Showing posts with label herbal medicine. Show all posts
Showing posts with label herbal medicine. Show all posts

Wednesday, April 15, 2020

Apothecary

By Toni Mount



Medieval apothecaries were the equivalent of our modern pharmacists. An apothecary’s shop was full of various cures, most of which he prepared himself. He was usually a trusted member of the community, but at times, apothecaries were accused of practising magic or witchcraft. In an age before folk had easy access to doctors and when hospitals were religious foundations, more interested in curing your soul than your body, the apothecary was an ordinary person’s best hope of a cure or relief from an illness. Because apothecaries saw different people with various illnesses each day, most had a huge knowledge of the human body and herbal remedies.

Early in the Middle Ages, an apothecary would have cultivated all the plants and herbs needed for his medicines himself. Later, supplies became more organised, especially in cities like London, York and Bristol, with individuals growing plants to order for the apothecaries.


The recipes for the wines, syrups, cordials and medicines were passed down through the generations, from master to apprentice. They were closely guarded secrets too, since the most successful apothecary would have the most customers. While some apothecaries worked on a casual basis from their own homes, many had their own retail premises, usually a small shop. The front of the shop would have shelves full of medicines and herbs and in the back section, the apothecary would prepare medicines as and when they were needed. Ideally, he would also have access to a garden, where he could grow some of the less exotic herbs and plants he needed to prepare his cures. Some of the most popular medicines were prepared in advance, ready for sale, just as in a modern-day pharmacy. Other cures were prepared as and when needed, and were made up precisely, with the apothecary using his knowledge of the patient and the illness to prepare what he thought would be the ideal remedy.

Apothecaries were often spicers or pepperers as well. Because their work involved weighing out small amounts of herbs and spices for use in medicine, or for direct sale to customers, their trade was regulated by the Grocers’ Guild. It was impossible to separate the two businesses completely as both were involved in importing and distributing spices from abroad, for use in cooking and in the preparation of products such as spiced wines. In addition to food and drugs, apothecaries also sold inks and pigments to the stationers, beauty products and perfumes, substances used in fumigation and pest control and even good luck charms and novelties such as serpent-stones – what we know to be ammonite fossils.


A collection of medical recipes from the fifteenth century [now MS136 at the Literary Society of London] has remedies which make use of herbs that really could have performed the cure as intended:

For the Migraine take half a dishful of barley, one handful each of betony, vervain and other herbs that are good for the head; and when they be well boiled together, take them up and wrap them in a cloth and lay them to the sick head and it shall be whole – I proved.

A sick headache might well be eased by this poultice. Betony was a favourite herb in medieval times and was taken internally for a range of ailments. It’s still used today in treatments for nervous headaches and some types of migraine. Vervain is also used in modern medicine as a nerve tonic and as a calming restorative for patients in a debilitated condition. It too is used to treat migraine and depression.

For those troubled with digestive problems, this fifteenth century remedy would have helped:

To void Wind that is the cause of Colic take cumin and anise, of each equally much, and lay it in white wine to steep, and cover it over with wine and let it stand still so three days and three nights. And then let it be taken out and laid upon an ash board for to dry nine days and be turned about. And at the nine days’ end, take and put it in an earthen pot and dry over the fire and then make powder thereof. And then eat it in pottage or drink it and it shall void the wind that is the cause of colic.

Both these spices, anise and cumin, are carminatives, so this medicine would do exactly what it said on the tin – or earthen pot. The herbs dill and fennel could be used instead to the same effect – twentieth century gripe water for colicky babies contained dill. Wind and constipation were common preoccupations in the Middle Ages because folk ate so many pulses and little roughage, apart from cabbage.


