Revisiting Jennifer Park’s The Recipes of Cleopatra

Welcome to the August 2020 Edition of the Recipes Project! All month we will be revisiting posts from our archives and exploring the intersections of race, medicine, sexuality, and gender in recipes. First up: we’re delighted to re-post Jennifer Park’s brilliant 2014 piece on the ways that the figure of “Cleopatra” was imagined in early modern Britain. Seen as an expert in medicine, science, surgery, and beauty, this historical figure was placed alongside canonical white men like Galen and Asclepiades. For early modern British readers, “Cleopatra” offered sound medical advice and a sense of respected authority. –AH

By Jennifer Park

In Robert Allott’s edited prose commonplace book, Wits Theater of the Little World (1599), he introduces a section on beauty with this line: “Cleopatra writ a booke of the preseruation of womens beauty.”[1]

Cléopâtre (étude) by Alexandre Cabanel, at the Musée des Beaux-Arts - Béziers. Image available on Wikimedia Commons.
Cléopâtre (étude) by Alexandre Cabanel, at the Musée des Beaux-Arts – Béziers. Image available on Wikimedia Commons.

Today’s post is an introductory foray into the figure of Cleopatra as an apparent source of medical knowledge in early modern England, with recipes that apparently come from the “Book of Cleopatra.” During the time when Shakespeare was believed to have been writing Antony and Cleopatra, Cleopatra’s book was mentioned in a range of early modern works. What’s fascinating about the recipes attributed to Cleopatra is that they appear in a wide range of works, from secrets to cosmetics to surgery and medicine to natural history and the natural sciences.

To provide a brief example, I’ll begin with a few recipes that dealt with the problem of hair loss, found in a work on surgery, as well as in a work on, surprisingly, insects. The first is physician Thomas Bonham’s The Chyrurgian’s Closet (1630), a posthumously published compilation of his medical work.[2] Cleopatra is listed as one of the “Authors of this Worke,” and is referenced in two brief unguent recipes to restore hair growth, a concern explored for the early modern period by Jennifer Evans and for Graeco-Roman antiquity by Laurence Totelin. The first recipe is for greater ease of hair renewal and growth:

Rx. Cort: arundinis, & Spuma nitri, ana {ounce} ss. picis liquida, q. s. f. vng. *. To restore hayre in an inueterate Alopecia [or baldness]. It will be [ B] very profitable daily to shaue the place, and to rub it with a lin|nen cloath, and then to anoint it, by which meanes the hayre will grow with more speed. Cleopatra. [3]

The other is to preserve hair from falling:

Rx. Brassicae aridae, q.s. stampe it cum aq: q.s. vnto the forme of an vng: *. To preserue haire from falling. Cleopatra. [4]

Cleopatra’s expertise in this domain also appears in Thomas Moffet’s work on insects, which was completed in manuscript form in the 1590s and posthumously published. In his section “On the use of Flies”, Moffet mentions a recipe purportedly contained in Cleopatra’s book in which flies are used to treat baldness.

Title page of Thomas Moffett's work on insects, posthumously published. Image available on Wikimedia Commons.
Title page of Thomas Moffett’s work on insects, posthumously published. Image available on Wikimedia Commons.

For Galen out of Saranus, Ascle|piades, Cleopatra, and others, hath taken many Medicines against the disease called Alopecia or the Foxes evill; and he useth them either by themselves or mingled with other things. For so it is written in Cleopatra’s Book de Ornatu. Take five grains of the heads of Flies, beat and rub them on the head affected with this disease, and it will certainly cure it. [5] 

[Nam Galenus é Sarano, Asclepiade, Cleopatra, & aliis, medicamenta contra alopeciam exscripsit: iisdénique nunc solis nunc mixtis usus est. Sic enim in libro Cleopatrae de ornatu scribitur: R. muscarum capita.g.v. contere et affrica capiti alopeciâ laboranti, & certò sanabitur.] [6]

That Thomas Bonham and Thomas Moffet, who practiced medicine around the turn of the seventeenth century, both reference Cleopatra for these hair-related remedies establishes that they took for granted Cleopatra’s perceived expertise in this area.

