Vienna, 5 October 2020

My wife and I have been doing a lot of hiking since I retired. It’s a great way to keep fit, and it’s a great way to see Nature – slowly, with the time to appreciate what you are seeing. Initially, we hiked without sticks but alas! Time has taken its toll, in my case especially in the knees. So we finally bit the bullet and bought ourselves a set of walking sticks each.

Shortly afterwards, when we were out on hikes I would often hear a low moaning, coming seemingly from close by. It sounded like the noise a kid would make on Halloween when dressed up as a ghost, a sort of ‘woo-hoo-oo’ noise.


To make matters more confusing, the moaning came and went. After a bit, when I did hear it I would look around me to see what the source of the sound could be, but I could never identify anything. I began to think I was imagining the sound. Perhaps something was going wrong with my inner ear? Or was a tumour growing in my brain and pressing on some part of the brain that had to do with hearing sounds?

Luckily for my sanity, I finally figured out was going on. To explain, I need to throw in a picture of the upper part of our walking sticks.

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Those holes allow me to modify the length of my sticks, by moving a button clip from hole to hole. It was the wind blowing over the holes that was causing the sound – my sticks were acting as flutes. This discovery led first to relief that I was neither mad nor sick, and then to a certain curiosity about flutes. As is my habit, I began to investigate (God, what a hopeless nerd I am …). I discovered a whole world out there that I had never known existed. I read that flutes belong to a bewilderingly complex family of musical instruments called aerophones. Someone even nerdier than me has come up with a scientific classification of musical instruments (the Hornbostel-Sachs system, so presumably the nerds in question are Messrs Hornbostel and Sachs). Aerophones are allocated the number 4, ‘non-free’ aerophones (“the vibrating air is contained within the instrument”) the number 42, and ‘edge-blown’ aerophones, which is the scientific name for flutes, the number 42.1. So as not to bore readers, I will at this point stop drilling down into the Hornbostel-Sachs classification system, but they should be aware of the fact that I could go down five – yes, five – more levels: the permutations on the design and operation of flutes seem almost endless.

Out of this welter of information, I have seized upon one comprehensible fact: that while all cultures on all continents have at some point in time come up with ‘end-blown’ flutes (“the player blows against the sharp rim at the upper open end of a tube”; number 421.11 ), only Asian cultures came up with ‘side-blown’ (or transverse) flutes (“the player blows against the sharp rim of a hole in the side of the tube”; number 421.12). Since my sticks were making a noise because the wind was blowing across the sharp rim of my sticks’ holes, and if therefore I were mad enough to classify them as a musical instrument it would be somewhere under number 421.12, I have decided to focus on this family of flutes (I also happen to very much like the music from one member of this family in particular, as we shall see in a minute).

Before I go off to explore transverse flutes, I want to pause a minute and muse on how come our very distant ancestors ever invented flutes in the first place. I mean, what possessed someone to take a hollow tube, drill some holes in it, and start blowing into it? And we are talking about very distant ancestors. The earliest known flutes are some 43,000 years old. They were unearthed in a cave in Germany. Two are made from mute swan bones, the third from a mammoth’s ivory tusk. This is one of those flutes.



Since bone seems to have been a common initial material flutes were made from, I am now going to make a huge mental jump, unsubstantiated by any evidence that I know of, and suggest that actually the holes in bones were made by a predator with large, sharp incisors, that the bone dried out and the marrow disappeared thus hollowing out the bone, that the wind, blowing over the holes, made the same kind of noise I was hearing on our hikes, that an ever-curious early ancestor, attracted by the noise, picked up the bone and started playing around with it, blowing into it, trying to imitate the noise, … The rest is history, as we say. I also have to presume that the creation story of flutes happened independently many times over in different places and that Stone-age bone flutes will eventually be found in many places other than Germany. I should also say that I have not created this story completely out of nothing. There is a cave bear femur with holes in it that was uncovered in a cave in Slovenia, also about 43,000 years old.



Initially, it was thought to be a primitive flute. This is now questioned, with the current argument being that the holes were made by some predator or other.

I can’t figure out if these German Paleolithic flutes were end-blown flutes or transverse flutes. There is a video online showing a pretend-Paleolithic woman playing one of these flutes (or presumably a copy) transversely.


Which makes sense to me: if my story of how flutes first started is at all correct, our ancestors who picked up “singing bones” would have imitated the wind and blown across the holes. But then why did most cultures end up with end-blown flutes? Or perhaps more accurately, why did our ancestors, except those in Asia, abandon initial transverse flute playing for end-blown flute playing? I will let that question hang there, because I have absolutely no idea of the answer. Any readers who have an insight to this puzzle are welcome to weigh in.

Well, after those musings on the Ur-story of the flute, I can finally turn my attention to transverse flutes. My research (i.e., the reading of Wikipedia entries) have led me to identify some 20 types of transverse flutes. Here again, I do not propose to bore readers with breathless descriptions of each and every one of them. I will just mention two, for reasons which I hope will become clear.

I start with India. There, the bansuri reigns supreme. It’s been an integral part of Indian music for at least 3,500 years. It has an almost mystical standing among instruments, being closely associated with the God Krishna. We have here a modern take on this, from a temple in Singapore.



And here we have an older take on the theme, a statue from the 15th Century.