Despite such suitable treatments as these, other remedies, despite the use of some exotic ingredients, could only have worked as panaceas. These concoctions are for gout:

Take badger’s grease and swine’s grease and hare’s grease and cat’s grease, dog’s grease and capon’s grease and suet of a deer and sheep’s tallow, of each equally much and melt them in a pan. Then take the juice of herb-robert, morell, mallow and comfrey and daisy and rue, plantain and maidenhair, knapweed and dragance, of each equally much juice, and fry them in the pan with the aforesaid greases, and keep it well, for the best ointment for gout is this. Or:

Take an owl and pluck it clean, and open it clean and salt it. Put it in a new pot and cover it with a stone and put it in an oven and let it stand till it be burnt. And then stamp [pound] it with boar’s grease and anoint the gout therewith.

A cough cure was more pleasant, consisting of the juice of horehound to be mixed with diapenidion and eaten. Horehound is good for treating coughs and diapenidion is a confection made of barley water, sugar and whites of eggs, drawn out into threads, so perhaps a cross between candy floss and sugar strands. It would have tasted nice and sugar is good for the chest, still available in an over-the-counter cough mixture as linctus simplex. Another pleasant cough treatment was coltsfoot comfits, like tiny sugary sticks of pale brown rock. King Henry III had the apothecary, Philip of Gloucester, supply him with 7½ lbs of diapenidion when the king visited the West Country in May 1265, along with 5lbs of grana, all together costing 7s 6d. My source for this [The Royal Apothecaries by Leslie G Matthews, 1967, pub by the Wellcome Historical Medical Library] suggests ‘grana’ meant aromatic seeds to aid digestion, like caraway or cumin, or it could have been Grains of Paradise, a kind of pepper. But ‘grana’ was also a name given to the exotic ‘kermes’ – dried scale insects, imported as a crimson dye. Could they have been used medicinally? Or was grana to be used to dye the king’s robes?

Another medicinal possibility is that grana was for dyeing the bed linen and curtains as part of the treatment of smallpox, in which the sickroom was swathed in red. Today we know this wasn’t so daft since red cloth filters out UV light, to reduce the production of scar tissue and to protect the eyesight of patients with smallpox or measles (these two diseases were hard to tell apart in the early stages anyway) – red light works for burns victims and would have decreased the pock marking in the case of smallpox. The medieval apothecary, like Gilbert Eastleigh in ‘The Colour of Poison’, was expected to know so much about such treatments, even if the reasons why they worked – or didn’t – were beyond the medical knowledge of the time.

N.B. One fifteenth century school book gives a list of collective nouns, including ‘a poison of treaclers’ (i.e. apothecaries who sold medicinal treacle).

[This an archive Editor's Choice post. It originally appeared on EHFA on 28 April 2016]

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Toni Mount earned her research Masters degree from the University of Kent in 2009 through study of a medieval medical manuscript held at the Wellcome Library in London. Recently she also completed a Diploma in Literature and Creative Writing with the Open University. Toni has published many non-fiction books, but always wanted to write a medieval thriller, and her first novel “The Colour of Poison” is the
result. Toni regularly speaks at venues throughout the UK and is the author of
several online courses available at www.medievalcourses.com.




Tuesday, May 10, 2016

The Herbal in England: A Brief History


by Margaret Porter
'Talke of perfect happpinesse or pleasure, and what place was so fit for that as the garden place wherein Adam was set to be the Herbarist?' 
                                          John Gerard, Herball (1597)

17th century herbal

When foul weather or other matters keep the gardener from tending or admiring the garden, the next best occupation is reading about garden plants. For many centuries, plantsmen with a cataloguing mindset have produced lists, descriptions, guides, and advice. The growth of printing expanded knowledge about plants and their various uses and merits, disseminating information beyond the most learned classes to anyone who happened to be literate.

During the Middle Ages in England, religious communities compiled the sort of lists we know as herbals, detailing their medicinal uses. The composition of plants and the beauty of flowers was recorded in florilegia, books containing floral artwork. With the rise of printed books in the Renaissance period, with improvements in the printing process, metal engraving, and the skills of colourists, this category of literature and plant lore increased in availability and popularity.

