The Curing Chocolate of Antonio Colmenero de Ledesma of 1631

By R.A. Kashanipour

 
The Indies, personified as a maiden, give the gift of chocolate to the Atlantic world, personified as Poseidon. Front piece to Antonio Colmenero de Ledesma’s, Chocolata Inda, Opusculum de qualitate & naturâ de Chocolatæ (Nuremberg, 1644). Image courtesy of the John Carter Brown Library.
“The number of people who drink chocolate is vast,” wrote the seventeenth century Spaniard, Antonio Colmenero de Ledesma, “not only in the Indies, where the beverage originated, but also in Spain, Italy and Flanders, and particularly in the royal court.”  In the early modern world, the consumption of chocolate was ubiquitous across the Americas (as noted here).  According to Colmenero de Ledesma, a physician and surgeon who traversed the Atlantic to explore colonial Spanish medical practices and remedies, chocolate represented the great gift of the Indies (see image above).  

In Colmenero de Ledesma’s 1631 account titled Curioso tratado de naturaleza y calidad del chocolate , which represented the first full-length printed account dedicated to chocolate, the surgeon celebrated the beverage and confectionery for its healthy and healing qualities. “My desire,” he noted in the opening of the work, “is for the benefit and pleasure of the public, to describe the variety of uses and mixtures so that each may choose what suits their ailments.” Borrowing from indigenous traditions in Mesoamerica, chocolate fit a variety of uses. It could be everything from a ritual beverage to a healing elixir to an everyday imbibement.

 
Antonio Colmenero de Ledesma’s Curioso tratado de la naturalez y calidad del Chocolate (Madrid, 1631). Image courtesy of the the Bibloteca Nacional de España.

By the end of the seventeenth century, chocolate was popular across the Atlantic, particularly in the Europe’s imperial capitals and Atlantic port cities.  However, in spite of its wide-spread use at the everyday level, its consumption was the subject of confusion and consternation by skeptical physicians and the learned classes. Colmnero de Ledesma noted that many Europeans of the era debated its qualities and application.  “Some people say that it obstructs, others that it makes one fat. Some say that it soothes the stomach, while others that it heats and burns. And some say that they drink it every hour, even in the long-days of summer.  I stand to defend this confection … against those that may suggest that this beverage is not good and healthy.”

Colmenero de Ledesma suggested that the consumption of chocolate was both salubrious and satiating.  In the Curioso tratado, he offered a four-part discourse on the qualities of the confection, noting its universal humoral attributes.  “Chocolate, as the Indians call it,” he wrote, managed to contain the four critical elements of heat, humidity, cold, and dryness.  It could be oily and earthy, thick and airy, moist and dry, soft and hard. As a medicament, cacao, the “principal basis” of chocolate, served as an astringent and purgative.

The key to the varied uses of the confection, however, existed in the art of its preparation. By properly incorporating a wide variety of herbs and spices from the New World, chocolate could enliven appetites, elevate moods, and conserve one’s health.  Poorly tempered concoctions could cause illness. Hinting at the Spanish disdain for the subjugated native populations of the colonies, he suggested that the chocolate could also release debilitating qualities, writing that “[t]hose that mix maize, or paniço, in Chocolate produce harmfully release melancholy humors.” Nevertheless, the artful combination of elements could produce a healthy and restorative beverage. 

Colmenero de Ledesma’s Recipe for Chocolate

To every one hundred Cacao beans, mix two large chiles of the type that are called Cilparlagua in the Indies (or you may use the broadest and least spicy chile found in Spain). Add in one handful of anise seeds along with the leaves of the herb called Vincaxtlidos and the other called Mecasuchil [mecaxóchitl], if the stomach is tight. Or, as we do in Spain, mix in the six flowers of the Roses of Alexandria, which are beat into a power.  Add one pod of the Vanilla of Campeche, two sticks of cinnamon, a dozen almonds and hazelnuts, and a pound and half of sugar. Add in enough achiote to give it color. 

To prepare the beverage, Colmenero de Ledesma suggested that the ingredients be ground on a metate, explicitly reserved for grinding cacao. All ingredients, save the achiote, were to be dried and ground individually into a powder. Begin, he directed, by grinding the cinnamon, then the chile with the anise, then moving to the others.  Next carefully mix each pulverized ingredient into the cacao a little at a time. Finally, add the achiote.  Over a low fire, the pulverized mixture is to be seared and dried into a paste, which was to be spooned onto paper or a plantain leaf. The cooled paste would form a tablet that could subsequently be dissolved with water and sugar.

Consumed cold or warm, Colmenero de Ledesma’s recipe for chocolate would invariably have something novel to the seventeenth century palates on both sides of the Atlantic. In the Americas, chocolate was traditionally consumed as a frothy, spicy beverage, free of the sweetness of modern cocoa. Colmenero de Ledesma’s recipe, however, combined herbs and spices of the New World. It is noteworthy that the university-trained Spanish surgeon appropriated and Hispanized indigenous terms, including cilparlagua and mecasuchil, and established them as key colonized aspects of the concoction.  Moreover, the addition of sugar fundamentally redefined the experience of the beverage.  Rather than taking on the earthy and bitter qualities of the cacao, the sugar would have lent an overwhelming sweetness to the beverage.  

