoction made from the ashes of goats’ horns mixed with oil of myrtle, and then rubbed all over the body (28.79). While these solutions might not have checked perspiration, the scented oils would have helped mask the goaty odor.

Most significantly, when it comes to halting foul odors in the 21stcentury, the Romans recorded some of the earliest instances of applying alumen—the main ingredient in many antiperspirants today—as a deodorizer. Roman recipes for alumen as a preparation for halting armpit odor range from, bathing in a mixture of two parts honey and one part alumen, to placing unadulterated alumen stones in the armpits until the odor disappeared (35:52).

For over 2000 years, foul body odor has been a topic of conversation, a location for shame, and a way to assert superiority. Whether in ancient Rome or the present-day United States, dealing with goaty armpits has been a priority for many men and women. If you wear an antiperspirant, next time you apply it, you can thank the Romans.

True but not Tested: Experimentation in the Apothecary’s Shop

By Valentina Pugliano

Testing and standardization are firmly entrenched in the pharmacological imagination of western biomedicine and its public. Before a new drug can be put on the market, the U.S. Food and Drug Administration demands five rounds of trials. Approximately 70% of new ‘recipes’ fails to pass the first round. Similarly, the European Medicines Agency maintains a database of adverse drug reactions (EudraVigilance) which, growing of one million entries yearly, is used to monitor all pharmaceuticals on sale across the European Economic Area. Meanwhile, the media seizes upon the perils of untested cures as if on morality tales, policing the boundaries of modern science from potential intrusion from the miraculous and the charlatanesque.

Yet, can the same be said of premodern drug manufacturing? Was a drug’s efficacy established by testing? And what did ‘testing’ recipes even mean in the sixteenth and seventeenth centuries? When these questions were suggested at Elaine Leong and Alisha Rankin’s Testing Drugs, Trying Cures Workshop in 2013, I began to look for answers among those early modern medical practitioners who most closely resemble the pharmaceutical industry of our times, combining the manufacturing of a Glaxo Smith-Kline and AstraZeneca with the retailing of Boots and Walgreens: apothecaries. [1]

Pharmacy shop, Tacuinum sanitatis, 16th century (BNF, MS Latin 9333, fol. 51v).

While not corporate giants, apothecaries thrived in every large hamlet and town of Italy, reaching spectacular numbers in metropolises like Rome, Naples, and Venice. Unlike free-lance alchemists and empirics, they belonged to the city’s official infrastructure of healthcare: they worked from a licensed shop, trained through formal apprenticeship and, like physicians and surgeons, belonged to a professional association or arte. This ‘trade brotherhood’ gave them bargaining powers but also subjected them to standardization rules and quality controls. As disgruntled masters testify from the archives, in severe cases of infraction the apothecary could see the remedies he had belaboured on for weeks thrown into the gutter or burnt to ashes.

So what did it mean to have ‘correct’ remedies that passed the test of shop inspections and satisfied “God and the public good”? As a historian of artisan knowledge I have learnt that infractions, those occasions when things go (deliberately) wrong, sometimes provide the best clue to understanding which methods of doing things were considered orthodox in the crafts. Apothecaries loved to speak of the abuses supposedly perpetrated by their colleagues. In Florence, for example, they conned customers by mixing expensive guaiac wood with the bark of mulberry trees. In Mantua and Padua, those with a fever and a bad stomach better beware the Lenitive Electuary, regularly adulterated with black sugar (instead of its fine white variety) and counterfeit tamarinds (mimicked by a paste made of old cassia and badly preserved dates ).[2]


These complaints were not the only ones to be voiced, but they are telling. They are not motivated by protestations from patients, who are remarkably absent from the writings of early modern apothecaries. Nor are they driven by doubts about the method employed to make the remedy from a set of instructions. While household experimenters and professors of secrets were always seeking new formulas and ways to stabilise them, the corpus of remedies sold in sixteenth-century Italian pharmacies was fairly stable, and so were their recipes.

What these criticisms suggested, rather, was that medicinal ingredients possessed a purity, and that this purity had been tainted. The rogue apothecary had played around with the ‘honesty’ of simples, diluting their strength or altogether replacing the ‘sincere originals’ prescribed in the recipe with fraudulent alternatives (often from the kitchen pantry).