The bansuri does indeed produce divine music, although that of course is a very personal judgement and has as much to do with the instrument as it has with Indian music in general. I’m not sure when I became aware of Indian flute music. All I can say is that I have a very clear recollection of seeing an Indian black-and-white film in my early twenties, no doubt in some rundown arty cinema somewhere, where the soundtrack was this achingly lovely, haunting flute music. I tried to rediscover the film and its music while writing this post but failed. I throw in instead this link to a video of the bansuri being played. Close your eyes and let the music flow over you, let it envelop you, let it transport you to some secret place in your soul where the music of heaven resides. Without being too morbid about it, I would be more than happy if such a piece of Indian flute music were to be played at my funeral.

My old Chinese connection brings me to the second transverse flute which I want to write about, the dizi. It’s been in use in China for at least 7,000 years, although I throw in here a photo of it being played considerably more recently. This is a late 15th-early 16th Century painting of the Daoist Immortal Han Xiangzi nonchalantly walking on water as he plays his dizi.


It’s not only because of my connection with China that I mention the dizi, it’s also because of a very distinctive design feature this flute has. The dizi uses a mokong, which is a paper-thin membrane traditionally made from the inner skin of bamboo cells that is pasted over a hole located between the hole across which the player blows (the “embouchure” – such an elegant way of saying it, try saying it a few times, you sound really erudite) and the finger holes.



Don’t ask me to explain what exactly this does to the sound, I simply quote here what someone else has said: ”The mokong has a distinctive resonating effect on the sound produced by the dizi, making it brighter and louder, and adding harmonics to give the final tone a buzzing, nasal quality”. Readers may judge for themselves from this recording.

Like many things Chinese, the dizi (and flutes in general) migrated to the surrounding countries: Japan, Korea, and Viet Nam all have dizi-like flutes with the membrane and/or transverse flutes which had a membrane but where it has been abandoned. I throw in a couple of photos to record the use of transverse flutes in these countries. Here we have a transverse flute being played at a convivial meeting (a meal, I suspect) of Japanese men in the pre-modern era.


Here we have a group of Koreans playing various instruments together, one of which is a transverse flute.


Of course, there is a question as to where the Chinese in turn got the transverse flute from. I’m sure the Chinese would argue that they invented it locally. They certainly invented the use of the mokong – the earliest dizis didn’t have it. But as for the flute itself some music historians think that actually the Chinese got it from Central Asia. I will carefully refrain from taking any position on this issue. Let’s simply say that it is an open question.

Which leads me – sort of – to my last point. The transverse flute, I’m happy to say, allows me to bring up one of my favourite topics, covered many times in these posts, namely the transfer across Eurasia of various products and ideas. The transfer mainly took place along the Silk Road, that network of trading routes which stretched out across Central Asia from China to Europe, with most of the transfer going from east to west, but sometimes in the other direction. Readers will no doubt remember what I wrote above, that the transverse flute only existed in Asia. However, any reader who has been to a concert hall knows that the transverse flute is often used in Western classical music. So am I mistaken? Was the transverse flute also invented in Europe? It seems not, according to historians of music. They believe that the bansuri somehow made its way to Byzantium (they think it was the bansuri rather than the dizi, say, or some other transverse flute from Asia, because of how the flute is depicted in Byzantine sources) and from there spread slowly to the rest of Europe. I find this intriguing. There were contacts, although indirect as far as I know (i.e., through some intermediary country), between Rome and India, contacts which no doubt would have continued with Byzantium. I have to assume that as part of these contacts Indian flautists came to Byzantium and showed the Byzantines how to make and play the transverse flute. In any event, here we have someone – probably Orpheus – playing a transverse flute in an 11th Century Byzantine manuscript.



From Byzantium, the transverse flute made its way to Germany and France first, and from there – a good deal later – to the rest of Western Europe. The mention of Germany allows me to slip in a mention of the Pied Piper of Hamelin. Most representations have him playing an end-blown flute, but some have him playing a transverse flute.



The use of transverse flutes got a big leg up from the military use of fifes. Armies in southern Germany and Switzerland began using fifes in the 15th Century, as a way of signaling maneuvers (fifes can be extremely piercing in the higher registers and so can be heard over the noise of battle). From then on, every serious European army began to have a fifing unit. It was only in the early 19th Century that fifes were displaced as a military signaling device. Nevertheless, many regiments continued to have a band of fifers (which is where the musical use of the word “band” comes from – a useless factoid which readers can cite at their next party). If I report all this, it’s only because it gives me an excuse to insert a photo of that wonderful painting by Manet of a young military fifer.



The Baroque period saw a makeover of the transverse flute, with it being completely redesigned. Various types of transverse flute were created. Music was written especially for the flute. And – once again – the rest is history. Just to round out the story, I throw in here a picture from an opera which has as one of its main protagonists a flute, Mozart’s Magic Flute. Without going into the details of its highly convoluted plot, the prince Tamino is given a magic flute which he plays at various moments. The opera is a delightful piece of nonsense, allowing Opera companies to go over the top with decors and costumes, as is the case here with a production by the Metropolitan Opera in New York.



As readers can see, in at least some productions the flute in question is a transverse flute (although I seem to remember that in the production I saw it was an end-blown flute).

Well, I leave my readers with a link to a lovely piece of Western, modern flute music: Claude Debussy’s “Syrinx”. In the meantime, my wife and I will be plotting our next hike, where perhaps our sticks will sing in the wind.