In 1557, Thomas Tusser produced possibly the first advice book, A Hundred Pointes of Good Husbandrie. He offers up useful rhymes such as 'Good titlth brings seedes, ill tilture weedes.' And here we find the earliest evidence that flowers and herbs were used not only for physic, but for decorating the house. His recommendations include plants still grown today, though his spelling varies from ours:

batchlors buttons
columbines
daffadowndillies
sweet brier
flower de luce [the iris]
hollihockes
lavender
lark's foot [larkspur]
paoncies [pansies]
hartease [viola]
rosmarie
snap dragons
violets
The next important contributor to garden literature is Thomas Hyll (or Hill), who chose as his pseudonym Didymus Mountain. The Profitable Arte of Gardening: A most briefe and pleasaunte treatyse, teachynge how to dresse, sowe, and set a garden (1563) is recognised as the first guide to gardening printed in England. He followed it in 1577 with The Gardener's Labyrinth.

John Gerard

John Gerard, gardener to Lord Burghley, is responsible for the most famous horticultural volume of this period. The Great Herball, or General Historie of Plantes appeared in 1597. Its author lived in Holborn and was employed at his lordship's London house as well as at the Theobalds estate. Primarily a description of the plants' medicinal properties with advice on cultivation, he solicited--or permitted--his wife to contribute some topics of particular interest to females.  Illustrations in Gerard's first edition were not created for the book, but were reprints from a German book published several years earlier. In 1633, botanist Thomas Johnson edited and revised Gerard's Herball, correcting errors and improving the scientific content.


Varieties of thyme in the Herball

It is very likely that William Shakespeare was familiar with the Herball. Within the past year, evidence was presented that his portrait illustrates the frontispiece of of Gerard's 1597 work. 

Is this really the face of William Shakespeare?

Regardless of whether the gentleman brandishing a fritillary is the Bard, his plays and poems are crammed with plant and flower references and metaphors.
"The marigold that goes to bed with the sun
And with him rises weeping; these are flowers
Of middle summer, and I think they are give
To men of middle age." The Winter's Tale

In the tragedy Romeo and Juliet, Friar Laurence is conscious of both positive and negative powers of the herbs he gathers:

"Within the infant rind of this small flower
Poison hath residence and medicine power:
For this, being smelt, with that part cheers each part;
Being tasted, slays all senses with the heart.
Two such opposed kings encamp them still
In man as well as herbs, grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant."

John Parkinson

John Parkinson was very much aware of the decorative value of flowers. This author's Long Acre residence was adjacent to Covent Garden, and his proximity to the market gardens served him well. For adorning the house he suggested scented daffodils ('many are so exceeding sweet that a very few are sufficient to perfume a whole chamber'), wallflowers ('generally used in nosegays, and to deck up houses'), and iris. He was a great admirer of the newly popular tulip, introduced to England in the 1570s. The descriptive language used by Parkinson, and others, to convey the beauty can be quite poetic and evocative:
"The Anemonies likewise or Windeflowers are so full of variety and so dainty, so pleasant and so delightsome flowers, that the sight of them doth enforce an earnest longing desire in the minde of any one to be a  posessor of some of them at the least." Paradisus Terrestris (1629)
Nicholas Culpeper's The English Physican (1652) must be the best known of all the herbals.


Nicholas Culpeper

A polymath, after his apprenticeship to an apothecary he advanced to become a translator of medical texts, a physician, a botanist, and an astrologist. During England's Civil War he was under suspicion of practising witchcraft. He opposed the insular nature of the medical sciences, in particular the Society of Apothecaries. 

A firm proponent of the dissemination of medical knowledge, he published his works with the ordinary person in mind, using language and terms that could be easily understood and pricing his works cheaply. For these reasons, and because he disputed many of the accepted treatments and cures, he was unpopular with contemporary physicans.