With this concern for authenticity in mind, I returned to the apothecaries’ writings, and especially to two bestselling pharmacopoeias, Girolamo Calestani of Parma’s Observations on the Antidotes and Medicaments Most Used in Italy (1562), and Giorgio Melichio of Venice’s Warnings on the Compound Remedies in Use in Pharmacy (1575). Leafing through these texts, I made a curious discovery. Repeatedly, key plant and mineral ingredients in their recipes were referred to according to their reputed truth or falsity: e.g. “true cinnamon”, “true rhaponticum”, “false stibium”, “false balsam”. Repeatedly, apothecaries stressed the importance of sourcing these authentic materials, while their absence was said to ruin the preparation.

Even the use of substitutes began to be criticised. The practice of substituting one ingredient with another possessing similar qualities (quid pro quo), usually a local simple for an exotic import difficult to acquire, had been necessary since antiquity. Yet, the changing attitude to substitutions in the sixteenth century is summarised well by the Neapolitan physician Bartolomeo Maranta: “Substitutes are an abuse.” Never more so than for Theriac, the most celebrated antidote of Italian pharmacy and the toughest to prepare with over sixty ingredients. A Theriac with substitutes instead of true ingredients, Maranta declared, “will be itself in a certain way sick”.[4]

How should we interpret such appeal to the truthfulness of ingredients? At a superficial level, we can understand the apothecary wanting to reassure the public of the genuineness of his wares. After all, practitioners of pharmacy were often portrayed as profiteers and cheats. But, as I argue in my article “Pharmacy, Testing and the Language of Truth in Renaissance Italy,” something else had changed between the medieval period and the 1540s, when this terminology of trues and falses appears: Greek and Roman books on materia medica were reintroduced into western Europe. It is well known that the reappearance of Dioscorides’s On Medicinal Plants, Theophrastus’s On Plants and Pliny’s revised Natural History created as many problems as it solved for those who wished to implement their teachings. Many of the Mediterranean and Levantine simples described in them remained entirely unavailable during the sixteenth century, while many others were plagued by problems of identification and nomenclature.

My sense is that this ‘Language of Truth’ was an intervention into this state of affairs. It helped the apothecaries get a grip on which was which among rare ingredients, and reflected their aspiration, shared with many contemporaries, of restoring the wisdom of the ancients. It also showed the increasing influence on pharmacy of the contemporary botanical renaissance and the ethos of naturalists who, for the first time, put nature in the foreground, liberating flowers, trees, animals and rocks from the need to be useful.

Crucially, authenticity came to replace experimentation. As ingredients acquired more importance in the apothecary’s mind, the efficacy of the recipe began to be pegged to their presence and quality. Providing the remedy contained the true, correct ingredients its efficacy and fitness for human consumption would be guaranteed, with no need to involve test subjects or pursue the feedback of patients and colleagues. How much this ‘testing by truth’ differed from modern-day trials becomes clear when we turn to the contemporary idiom of the pharmaceutical industry: it is as if the apothecaries’ R&D stopped at the preclinical stage.



[1] V. Pugliano, “Pharmacy, Testing and the Language of Truth”, Bulletin of the History of Medicine 92/2 (2017): 233-273. See also the other articles in the same issue of BHM.

[2] Ricettario Fiorentino dell’Arte dei Medici e Spetiali di Firenze (Florence, 1574), pp. 45, 74; Giovanni Antonio Lodetto, Dialogo degl’inganni d’alcuni malvagi speciali (Padua, 1572), pp. 21-22.

[3] Giorgio Melichio, Avvertimenti nelle compositioni per uso della spetiaria (Venice, 1601), pp. 27-28.

[4] Bartolomeo Maranta, Della Theriaca et Mithridato libri due (Naples, 1572), p. 33.



Consumers of the Exotic: summary of a workshop in Cambridge, April 5-6, 2017

By Emma Spary and Justin Rivest

By Reede tot Drakestein, Hendrik van,1637?-1691 [Public domain], via Wikimedia Commons
The project “Selling the Exotic in Paris and Versailles, 1670-1730”, running in the Faculty of History at the University of Cambridge, and funded by Leverhulme Research Grant 2014-289, held its planned workshop in April this year. Its theme, “Consumers of the Exotic: European commerce and the consumption of exotic materia medica, 1670-1730”, brought together a group of international scholars working on these questions in a broad variety of European contexts.