Sori, 6 June 2020

All the walks my wife and I do around Lake Como (and now Lake Maggiore, to change a bit) start in an urban setting. We take trains, or buses, or boats, to get to our starting points and we are perforce dropped off in small towns or villages. In the last couple of weeks, as we have walked up through the back roads of these towns or villages to get to the woods and meadows above them, we have noticed a marvelous thing: whole walls of the sweetest smelling jasmine.

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This person has even made a tunnel covered in jasmine (I’m guessing it’s the garage).

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The scent of so much jasmine has quite gone to my head and my fingers have automatically begun doing a little research on the flower.

Truth to tell, I already did a little research on jasmine for an earlier post, when I researched the only perfume of my wife’s which I have ever liked: Chance Eau Fraîche, by Chanel. One of its ingredients is jasmine oil.

As I noted in that post, there are a large number of different species of jasmine. Some 200 have been catalogued, and who knows how many more are out there waiting to be discovered. My guess, though, is that those walls of jasmine which we have been passing are Jasminum officinale, the common, or white, or summer, or poet’s jasmine (and that’s just the English names).


The logic for my choice is simple: it’s the most common jasmine in Europe.

But it’s not native to Europe. In fact, there is only one species of jasmine which is native to Europe, and only the Mediterranean part of Europe at that, the common yellow jasmine.


Even in this case it’s difficult to say it’s a European flower. Its range stretches all the way to northern Iran.

The biggest “hotspot” of jasmine species is actually in South and Southeast Asia, although the west of China, especially Yunnan, hosts quite a few species. A number of species are present in Central Asia, but I suspect they may have been carried there from the Indian subcontinent. Australia is home to a few species, I suppose as a southward extension of their presence in Southeast Asia. And then there’s a good dozen species in Africa, especially southern Africa. To complete this world tour, no jasmine species are native to the Americas, alas.

If the jasmine my wife and I are seeing is not native to Europe, how did it get here? It seems that common jasmine, along with a couple of other jasmine species – sambac (or Arabian) jasmine, and Spanish (or Royal, or Catalan) jasmine – originally entered Europe via Sicily and Spain, when these were Arabian kingdoms: common and sambac jasmines through Sicily, and Spanish jasmine through (appropriately enough) Spain. Since I inserted a picture of the common jasmine earlier, I feel I owe it to these two other species to insert a picture of them too:
sambac jasmine


Spanish jasmine


But none of these jasmines were native to the Arabian-dominated lands either. The Arabs had discovered them even further to the east and had brought the flowers back to their homelands. They brought common jasmine back from Persia after they conquered it (a similar post-conquest westward transfer occurred with the lilac, as I narrated in an earlier post). In fact, the European name “jasmine” is a corruption of the flower’s Arabic name, which is itself a corruption of the Persian name for the flower, Yasameen, which means “gift from God” (such poets, the Persians!). And it’s possible that the Persians had come across the flower further east still. As for sambac and Spanish jasmines, it seems that trade, not conquest, brought them westwards, in the holds of the ships of Arab traders doing business with the Indian subcontinent.

Jasmines didn’t just ride westwards on trade routes. Common jasmine and sambac jasmine also rode on them out to the east, into China (another result of the ancient trade routes across the Eurasian continent – the “Silk Roads” – about which I’ve written previously). Here, too, the Chinese adopted the Persian name: Yeh-hsi-ming.

It’s interesting that the Chinese felt the need to import jasmines, given that they had quite a few of their own. Perhaps it was the pure white colour of these imported jasmines which attracted the Chinese – many of their jasmines are yellow as far as I can tell; I throw in a photo of one of the more common Chinese jasmines, winter jasmine.


By the way, it’s called winter jasmine because it actually flowers from November to March. In fact, its Chinese name, Yingchun, means “the flower that welcomes Spring” (the Chinese, too, can be quite poetic). This quirk has meant that winter jasmine has now also been carried off to many a corner of the world.

But coming back to the jasmines imported into China, no doubt their heady scent helped too; perhaps they had a stronger scent than the native species. Or perhaps it was these jasmines’ close links with Buddhist ritual (something which the early Indian Buddhists had no doubt picked up from the Hindus). Anyone who has been to a Buddhist (or Hindu) temple in South and South-East Asia will have noticed the liberal use they make of jasmine flowers.


By this reasoning, the use of these jasmines entered into China along with Buddhism, something else which was transported along trade routes (I have written earlier about a slightly different botanical story, the cooption by Chinese Buddhists of the ginkgo tree as a replacement for the bo-tree tree so beloved of South Asian Buddhists).

No doubt the Arabs were attracted by the colour of the jasmines (white seems to symbolise purity in so many cultures). But they were assuredly also attracted by their scent (which, I have to say, is indeed sublime). The name “sambac” points to this. It is a corruption of the Medieval Arabic term “zanbaq”, which means jasmine oil. As attested by the perfume Chance Eau Fraîche, which I mentioned earlier, the modern thirst for jasmine oil in perfumery is as great as it was in the Arabian kingdoms – actually far greater, since there are so many billions more of us on this planet now. Here is a field of  jasmine flowers in Grasse, in the south of France, waiting for their oils to be extracted (a field owned, by the way, by Chanel).