If Culpeper had a favourite herb, it must have been rosemary:
"The oil of Rosemary. It hath all the virtues of the oil of connamon, nutmegs, carraway, and juniper berries; besides which it is much more powerful than any of them, strenghtening the brain and memory, fortifying the heart, resisting poison, and curing all sorts of agues; it is absolutely the greatest strengthener of sight, and restorer of it also, if lost: it makes the heart merry, and takes away all foolish phantasms out of the brain. It cleanseth the blood, cures tooth-ache, easeth all pains, and takes away the causes which hinder conception: it hath a very grateful taste, and hath so many virtues that I can never express them all, or give it its due commendation."
Culpeper's English Physician

Before Culpeper's day, the herbal (primarily a descriptive botanical catalogue) had inspired the publication of explicit guides to gardening practices, with recommendations for cultivation of all varieties of herbs, flowers, vines, trees, shrubs, and fruit, and instructive essays. Here is list of some publications produced during the 17th century, popular with the gentry and yeomanry, often dedicated to prominent patrons from the aristocracy:

The Countrie Farme (1600) Richard Surflet
The Fruiterers Secrets (1604) N.F.
Floraes Paradise (1608) Hugh Platt
The English Husbandman (1613) Gervase Markham
The Second Booke of the English Husbandman (1615) Gervase Markham
The Country House-wifes Garden (1617) William Lawson
A New Orchard and Garden (1618) William Lawson
Of Gardens (1625) Francis Bacon
Theatrum Botanicum (1640) John Parkinson
A Treatise of Fruit Trees (1653) Edward Hobday
Adam in Eden: or, Natures Paradise (1657) William Coles
The French Gardener: Instructing How to Cultivate all sorts of Fruit-Trees, and Herbs for the Garden (1658) John Evelyn (translation from the French)
The School of Physic (1659) Nicholas Culpeper
The Garden Book (1659) Thomas Hamner
Sylva, or a Discourse of Forest Trees and the Propagation of Timber in His Majesties Dominions... (1664) John Evelyn
The Gardener's Almanack (1683) Samuel Gilbert
The Compleat Gardeners Practice (1664) Stephen Blake
Kalendarium Rusticum (1675) John Worlidge
The Florist's Vade-Mecum (1682) Samuel Gilbert
An Improvement to the Art of Gardening (1694) Robert Sharrock
The Gardener's Almanack (1697) Leonard Meager



Throughout the 18th century, gardening guides proliferated. In that century and well into the 19th, voyages of discovery returned exotic specimens to England, hybridisers created ever more spectacular plants, botanical art flourished, and printing technology advanced. These simultaneous developments resulted in exquisitely produced and lavishly illustrated florilegia. 

Robert Furber's The Flower Garden Display'd (1732) was intended as an advertisement for his Kensington nursery business. 


Furber's flowers for March

It wasn't not merely a sensation in its own time: even now prints for each of the twelve months continue to be reproduced, framed, and placed on walls all over the world. Flora Londinensis (1777-1798), written by Richard Curtis and amply illustrated, is another fine example of botanical information combined with artistry.

Although modern science has expanded our knowledge of plants, their culture, and their habits, these wonderful books from the past contain interesting lore--and gardening advice never really goes out of style!