Our goal at the workshop was to produce a comparative picture of the ways in which exotic plant materials were processed, bought and consumed in Europe. Why did European consumers buy—and more significantly ingest—exotic plant materials? What did exoticism mean to them? While recent work has focused on colonial bioprospecting and the appropriation of indigenous knowledge, our aim was to investigate demand within Europe itself, exploring divergences and similarities across contexts. The choice of a restricted timespan—the decades around 1700—provided a baseline for comparison of drug production, sales and consumption in different cultures. Alexandra Cook (University of Hong Kong) kicked off the programme with a study of a proprietary drug, Garcin’s “Maduran pills”, sold around Europe in the early eighteenth century by an entrepreneur whose Protestant faith led to a complex intellectual and commercial itinerary. Cook argued that exotic ingredients were not necessarily a selling point for eighteenth-century patients. Harun Küçük (University of Pennsylvania) provoked us to think about the complexity of defining the exotic, and the importance of a multi-perspectival view of the history of drugs: Ottoman healers associated New World exotica like cinchona bark and ipecacuanha root with French medicine, since these substances often reached them via French commercial and intellectual networks. Continuing the global theme, Samir Boumediene explored the place of drugs in the missionary activities of the Society of Jesus. The decades around 1700 represented a decline in the relative importance of Jesuits in the global drug trade, as new players came to disrupt their initial privileged position.

Šebestián Kroupa (University of Cambridge) offered a counterpoint to the workshop’s focus on European consumption by exploring the supply of European drugs to transplanted European populations—Manila in the Philippines. European drugs were in fact imported in large volumes to this “exotic” locale; little attention was paid to the pursuit of plant substances that might be commodified in the metropole, an exception being the Saint Ignatius bean. Victoria Pickering explored the diverse trajectories, contacts, and exchanges that were necessary to assemble the massive collection of exotic plant substances of Sir Hans Sloane.

Moving to early modern Russia, Clare Griffin suggested that its unique geographical connections—in the form of a land route between Europe and the Far East—led commentators to represent distant substances and peoples as subject to incorporation into the Empire, rather than “exotic” in the sense of “foreign”, as the case of rhubarb showed. Paula De Vos concluded the first day with an account of Palacios’ prominent 1706 pharmacopoeia. Early modern Western pharmacy was indebted, for its materia medica, to the Indo-Mediterranean world rather than the continent of Europe. The slow appropriation of new drugs spread outwards from this Indo-Mediterranean core to the Silk Roads, the Indian Ocean, and eventually the Atlantic world.

On day 2, Laia Portet explored the architecture of exoticism in printed French materia medica. Where familiar European plants tended to be classified alphabetically, unfamiliar exotics were classified by parts (roots, barks, leaves) since this was the form in which they entered the European marketplace. Emma Spary used a case history of an exotic aromatic, cinnamon, to point up the disjuncture between textual, material and empirical knowledge of drugs, a conundrum for medical experts, market regulators and individual consumers. Hjalmar Fors provocatively suggested that for early modern Europeans, “the exotic” primarily evoked traded material goods, including spices and drugs, rather than foreign peoples or distant geographies. Lack of knowledge about the places of origin of drugs was critical to a substance remaining “exotic” in European eyes.

Justin Rivest spoke of the encounter between political power, the emerging state and the large-scale administration of drugs in France, looking at how personal trialling of drugs by successive ministers of war led to a centrally administered programme of dispensing exotic drugs like tobacco, quinquina and ipecacuanha to French troops. In a very different take on the end-user, Wouter Klein introduced us to the uses of print culture as a research tool for relating newspaper advertising and ships’ cargoes of drugs in the Dutch republic after 1700.

Several common themes emerged from the papers. It seemed that “colonial bioprospecting” had its limits as a way of understanding European engagement with non-European materia medica. Most substances discussed did not reach Europe thanks to state intervention, but rather were trafficked by a heterogenous set of actors: missionaries, trading company officials, entrepreneurial merchants and court physicians. Many papers also showed that “exoticism” was not necessarily inherently desirable. A drug’s value was established through consensus-building over time. Furthermore, “exoticism” was a relative, context-specific category, subject to change, not solely a feature of geographic origin, or of a core-periphery relation between European metropoles and their colonies. The papers demonstrated that exoticism was also, perhaps largely, a product of degrees of familiarity and unfamiliarity, which varied widely across different European contexts. In sum, rather than being inherently valuable objects of appropriation, exotic drugs were socially constructed goods.