But there is so little oil in each flower! As many as 8,000 flowers will have perished to produce this little, 1ml vial of jasmine oil (jasmine absolute, in the jargon of perfumery).


Perhaps the way the Chinese use jasmine to scent tea is a little more “humane”. I watched a no-nonsense Chinese video on the making of jasmine tea. Cutting out all the marketing bla-bla, they mix together about an equal measure of tea (usually green tea) and jasmine buds (common or sambac), they let the mixture sit for a while so that the tea leaves get impregnated with the jasmine’s scent, and then they dry it. The result looks something like this.


In truth, I’m not a great fan of jasmine tea. I like the scent of the flower on the air, but the scent of it in tea I find rather sickly. But perhaps this is because I have never had a really high-quality jasmine tea. I am ready to be pleasantly surprised one day.

Is it possible that such lovely flowers with such a delightful scent could have an evil side? Alas, it is possible: some species of jasmine have been declared invasive species in a couple of countries and are subject to eradication programmes. It is not the fault of the jasmines. It is our desire to fill our gardens with foreign flowers that is to blame. Take Brazilian jasmine, a lovely member of the family.


For starters, it’s not Brazilian at all. It’s one of the African jasmines, no doubt taken to Brazil from one of Portugal’s African colonies (remember that the Americas have no native jasmines; perhaps a colonial administrator wanted to enliven his garden in Brazil). In the 1920s, the “Brazilian” jasmine was imported into Florida. Initially, it was planted in people’s gardens, but inevitably – as I’ve recounted in other posts in the case of other invasive species – the “Brazilian” jasmine “jumped over” the garden fence and began to spread. It has now invaded intact, undisturbed hardwood forests in the south of Florida, where it can climb high into the tree canopy, completely enshrouding native vegetation and reducing native plant diversity. Here is a picture of this jasmine at work in the forests of Florida.


I was thinking about this this afternoon as my wife and I were walking high up in the hills. We were surrounded by beautiful wild flowers of all descriptions. Why do gardeners have to fill their gardens with foreign flowers when there are so many beautiful ones right on their doorstep? Another mystery to be solved one day.

Well, the evening is drawing in. It’s time for me to get ready to test something. I’ve read that the jasmine flower opens at night, so the scent is most powerful then. I shall persuade my wife to accompany me on a hunt for a wall – or just a modest bush – of jasmine, to see if this is true. I shall report back.



Milan, 20 May 2020

My wife’s English is really very good. Readers may think I’m biased, but really, it is very good. Whenever we meet British people, they are regularly surprised to learn that she is Italian. She has not a shadow of that “typical” way of speaking English which so many Italians have (“It’s-a not so bad, it’s-a nice-a place. Ah shaddap-a your face!”). She doesn’t even have that sort of indefinable accent which surely isn’t British but which you can’t quite place. Her only weaknesses are that she sometimes gets a typical British phrase slightly wrong (what we call a “Poirotism”, after David Suchet’s Hercule Poirot, who has this same tendency). And there are some words which she regularly has problems pronouncing. One of these is Worcestershire. It’s one of those legions of English words which are enunciated completely differently from the way they are written. A foreigner would be forgiven for thinking that it should be pronounced Wir-ses-ter-shay-r, and not WUUS-teuh-sheuh, which is the way a Brit would pronounce it. My wife does quite well, but she still stumbles a little over the “teuh-sheu” bit.

If I bring this up, it’s because my wife has been saying “Worcestershire” quite often since we went into lockdown more than two months ago, for the simple reason that she was using a lot of Lea & Perrins Worcestershire Sauce in her cooking during lockdown, to add some zest to the food and help us feel a little less mournful. She has since continued on this track.


She is really quite liberal in her use, judging by the number of little L&P bottles which I have to recycle. Under normal circumstances, we would get through one, possibly two, bottles a year. In just the two months of lockdown, I must have thrown away at least three bottles.

But I have to say, Messrs Lea and Perrins’s sauce did add a je-ne-sais-quoi to the food it was applied to. Which of course is the whole purpose of the sauce, and has been ever since it first came onto the market in 1837 (I know this date because in my moments of idleness I have been reading up on Lea & Perrins Worcestershire Sauce). What was the source of that sweet yet pungent je-ne-sais-quoi, I have been wondering?

The label, of course, doesn’t really answer the question. It merely lists the ingredients in no particular order: malt vinegar, spirit vinegar, molasses, sugar, salt, anchovies, tamarind extract, onions, garlic, spices, flavourings. It doesn’t tell us how much of each ingredient is used, and, in the case of the last two ingredients, what spices and flavourings are used exactly. As I have noted in an earlier post on the Austrian soft drink Almdudler, the recipes for commercial brands tend to be locked away in particularly secure safes.

Except that in this case, by one of those happy twists of fate which make life so interesting, the recipe was divulged – at least the recipe as it was around the turn of the last Century. In 2009, Brian Keogh, who had been an accountant at L&P until his retirement in 1991 and who had then become an archivist for the company, discovered, thrown away in a skip at the company factory, an old ledger, which he retrieved before it was sent off to the dump. Just as well that he did, because it contained, among other things, handwritten write-ups of the recipe! For any readers who are interested, Mr Keogh authored a book called “The Secret Sauce: a History of Lea & Perrins”, where he describes his discovery and also gives a history of the L&P Worcestershire sauce. I include here pictures of the pages in the ledger showing the recipe used in 1907.