Cleopatra’s medical knowledge primarily passed into early modern use through the work of Galen, the Greek physician whose work on the four humors would form the foundation of early modern medical beliefs about the body. Laurence Totelin, for example, provides an example of a recipe in Galen’s work, excerpted from “Cleopatra’s Cosmetics”. The figure of Cleopatra closer to her time was, it turns out, a figure closely associated with cosmetics, gynaecology, and alchemy. That Shakespeare’s Cleopatra—Cleopatra VII, former Queen of Egypt—was probably not the actual author of these receipts seems not to have mattered much for their transmission. Totelin documents a few such Greek cosmetic recipes that used her name and convincingly reads Cleopatra in early Greek medical writings as an example of medical authors claiming famous women as an authority for gynaecological and cosmetic remedies. The attribution of Cleopatra as the author or source of recipes in the early modern period is, I suspect, the inheritance of this practice put into use in posterity. Since the beginning, then, it seems that Cleopatra’s reputation has exceeded her.

What we get is a female figure whose relationship to medicine and to recipe-culture throughout the centuries was quite different from that of the early modern woman. Rather than having to develop and prove expertise in culinary, medical, and pharmacological knowledge by experimenting with receipts, as early modern women did, Cleopatra in the early modern period was already held to be a figure of medical authority. During a time when women were carving a place for themselves in the domain of household physic, Cleopatra may have been a shining example of a woman memorialized through her recipes as evidence of her medical expertise.

[1] Robert Allott, Wits Theater of the Little World (1599),75v.

[2] Thomas Bonham, The Chyrurgians Closet, or, An Antidotarie Chyrurgicall (1630).

[3] Bonham, 283.

[4] Bonham, 283.

[5] Translation quoted in John Uri Lloyd, “Ancient Therapeutics,” The Eclectic Medical Journal 76.4 (1916), 177.

[6] Thomas Moffet, Insectorum, sive, Minimorum animalium theatrum (1634), 71.

Waste Not, Want Not: Physics and Fruitcakes

By Simon Werrett

In 1767, the Winchester writer Ann Shackleford gave a recipe for clear fruit cakes in her Modern Art of Cookery Improved (1767). A candied fruit juice should be placed ‘upon glass plates, or pieces of glass’ and dried in a stove or oven, ‘or by setting them in a window where the sun comes, keeping the window shut’.  In 1666 Isaac Newton bought a triangular glass prism and after darkening his room, he let in a beam of light through the window shutters and passed it through the prism. This created a spectrum of colours, and when Newton passed one coloured beam through another prism, with no change, he concluded that white light was made up of a series of fundamental colours.

Newton’s scientific experiment. Light dispersing through a triangular prism. Image credit: D-Kuru/Wikimedia Commons.

What is the difference between these two performances? In one sense the answer is quite obvious – one is a cookery recipe, and the other is a famous scientific experiment. One is not very interesting – unless you like fruitcakes – and the other is a profound moment of human discovery. As Alexander Pope famously wrote, ‘Nature and Nature’s laws lay hid in night: God said, Let Newton be! and all was light’. But there are many similarities. Both happened at home – Shackleford’s recipe would presumably be done in a kitchen and Newton did his experiment at home in Woolsthorpe Manor, Lincolnshire, and in Trinity College, Cambridge. Both made use of glass items that were ready to hand (prisms were a toy and Shackleford was probably using pieces of old bottles or glasses). Both used a window to manage light, either in terms of generating a beam of light or to dry out the fruitcakes. Both Newton and Shackleford wrote accounts of these events so that someone else could repeat them.

In fact recent research by historians is revealing how early modern householders might not have viewed these two episodes as differently as we do today. People in the seventeenth and eighteenth centuries viewed both Newton and Shackleford’s activities as ‘experiments’. Experimenting was something expected at this time of all good householders. Books of advice on ‘oeconomy’, or household management, encouraged ‘thrift’, which meant not so much saving money as finding a balance between buying new and making good use of the things one already possessed. Thrifty householders should make a point of finding out new uses for things and looking after them to ensure they could be useful for as long as possible. So men and women recorded recipes for cooking, cleaning, gardening, and making medicines which might be carried out by all the family. Contemporaries called this an experimental enterprise, because it involved trying out recipes, testing cleaning methods, trialling medicaments, and figuring out what you could do with old and broken possessions. In 1662, for example, the writer on oeconomy Hannah Woolley published a recipe book called The Ladies Directory, in Choice Experiments & Curiosities of Preserving in Jellies And Candying both Fruit & Flowers. Newton and Shakleford were both householders, and from this perspective of thrifty household management they were both experimenters. They were both finding out new uses for things (prisms, broken glass, light, fruit juice), and they both ‘made use’ of their homes (windows, sunlight) as a kind of experimental apparatus.