Bright Red, Dark Red: Coral’s Color-Coded Virtues

By Jennifer Park

I have long wanted to explore the fascination with coral as an ingredient in the history of science and medicine. Laurence Totelin wonderfully began her post on the use of coral in an ancient amulet by placing coral “centre stage,” noting its curious and complex categorization as animal, plant, or stone, and bringing attention to the other posts in which the red ingredient has cropped up. In tandem with these fascinating mentions of coral, I have been struck for years by a remarkable image in the medieval French Livre des simples médecines which depicts coral on an apothecary’s shelf in a beautiful, vibrant red.

Livre des simples médecines, Paris, Bibliothèque Nationale, MS n.a. fr. 6593, fol. 12322.

In this post, I’d like to focus on coral’s red color, a key indicator of the ingredient’s effectiveness, and its naturally occurring virtues as explained in early modern texts. In his medical treatise, translated into English as Paracelsus his Dispensatory and Chirurgery (London,1656), the physician Paracelsus provides an entire treatise on “the Vertues and Preparations of CORALS.” From the start, Paracelsus’s examination focuses on the color of red coral, determining two main kinds: a “dark red colour, or toward a purple colour,” and “a bright, shining red colour” (39). It is the quality of the redness of coral, Paracelsus insists, that indicates its virtue and effectiveness.

Coral that has the “clear, bright, shining red colour”—and additionally which is “full of boughs, and no where broken”—is “full of power and vertue” (40). This virtue is lessened if the coral has “clefts” or is missing parts. Paracelsus uses this to begin his analysis of color differences in coral, and how those color differences indicate the use value of the coral in a number of different remedies.

Paracelsus’s starting premise is that the corals that have the bright red color are “pleasant and delectable,” while the “dark red” or purple are “not pleasant to the eye” (40). Correspondingly, Paracelsus advises that if you carry coral with you, one should “chuse and love the bright Coral,” but “beware…the dull, dark Coral” (40). This leads to Paracelsus’s emphasis of the role of color in distinct affective differences in coral. “As joy differs from sorrow, and laughing from weeping” he outlines, “so these two sorts of Corals differ the one from the other” (40). Therefore, a “sick or weak man, who would have his heart merry and joyfull” would “increase his disease and sadnesse of heart” were he to carry with him the darker colored coral (40-41).

In addition to the affective differences in brightly or darkly colored red coral, the redness of the coral, according to Paracelsus, serves to address one’s susceptibility to various mental, psychosomatic, and spiritual concerns. For example, bright red coral is “good to quicken Phansie, or imaginative faculty” (41), which helps to aid the “studie of Secrets, of Arts and Sciences, and new Inventions” without tiring the mind (41). This is because bright red coral prevents the mind from being infected by “the Divel,” or with “impurity, wickedness or vanity” (41); the dark red coral, however, “doth the contrary” (41).

Bright red coral also protects against “Phantasms, or nocturnal spirits” as well as “vain visions, or vain sights, call’d Spectra” (41). Phantasms and nocturnal spirits were believed to be both good and bad, related to nightmares. Though not of much use to humans, these phantasms were cumbersome in that they could trouble one’s thoughts. Bright red coral provides a remedy, as these phantasms “fly from these bright Corals as a dog from a staff,” although one must beware of the darker colored corals which, in contrast, attract these nocturnal spirits (42). Spectra, on the other hand, are ghosts, or as Paracelsus describes, the “Starry bodies of dead men” (42). These ghosts “cannot endure to be where the bright Coral is,” and thus bright red coral can be used as protection from them. In contrast, however, “dark coloured Coral allures” the ghosts (42).

It is perhaps due to the influence of bright red and dark red coral on both psychosomatic and supernatural afflictions, the spirits and ghosts that can plague early modern minds, that it also gains the reputation of aiding with melancholy. Melancholy, according to Paracelsus, is “a disease which makes a man sad whether he will or not; that he grows weary of every thing, and becoms dull: and by his diverse thoughts and speculations makes him grieve and weep” (43). Bright red coral is able to drive melancholy away, whereas the dark red coral increases melancholy.

Indeed, the early modern description of these virtues of a coral’s redness fits with the ways in which we ascribe affective significance to colors. The vibrancy of red coral thus contributes to its use in recipes that draw upon its redness, not only for its affective influence but also for its sympathetic properties, like the blood staunching remedies of antiquity that Laurence Totelin brings to light and the eighteenth-century bloodstone that Marieke Hendrikksen examines. As Paracelsus himself exclaims, “the mysteries and secrets of Corals are wonderfull” (51)!