(those interested in seeing the real ledger should go to the Worcester City Art Gallery & Museum)

For those readers whose eyesight is fading, you have my sympathy and I have recreated a table below with all the ingredients as they were in 1907 (although the writer has noted at the top “Return to old formula”, so no doubt these were also the ingredients in earlier decades). As for the quantities, those given in the ledger are “for one cask” and as a result are pretty damned large. They are also given in those cute units of pounds, ounces, and gallons which the British used before they entered the modern age and adopted modern metric units. I’ve translated all the quantities into metric units and scaled the amounts to make 1 litre of the sauce – that seems more than enough sauce for any determined reader to make should he or she decide to rush off to the kitchen and start making Worcestershire sauce à la Lea & Perrins.

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What emerges is that, at least in 1907, Lea & Perrins sauce was in large part vinegar, to which was added a good dollop of soy sauce, water, sugar and anchovies, along with a hearty pinch of tamarind, shallots, salt and garlic, a smaller pinch of red pepper and cloves, and a smidgen of essence of lemon.

Since the vinegar is such an important part of the overall sauce, I throw in a comment about it. I’m not entirely sure what is meant by vinegar F. or by acetic acid, but if readers look closely at the red writing on the second page of the ledger which I inserted above, they will see a calculation on the level of acidity of the mix of vinegars. It would seem that small amounts of a very strong vinegar were used to raise the acidity of the main vinegar. The modern version of the sauce still seems to use this trick, although nowadays malt vinegar and spirit vinegar are used. For anyone dedicated enough to make the sauce at home, please note that they should ensure that the vinegar mix they end up with has an acidity of 6.12% (I’ve just noticed that the wine vinegar we routinely use at home has an acidity of 6%, so maybe there would be no need to diddle around with vinegars of different acidity if you buy the right vinegar).

Since I’m commenting on the ingredients, perhaps I can make a couple of other points. The first is that the modern recipe has abandoned shallots in favour of onions. Why that should be I don’t know. Unavailability due to war led to the second big change, when soy sauce was dropped during World War II and replaced by Hydrolyzed Vegetable Protein, or HVP. This stuff is produced by boiling foods such as maize or wheat in hydrochloric acid. The acid breaks down the protein in the foods into their component amino acids. The resulting acidic solution is then neutralized with sodium hydroxide, leaving behind a dark-coloured, salty liquid. Sounds most unappetizing, but HVP is used in a lot of foodstuffs to give a bouillon-like taste. After the war, L&P continued to use HVP, because it was cheaper and presumably didn’t much affect the taste. From the list of the current ingredients on the label, I also see that at some moment between 1907 and today the company introduced molasses into the recipe. Again, I’ve no idea why they did that – perhaps to cut down on the amount of sugar?

Of course, I will be told that the ingredients is only half the story – maybe even less than half. How you put them together is even more important to the final taste. In the case of L&P sauce, pickling and curing seem to be very important. Today, the anchovies are fermented in salt for 2 years while the onions and garlic are separately pickled for 18 months in vinegar – from entries in the ledger, I get the sense that in the old days the two were pickled together, but I may be wrong. And then, after all the ingredients are thoroughly mixed together and homogenized, and the mash strained , the resulting liquid is put into barrels and left to mature for up to three years. This post-production maturation is a key part of the sauce’s creation story. It is said that when Messrs Lea and Perrins made their first batch, they of course tried it and found it to taste awful. They put it in a barrel, which they shoved in their cellar. They forgot all about it until a few years later, when they were clearing out the cellar. They came across the barrel, tried it again, and oh miracle! it now tasted delicious. And that was the start of Lee & Perrins’s Worcestershire sauce.

To be honest, I find this story somewhat dubious. But the other part of the sauce’s creation story – the part which explains where the sauce came from – is frankly unbelievable. Let me explain why.

But first, I need to introduce Messrs Lea and Perrins a bit more. These two men, born and bred in Worcestershire, were chemists – in today’s language pharmacists – who jointly ran a chemist’s shop in the town of Worcester. Their shop has disappeared, but a very similar shop was rescued and is now to be found in the Worcester City Art Gallery & Museum.


Here are our two chemists – John Lea to the left, William Perrins to the right – at a time in their lives when they had become prosperous from selling their sauce.
As chemists, they would routinely have made up not just medical prescriptions but also other mixtures which their clients wanted. For instance, the ledger rescued from the dump has listed (on pages 18 and 19, for any reader interested in looking) not only the recipe for Lady Heskeeth’s pills but also recipes for Effervescent Cheltenham Salts, Lemonade Syrup, and Curry Powder. The story which the company put around in the first decades of the sauce’s life was that one day, a certain Lord Marcus Sandys, former Governor of Bengal, had walked into Messrs Lea & Perrins’s chemist shop in the early 1830s and asked them to recreate a sauce which he had encountered during his time in Bengal and which he had come to like enormously. Then he seems to have completely forgotten to come and collect his sauce, and, as I recounted above, our two chemists tried it, found it disgusting, shoved it in a barrel (rather than throw it down the sink, which is what I – and I’m sure most of my readers – would have done), put the barrel in the cellar, and forgot all about it for a couple of years .