Kitchen ‘experiments’. Gerrit Dou, Woman Pouring Water into a Jar (c. 1655). Image credit: Wikimedia Commons.

Of course we don’t remember Newton and Shackleford today as doing the same thing: far from it! Why is that? It seems that in the seventeenth century, some male householders decided to take these family experiments outside the home to new places like universities and academies where they argued that domestic know-how should count as a form of scientific knowledge. Science already took in things like mathematics and astronomy, but it was controversial to say that mundane everyday knowledge of the kind found in household recipe books should count as science. The seventeenth-century chemist Robert Boyle, for example, explored the optics of eggwhite bubbles and experimented with eggs, coriander seeds, distilled liquors, wine, beer, vegetables, jars of oil, and vinegar. Contemporary wags lampooned him for investigating the phosphorescence seen in rotting fish and meat because this wasn’t the sort of thing normally associated with doing science. Nevertheless, over time, men like Boyle divorced elements of domestic knowledge from their original homely settings and ‘experiment’ came to be seen as an exclusively scientific, and male, enterprise.

While most experiments happened at home in the seventeenth century, by the nineteenth this new profession of ‘scientists’ built specialised laboratories and insisted that kitchens, parlours and basements were no longer acceptable as spaces to investigate nature. Today we find it hard to imagine a time when cooking fruitcakes and studying light could be seen as a similar sort of inquiry. But for early moderns, household oeconomy encouraged making use of things to find out what they could do. That could mean exploring light or inventing new recipes for fruitcakes. Recognising this demands a new recipe for the history of science: if we want to understand experimenting, we’ll need to pay more attention to the home as a place where people studied nature, and we’ll need a bit more room for forgotten female writers like Shackleford.

Recipes and the “Weird”: A Halloween Rumination

By Jennifer Munroe

Henry Fuseli, Weird Sisters (1783).
Henry Fuseli, Weird Sisters (1783).

We might recall Shakespeare’s “Weird Sisters,” the seemingly-sinister witches from Macbeth. Their “Double, double toil and trouble” resonates in our memories as it does in their incantation before Macbeth: “Double, double toil and trouble: / Fire, burn; and, cauldron, bubble” (4.1.20-21). As All Hallow’s Eve approaches, it seems to me useful to revisit their charms; or, as it were, how we might use our sense of Macbeth’s witches to rethink some of the more unsavory of ingredients in early modern recipes, and how we might use these recipes to rethink our assumptions about the witches.

The Weird Sisters’ “hell-broth” includes such mammalian and amphibious creature parts as “eye of newt,” “Gall of goat,” “Adder’s fork,” “Wool of bat,” and “tongue of dog.” Macbeth is appalled at the concoction they brew, and, as it seems, so are audiences (especially modern).  The witches, so often portrayed today as elusive, macabre, dangerous, even grotesque, have been written into our modern imagination as integral to the darkness engulfing Dunsinane.

But what if their witchy-work is not-so-sinister after all? What if they simply get a bad rap? After all, it is Macbeth who does the killing in the play; they merely prognosticate his actions.

I turn to the manuscript recipe book of Rebeckah Winche, a contemporary source, though not of the kind we typically turn to when we ask about early modern witchcraft. For that, we more often go to Reginald Scot’s Discoverie of Witchcraft (1584) or the like. However, such animal ingredients were not uncommon in early modern recipes; and in those books, they certainly do not denote the dark arts. In Winche’s book, we find a series of recipes for “The King’s Evil,” Scrofula (or, tuberculosis), one that helps to identify the disease, and two to cure it:


A redy way to know the deseas called the Kings

Take a grownd worme & lay itt alive to the place greved &
take a green docke leafe or 2 andlay them upon the worme
& bine them to the place at night when the patient goes to
bed & if it be the kings evill itt will turne to dust or poud
=er by the morning otherwise it will remayn dead in his owne
former forme as it was a live