When produced with the right art and process, Colmenero de Ledesma suggested that his recipe for chocolate could be remedial, protective, and healthy. “Through my experience in the Indes” he declared, “when visiting a sick person in the heat, I was persuaded to take a draft of chocolate, which quenched my thirst. And, in the morning, if I had fasted, it warmed and comforted my stomach.” Within a decade, Colmenero de Ledesma’s curious treatment of chocolate would be translated and published in England, France, Germany, and Italy. Chocolate, to echo his own conclusion, was “no small matter, to have pleased all.”

Bulk Medicine and Waged Labor in Eighteenth-Century London

By Zachary Dorner

In the eighteenth century, druggists, chemists, and apothecaries began producing medicines in larger quantities for sale in a variety of markets, resulting in a more coherent manufacturing sector in Britain. Making medicines at such scale typically involved labor-intensive chemical processes occurring in laboratories that resembled other early industrial spaces as sites of work. We can catch a glimpse of these spaces in images like the frontispiece of the chemist Francis Spilsbury’s Friendly Physician (1773) where two figures toil with mortars, stills, and other instruments in the background, separated from the well-organized shop in the image’s foreground. A variety of business records from period pharmacies, including wage books, inventories, and recipes, enable us to uncover a little more about those indistinct figures bent over their work.

Figure 1: Interior of a pharmacy. From Spilsbury, The Friendly Physician (1773). Image credit: Wellcome Collection, London.

The increasing concentration of labor and capital in London’s medical marketplace encouraged men and women to set up laboratories, big and small, around the city, as seen in contemporary fire insurance policies. These laboratories were no longer artisanal workshops, though also not yet the steam-powered production lines of the nineteenth century. Alchemical techniques formerly applied to the transmutation of metals found use in the production of medicines in these spaces, such as the chemical laboratory depicted in William Lewis’s Philosophical Commerce of Arts (1763). They could contain machinery for grinding, pounding, and sifting drugs (the raw materials for compound medicines), as well as high-pressure boilers and furnaces for distillation and drying. Open fires were common beneath hundred-gallon stills, evaporating pans, condensers, copper boilers, and stoves. If temperatures went unmanaged, ingredients could burn, ruining a preparation; even worse, stills could boil over or even explode. Manufacturing medicines with this equipment required significant inputs of energy, increasingly supplied by waged labor forces during the eighteenth century.

Figure 2: A view of William Lewis’s chemical laboratory. From Lewis, Commercium Philosophico-Technicum (1763). Image credit: Wellcome Collection, London.

Some traces of their daily routines can be found in recipe books from Corbyn & Company, one of the highest volume producers and distributors of medicine in London at the time. A recipe for flower of benzoin (benzoic acid, a topical antiseptic also used for a variety of internal matters) from the 1760s, for example, evokes the work of pharmacy. To start the process, several hundredweight of gum benzoin, a fragrant resin from the benjamin tree of Sumatra and Java, had to be purchased at auction and carted to the partnership’s laboratory at Cold Bath Fields where it would be pressed and milled, requiring several days, multiple men, and lots of charcoal. These manipulations were followed by 50 days purifying the resin through distillation (called rectifying). All in all, Thomas Corbyn estimated that the production of benzoin took 63 days and cost about 2 shillings per day for the work, which also included cleaning the distillation equipment, wear and tear of the machinery, and extra expenses (such as 8 weeks of beer for the workers costing 18 pence per week). These costs, nevertheless, remained relatively minor compared to the sometimes quite significant costs of raw materials, thus incentivizing production at scale.

Figure 3: Flower of benzoin costing from Thomas Corbyn’s miscellaneous papers, c. 1760, MS.5448/2, Wellcome Collection.

Corbyn & Co. shipped much of the medicine they produced, such as the hard-pressed flower of benzoin, to the overseas markets provided by imperial institutions, such as the Royal Navy, East India Company, transatlantic slave trade, and Caribbean plantations. With increasing demand at home and aboard, political support, and capitalization, London’s pharmacies kept growing in the early nineteenth century, with some of them providing the seeds of several of today’s major pharma firms.

Figure 4: Glass medicine bottles for export used in the eighteenth century. Image credit: Wellcome Collection, London.

It can be surprisingly easy to miss the labor in London’s laboratories that underwrote the expanding production of medicines in eighteenth-century London. A chemist’s or druggist’s work area has received far less attention in histories of capitalism or industry than the cotton mill, for example. Recipes and other business records from London’s pharmacies, however, offer an opportunity to begin reconstructing the rhythms of work in these spaces and reintegrate them into studies of economy, labor, and health.

Figure 5: Plan of the laboratory at Apothecaries’ Hall, 1823. From The Origin, Progress and Present State… (1823). Image credit: Wellcome Collection, London.

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].

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.