Well, a Lord Marcus Sandys certainly existed around that time; he was 3rd Baron Sandys and his seat was in Ombersely, some 10 km from Worcester, so he could have gone into to Worcester to Messrs Lea & Perrins’s chemist shop. I throw in a painting of the Lord by Sir Thomas Lawrence.


A great story, right? And a masterstroke in marketing. It combines a touch of the exotic (“sauce from Bengal”) with an aristocratic connection. The English were (and maybe still are) terrible social snobs, so manufacturers often tried to connect their products with members of the aristocracy. I have written an earlier post about a similar story in the naming of Earl Grey tea. And during the 1800s, the British were building their Empire, so there was a fascination among the public with the strange and wonderful things pouring in from this Empire.

Unfortunately, there are two problems with this story, one major and one minor. The minor problem is that Lord Marcus was not a Lord in the 1830s when the sauce was developed. He only became a Lord in 1860. But that’s OK. He could have been a mere Esq. when he asked our two chemists to make up the sauce, but he still became a Lord later on.  Our two chemists would merely have stretched the truth a little. But there is the major problem, which is that Lord Marcus was never Governor of Bengal. In fact, he never visited Bengal. Nor did his elder brother, who was the second baron. Nor did his mother, who was the first baroness (and who was baroness at the time the sauce was created). Nor did his father, who was 2nd Marquess of Downshire.

So where did this sauce come from? We have to presume that our friends John Lea and William Perrins picked up the recipe somewhere, or picked up a sauce somewhere and tried to recreate it, sensing a market for such a sauce. When Michael Portillo visited the Lea & Perrins factory a few years ago during the BBC’s Great British Railway Journeys series, the person he interviewed told him that the original recipe was from Bengal and that Lea and Perrins had added fermented fish to it.

This could well be possible. As I discovered on the Food Timeline website, there were certainly a number of sauces based on fermented anchovies doing the rounds in the early 19th Century:  anchovy sauce, essence of anchovy, fish sauce, Quin’s sauce. More or less at random, I have chosen to report here the recipe of a Quin’s sauce reported in William Kitchener’s The Cook’s Oracle, containing Receipts for Plain Cooking, of 1821. To get us into the spirit of things, I insert a photo of the cookbook’s title page.


Here is the recipe (as we call them nowadays):

“Two wine-glasses of port, and two of walnut pickle, four of mushroom catchup, half a dozen anchovies, pounded, the like number of eschalots sliced and pounded, a table-spoonful of soy, and half a drachm of Cayenne pepper; let them simmer gently for ten minutes; strain it, and when cold, put it into bottles; well corked, and sealed over, it will keep for a considerable time.”

As readers can see, we have in common with the 1907 L&P recipe the anchovies (which are actually pickled, although it’s not clear from the write-up), the shallots, the soy sauce, and the pepper. Other recipes for fish-based sauces contain the garlic, the cloves, the vinegar, and even the lemon. What the 1907 recipe doesn’t have, but was present in nearly all the fish sauces, is mushroom and walnut ketchups (the history of ketchups being a fascinating story in its own right, perhaps the subject of a future post).

So my guess, based on nothing more than a hunch, is that John Lee and William Perrins took one of the many recipes for a sauce based on fermented anchovies floating around – maybe one used by their wives – and made one big change: they substituted the walnut and mushroom ketchups with a tamarind sauce.

That tamarind sauce could well have come from Bengal. Bengali cuisine certainly uses tamarind a lot. And maybe this popular Bengali tamarind-based dish, tamarind chutney (or tetuler chutney in Bengali), whose photo I give below, somehow made its way to Worcester. I could well imagine that Brits who had been to Bengal during the early 1800s got to know this chutney and brought it back to Britain. After all, they brought back a number of chutneys.


I have no idea why the two partners thought of using this chutney or some other tamarind sauce instead of the walnut and mushroom ketchups in the fermented fish sauces which the Brits slathered on their food. Nor can I guess why they decided to let their concoction cure in a barrel for several years. But they did, and became very rich because of it.

I don’t know if there is a moral in this story: be careful what you throw away; don’t make up silly stories; truth is always stranger than fiction; think out of the box (or barrel in this case) and you’ll get rich; play on people’s snobberies; … I let my readers decide for themselves.

And do all remember that it’s pronounced WUUS-teuh-sheuh sauce.


Milan, 22 December 2019

One of the fonder memories of my Boy Scout days is roasting a whole pig over a wood fire


and eating the resultant roasted pork, together with piles of crackling and apple sauce.

Not only was the food extremely yummy, but the aroma of the meat while roasting was … well, intoxicating, I think best describes it. I have already written elsewhere about this culinary experience, which I suspect tapped into something really primordial, the hunter-gatherer buried deep in us all.

Perhaps because of this experience, or perhaps simply because of who I am, I have always been extremely fond of roasted meat, both the eating of it as well as the preparing of it. My wife is the same. Unfortunately, having been inner-city dwellers for most of our lives means that we don’t get to roast meat too often. I don’t find that grilling a piece of meat in an apartment oven is a very satisfying roasting experience, and we have never had a backyard where we could roll out the barbecue set and grill the nights away. And, alas, along with old age have come restrictions on eating meats with too much fat attached to them (the cholesterol levels, you know …). This lessens the fun of meat-roasting even further: I think we can all agree that fat – melting and bubbling under the flames – is an integral part of the roasting experience, especially the olfactory part of it.