Illustration from Culpeper's herbal
~~~~~~~~~~~~~~

Margaret Porter is the award-winning and bestselling author of twelve period novels, whose other publication credits include nonfiction and poetry. A Pledge of Better Times, her highly acclaimed novel of 17th century courtiers Lady Diana de Vere and Charles Beauclerk, 1st Duke of St. Albans, is her latest release, available in trade paperback and ebook. Margaret studied British history in the UK and the US. As historian, her areas of speciality are social, theatrical, and garden history of the 17th and 18th centuries, royal courts, and portraiture. A former actress, she gave up the stage and screen to devote herself to fiction writing, travel, and her rose gardens.


Wednesday, June 27, 2012

The Scent of Lavender...


By Lauren Gilbert
Lavender from Encyclopedia Britannica 1911 via Wikimedia Commons

  

      I have loved the scent of lavender since I was a teenager in the ‘60’s when Yardley’s English Lavender became a popular fragrance (at least, it was new to me!).  Light, fresh, clean and sweet, lavender has an ageless appeal.  It is almost impossible to pick up a Regency novel without a mention of lavender, whether it is scenting the hero’s immaculate white linen (a suitably masculine blend, of course), or wafting ever so subtly from the heroine’s lace-edged handkerchief. 
     Lavender is an ancient herb, long associated with healing.  Its Latin name Lavandula latifolia, appears to be derived from the Latin verb lavare, meaning “to wash” and the Romans used it to deter flies and sweeten the air, as well as to clean and dress wounds.  The ancient Egyptians used lavender in embalming and in scented unguents.  It was widely used in Tudor England, where  lavender was placed in linens (not only making them smell sweet but discouraging insects!); sewn into little bags, it could be tucked amongst clothing or into one’s bosom.  Queen Elizabeth found lavender tea soothing for migraines and used lavender perfume as well.  In the Georgian era, the perfumers D R Harris made a popular lavender water for gentleman, and Floris used lavender in potpourris and perfumes for ladies (both are still in business today)
     Down through the centuries, lavender has been long considered something of a miracle herb.  In  Nicholas Culpeper’s herbal (1653 edition), he says it cures “all griefs and pains of the head and brain that proceed of a cold cause…” and also recommends its use for dropsy, heart ailments, liver and spleen obstructions, tooth ache, and more.  Even today, herb guides discuss its antiseptic and painkilling attributes.  (Mine says it can be used to sooth insect bites, burns, sore throats and headaches, and is a relaxant when used in the bath, among other medicinal uses!)   I know from personal experience that it works wonderfully to deter moths and other insects from my linen closet and pantry-how many modern insect repellents work well, smell wonderful, and have no poisonous effects?
Among many old recipes including lavender I ran across, two seemed good to include:
The first is not adapted for modern preparation, other than the list of ingredients:
Lavender Wine (1655)
1 bottle of Sack, 3 ounces of sugar, 2 ounces of lavender flowers, and ambergris
Take 2 ounces of dryed lavender flowers and put them into a bottle of Sack, and beat 3 ounces of Sugar candy, or fine Sugar, and grinde some Ambergreese, and put it in the bottle and shake it oft, then run it through a gelly bag, and give it for a great Cordiall after a week’s standing or more.
[Derived from a recipe from The Queen’s Closet Opened, by W.M., Cook to Queen Henrietta Maria.]     

The next recipe contains the old version, and an adapted version, so that one can make it if desired:
Martha Lloyd’s English Lavender Water
To one quart of the best rectified spirits of wine put 3/4 oz. of essence of Lavender and 1/2 a scruple of ambergris; shake it together and it is fit to use in a few days.
Modern Equivalents
From: Herbinfo
To make Lavender water, put 3 handfuls of dried Lavender flowers into a wide necked screw top jar and add 1 cup of white wine vinegar and 1/2 cup Rose water.
Leave the mixture in the dark for 2-3 weeks and shake the bottle frequently.
If flowers are not available, use essential oils. Mix 25 drops of essential oil (traditionally lavender, rose or neroli) with 2 fl oz (50ml) ethyl alcohol (or isopropyl or vodka). Shake them together in a screw-top bottle. Leave the mixture to settle for 2 days then shake again. To store, pour into a dark bottle with a tight fitting lid and leave almost no air space.
[This recipe is from the Jane Austen Centre Bath website, posted by Laura Boyle 1/3/2002, in its entirety.  This is a fascinating website, and well worth a look!]
Bibliography
Bremness, Lesley.  HERBS.  Dorling Kindersley: New York.  1994
Renfrow, Cindy.  A SIP THROUGH TIME A Collection of Old Brewing Recipes.  2008
Bibliomania.com.  Culpeper’s Complete Herbal 1653 edition.  http://www.bibliomania.com/2/1/66/113/frameset.html 

The Georgian Index.  Sellers of Perfumes and Other Toilettries.  http://www.georgianindex.net/London/l_merchants.html
Jane Austen Centre Bath.  Martha Lloyd’s English Lavender Water.  http://www.janeausten.co.uk/english-lavender-water/
 LavenderFarm.com.  The History of Lavender. http://www.lavenderfarm.com/history.htm