A perfect remydy to cure the desease called the kings evill
Take an ounce of pure yellow bees wax or something more
& an ounce uenice turpentine a good quantity of sheepes
suet clarified. boyle them alltogether & when thay are well
boyled put therein 2 good handfulls of the purest barly flower
clear without weedes then temper this flower with the other
things. then put therein 3 spoonfulls of the urin of a man
childe he being not above 3 years olde then boyle it agane
put itt in some earthen or gally pot & stop itt close, keepe it
for your use: when you use it spread it on a peece of fine
linin or on lether and lay it on the sore plaster waise &
by gods helpe it will cure the patient

A nother for the same deseas
Take a live toade & cut of one of her hinder legs
sewe it up in a pece of silke & hange it presently about the
neck of the party greeved. observe if it be a boy or man that
is greeved then a girl or woman must kill the toade but if
a girle or woman be ill then a man must kill it
this hath cured many however if doth sertanly help the other
remydy or any other you shall apply to the sore (if any) to
worke the better efect & sooner cure.

To diagnose “The King’s Evil,” one is instructed to lay a live worm to the aggrieved area, to fix to the unfortunate worm to  “green docke leafe” and wait to see whether the worm desiccates or remains plump (but still deceased) to determine whether the patient is indeed infected.

And to cure “The King’s Evil,” should the patient (and the worm) be so unfortunate, the practitioner summons not the powers of the otherworld, but the urine of a man-child… or the pieces of a toad, who is taken alive and dismembered, removing one of her “hinder legs,” which is then sewn into a silk parcel and hung from the patient’s neck. If a male patient, a woman kills the toad; if a female patient, then a man.

Certainly, this diagnosis and cure might strike some as hocus-pocus, drawing on superstition more than sound medical training and having no more validity than, say, snake oil or verging on something much darker. However, early modern medicine is flush with examples of such diagnoses and cures, and its practitioners appeared quite ready to employ them.

While early modern men and women used these cures as healers and patients, this sort of household medicine was also (and increasingly) understood as inferior relative the professional medicine of scientists and doctors, as practice not to be trusted—or, as we see so often in depiction of witches, as that which ought make us suspicious of its source and its agents.

So what is it about domestic medicine and cookery that has lent itself to this sort of denigration, or the fear associated with witchcraft that enables its marginalization? After all, early modern domestic medicine is not unlike modern herbal medicine, both of which have been relegated to inferior practice, nudged out by codified and “professional” modes of healing that tend to privilege machinery over touching, pharmaceuticals over tinctures and teas.

By juxtaposing Macbeth’s “Weird Sisters” with the recipes from the Winche book, both of which contain what are often associated with “witchy” ingredients, we focus less on the contents of the concoctions. Instead, we are forced to see the ways in which both highlight ways of knowing that are not easily quantified; this is not the ostensible “objective” knowledge of (early modern) science, but something more murky.

This does not mean they are at best silly frivolities and at worst sinister machinations. For Macbeth’s witches are guilty of nothing more than “knowing” (or foreknowing, since they merely predict his actions); they no more dictate Macbeth’s murderous ambitions than he can direct their appearances and disappearances. Early modern recipe practitioners who administer the earthy worm, who collect and pour the spoons full of man-child urine and dismember the toad and make a modern reader say, “Ew,” arguably did no less to diagnose and cure tuberculosis than the scientists of the day.

And as these amateur practitioners worked their medicine, they were necessarily called upon to observe their patients (and their ingredients) in ways that professional doctors and scientists were beginning to move away from: their tactile contact with worm, toad, urine, human skin, and the intensive observation within natural surroundings (rather than a lab) meant that they had to look, listen, and touch differently. Rather than in the laboratory, such amateur practitioners adapted their cures on site, modified their medicine according to individual need (see the many recipes “for another”) rather than generic conditions.

And so, I wonder if on this All Hallow’s season we might take the opportunity to revisit what seems “weird” about the sisters, and how the ingredients and practices of so many early modern men and women, might help us revisit the seemingly strange aspects of medicine in the period and its relation to its ostensible opposite, science. For in these recipes, the strange, the “weird,” may indeed be the very thing that we have made alien—the intimate connections between person and patient, between animal or plant and human, between self and Other–rather than what has in fact been alien all along.