So it is only from time to time, and always in restaurants, that we indulge in a piece of roast meat. European cuisine of course has many offerings in this department. Apart from the roast pork of my Boy Scout days, which can stand in for any four-footed animals roasted whole, we have roast chicken, which can stand in for all those roasted fowl we see in paintings (or in manuscript miniatures as in this case).


It doesn’t have to be whole animals which are roasted. We can have cuts of meat which are roasted, such as grilled steaks.


They can stand in for all the meats grilled in barbecues like this one (although this lot do seem to be having excessive amounts of fun).


I think we can even throw in grilled fish.


Yes, all most delicious!

But actually, what I want to write about in this post is roasted meat from another region of the world: the kebab.

What prompted me to write this post in praise of the kebab was a quick visit we made a few weeks ago to Vienna – our daughter flew in for the wedding of one of her best friends, so we thought we would use the occasion to see her. As usual we took our daily strolls around town, and as usual we spent time admiring the döner kebab shops we passed (well, drooling over their offerings might be a better description) – without, I should hasten to add, actually partaking (the cholesterol levels, you know …). Here is a photo of  one of these döner kebab shops.


For readers who may not be familiar with this type of kebab, its trademark is a long inverted cone of meat on a vertical spit. The cone is made up of thin slices of lamb, beef, or chicken. The spit rotates slowly, with the meat being kept close to a heat source to cook it.


When you put in your order, the server will slice thin pieces off the meat cone with a very long knife.


They will serve you your portion inserted into a bread bun or wrapped in pita or some other flatbread.

I have used the long winter nights since our visit to Vienna to read up about the döner kebab and all its cousin kebabs, and I have discovered a world of astonishing variety. I was partly aware of this variety from the visits which my wife and I made in the distant past to Persian and Turkish restaurants in Vienna (we don’t go so often anymore; the cholesterol levels, you understand …). The list of kebabs on offer was always long, a bit like in a Pizza joint, except that we could always understand the pizzas’ names while here we were faced with a gobbledygook of mysterious and unpronounceable names; we would choose our kebabs more or less at random. But now my reading has shown me the true depths of my ignorance.  Kebabs flourish over a huge region, which starts at the eastern seaboard of the Mediterranean and stretches all the way to the farthest reaches of Central Asia, but which also extends down into the northern regions of the Indian subcontinent, as well as along the southern seaboard of the Mediterranean. This region maps closely onto the regions of the world which are Muslim, and indeed the kebab is considered archetypal Muslim cuisine. It is now, but actually the kebab predates Islam. It already existed in the Middle East long before Islam came into being, and it spread out of there to all the lands where the newly Islamicized traders and conquering armies brought their religion.

I do not propose to summarize breathlessly what I have discovered. I want instead to focus on the intersection of the kebab with another interest of mine, the global movement of foodstuffs and all the geopolitics which can surround that.

Take the döner kebab – which I should really call döner kebap since that is the Turkish way of spelling the name and this is a Turkish kebab. It appeared quite late on the scene, probably the middle of the 19th century, in the town of Bursa, which is on the Asian side of the Sea of Marmara, quite close to Istanbul. There was already an established kebab in the Turkish lands that roasted stacks of meat on a horizontal spit (there is still a kebab roasted on a horizontal spit, the cağ kebab). I suppose someone had the insight that if the spit could be made to turn vertically the juices would run down the meats rather than into the fire. The rotating nature of this kebab gave it its name: döner comes from the Turkish word dönmek, which means “to turn” or “to rotate”.

This new style of kebab-making caught on in the Levant, which was of course part of the Ottoman Empire at the time. They didn’t call it the döner kebab, though, they called it the shawarma – which is actually the same thing, since shawarma is an Arabic transliteration of the Turkish çevirme, “turning”. Shawarma has become an extremely popular street food throughout the Middle East, as this photo from Egypt attests.


And of course, as has been the case since the beginning of time, immigrants took their foods with them. We have here, for instance, a shawarma-based restaurant in Boston, Massachusetts.


The döner kebab also spread to Greece, taken there by Greek refugees from the ancient, ancient Greek populations in Anatolia and immigrants from the rest of the Middle East (victims, no doubt, of the rise of nationalism in countries which were created by the collapse of the previously multi-ethnic, relatively tolerant Ottoman Empire). Initially, it was sold a street food under the name döner kebab and became extremely popular. But politics intervened. The tense relations between Greece and Turkey precluded the Greeks tolerating the use of Turkish words, so in the 1970s, when relations were particularly tense, this street food became the gyros – which is really the same thing, since the name comes from the Greek γύρος, “circle” or “turn”.


The shift out of Muslim lands to Christian lands meant that the Greeks could also introduce a significant change to the meat used. Originally based on lamb (as are most kebabs), the Greeks started using pork as well as chicken for their gyros.

New Greek immigrants, this time to the US, took the gyros with them, so now Americans had two versions of the döner kebab available to them.


But the penetration of the American market has not finished! And here I have to go back to the shawarma, which was, as I said, popular in the Levant, including, of course, in Lebanon. The Lebanese have always been great travelers of the globe, and in the late 19th, early 20th centuries there was a wave of Lebanese immigration to Mexico. They took shawarma with them. Succeeding generations “domesticated” the shawarma, adding spices typical to the Americas to those from the Middle East which their parents had been using. Thus was born the taco al pastor, where strips of pork cooked on a vertical spit are served in a classic maize taco. We have here the server and the product, in Mexico City.