Lavenderenchantment.com . The History of Lavender.  http://www.lavenderenchantment.com/History_Lore/history.htm


Lauren Gilbert is the author of HEYERWOOD: A Novel.  She is a member of JASNA, lives in Florida, and is working on her next novel. 

Wednesday, March 7, 2012

Why I write historical fiction - Deborah Swift

A few years ago I would have been surprised to find I had produced a historical novel. So why write one?
Before I came to write The Lady's Slipper, most of my writing was contemporary. I read a lot of contemporary fiction, and was a member of a book group that read mostly literary fiction.So what won me over to writing historicals?

The answer is that it wasn't a case of me deciding on a period and then setting the novel there, it was more that my characters demanded certain conditions to flourish and tell their story. I started with a character who wanted to paint an orchid - I had seen the rare lady's-slipper orchid myself and wanted to write (initially) a poem about it. This desire was subverted into my character's desire to capture it in paint. From then on the character grew and developed. I thought for the flower to have impact I needed a time when ideas about botany and images of flowers were new and fresh. Perhaps a time before mass printing, a time when herbs and flowers were used for healing. This led me to the 17th century when herbalists such as Nicolas Culpeper were just making their mark on history and the science of botany was in its infancy.

The idea of the medicinal use of the lady's-slipper then sparked the character of Margaret the herbalist, whose views on "the web of the world" were a very different religion from the conformist view of the time, and would probably be pigeon-holed as 'pagan' today. I have always been interested in the different ways that faiths have shaped the world and this tied in nicely with the burgeoning Quaker movement, viewed in the 17th century as radical and dangerous. I couldn't resist having a Quaker character, so Richard Wheeler  - the soldier turned quaker - was born. In addition, the Quaker movement started close to my home, and visits to the still surviving 17th century historical sites fascinated me.

My creative writing class were always telling me that conflict drives a novel so I was also keen to exploit enmity between the Quakers and the ruling class, and to create an atmosphere of unease. The English Civil War where the King had been beheaded by his own people supplied the background disturbance I needed.So my first book's period grew from the desire to find a setting for my characters and not the other way round. The setting has a function to allow me to explore certain ideas and let them flourish to the maximum effect.

The book I am just finishing now and which is about to land on my agents and editors desk - tomorrow if I can get it done, is set in a different period, which has difficulties in that it involved a whole new area of research in a whole new country. As with the first two I was looking for a time and place where my characters and ideas would collide in the most satisfying way and that led me to turn of the 17th century in Seville, with its clash of Islamic and Iberian cultures, the threat of the Inquisition, and its reputation for swordsmanship and bravado.So I'm afraid my characters had to be taken away from their usual English comfort, the drizzle and the cold, and into the heat, dust and passion of Spain.

17th century Seville
My second book, The Gilded Lily (out later in the year) is set in England through necessity as it features Ella, one of the characters from The Lady's Slipper. It is a very different book though as it is set in Restoration London, a choice made so that I could exploit the desire for wealth and luxury which is a part of Ella's character. Ella is considered beautiful and her sister Sadie, plain, so I needed an environment where the attitudes to beauty would be able to feature heavily in the plot. How would the two girls fortunes differ because of their difference in appearance? The period of the Restoration is perfect because after the monarchy returned everyone was obsessed with fashion and glamour, and the theatricality and artificiality of this led me to be able to explore the idea of storytelling, how the girls re-invented themselves, and how we all shape our own stories.

In all my books I start with the characters and then find the way to give them maximum rein through the setting. I used to be a scenographer so I draw on my experience of how a theatre setting can interact with the action in my writing. I choose history because I can examine contemporary ideas as if in a mirror. I am sure many other writers do the same, and would be really interested to hear what the process is like for them. I find I enjoy the researching part of writing enormously, and the wonderful excuse it gives me to hang around museums, historic houses, art galleries and libraries. And I have had to catch up quickly with my reading of historicals. I've discovered some fantastic writers in the  genre, who have given me further insights into our rich heritage, and  so I cannot imagine that I will run out of ideas from the wealth of our history, and I guess that will keep me writing historical fiction for a while yet!

You can find out more about my writing on my blog
Thanks for reading!