Source 1; source 2

But Mexico was the host of two waves of immigration from the Middle East! The second was centred on the city of Puebla, where the taco arabe was born in the 1930s. Here, the dish stayed closer to its roots and is served in a pita-style bread.

Source 1; Source 2

And now of course, with the waves of Mexican immigration into the US, these two dishes have also entered into that country.

Source 1; Source 2

So now, Americans have four different types of döner kebab to choose from, each hiding under a different name! (plus probably the original döner kebab, which no doubt some enterprising Turks have brought to the US)

The flow has not been all out of the Middle East. The taco al pastor has been the subject of a reverse migration. In the early 2000s, it went back to its homeland, the Levant, where it is sold as shawarma mexici! It uses the same set of spices as in Mexico, but of course dietary prohibitions have meant that the pork is substituted with chicken, and it is served in Middle Eastern flatbread rather than the maize taco of the Americas.

Meanwhile, the döner kebab itself has been the subject of migration. When the Germans called on Turks to come and work in Germany under their Gastarbeiter, or Guest Worker, programme, they came with their food. Over time, döner kebab has become a hugely popular street food, so popular that an Association of Turkish Döner Producers in Europe has been set up to look after the interests of those involved in the döner kebab trade. Just to give readers an idea of the size of the market, the Association has estimated that in 2010, more than 400 tonnes of döner kebab meat was produced in Germany every day by around 350 firms, and in 2011 there were over 16,000 establishments selling döner kebabs in Germany. Why, the döner kebab is so popular in Germany that Angela Merkel has graciously allowed herself to be photographed slicing meat off a döner kebab cone (but do I detect a slight anxiety in the set of her mouth?).


According to the same Association, the story of the döner kebab’s rise and rise in Germany started at West Berlin’s Zoological Garden station, where an enterprising Turkish guest worker by the name of Kadir Nurman set up shop in 1972. He had emigrated to Germany in 1960, and had moved to West Berlin from Stuttgart in 1966. His döner kebabs were a hit with Berliners, fellow Turks took note, piled into the business, carried the döner kebab all over Germany, and the rest, as they say, is history. Part of the Turkish community in Germany migrated to Vienna (a peaceful invasion unlike the earlier Turkish attacks on the city centuries earlier). They of course carried the döner kebab business with them. Which is why my wife and I find ourselves drooling over the döner kebab offerings when we are in Vienna. And the Berlin connection explains why the Viennese döner kebab stand in the earlier photo is proudly called Berliner Döner.

Of course, when you say “kebab”, most people think of pieces of meat roasted on a skewer. And many would reply “ah yes, shish kebab”. But shish kebab, or şiş kebap to give it its Turkish spelling, is simply a generic term meaning skewered roast meat – şiş means skewer or sword in Turkish. There are probably hundreds of different types of skewered roast meat dishes eaten by the local populations between Istanbul in Turkey to the west and Dhaka in Bangladesh to the east. They vary by type of meat of course (lamb is the most popular, but just about any other meat – except pork – will be used somewhere; fish is also used, as are offal like liver). They vary in the vegetables and other servings that come with them. And – probably the most important – they vary in the marinades used on the meat. Every region, every province, every village almost, seems to have its own type of shish kebab. In despair at all this variety, I throw in one photo to stand in for all these types of kebabs, that of a Çöp Şiş, which as the name suggests is a Turkish variety of the shish kebab.


As if that were not enough, there are hundreds of  skewered kebabs where it’s not cubes of meat which are used but minced meat. This adds another dimension to the possible variations, that of the ingredients kneaded into the minced meat. Here, too, in desperation I choose just one kebab to stand in for this group, kabab koobideh from Iran.


And then there are all the kebabs where the meat, or minced meat, is roasted but not on skewers. And there are kebabs which are more like meat stews. But I will draw a line here, otherwise this post would go on far too long. And anyway, as I said earlier, I want to focus on the global movement of kebabs, and there is more than enough to write about on this topic when considering just skewered kebabs.

Consider souvlaki, which I have read is considered the national dish of Greece.


As the photo shows, it looks uncomfortably like that Turkish kebab whose photo I put in above. Is it another import from the hated Turk, like the döner kebab-turned-into-gyros? This is the subject of much heated discussion between Greeks and Turks, with the Greeks arguing that their ancestors were roasting skewered meat long before they were conquered by the Turks. They point to the fact that Homer mentions pieces of meat being roasted on spits in the Iliad. If that is not enough, they also point out that there are mentions of this in the works of Aristophanes, Xenophon, Aristotle, and others. And if that is not enough, they draw your attention to an archaeological find in some Minoan ruins in the island of Santorini, dated to the 17th Century BC, which they claim was used to roast skewers of meat. I show a photo of the find, to let readers judge for themselves.


(I’m afraid that the cynic in me feels that putting skewers on the notches rather pushes observers to see what promoters of this view would like you to see)

On the other hand, if the Greeks have been roasting skewered meat since the 17th Century BC, why doesn’t there seem to be any rather more modern evidence that this has been a continuing tradition? The modern souvlaki only turned up after World War II, more or less at the time as the döner kebab.

But I will leave the Greeks and Turks to their quarrels and go further west, to Spain. There, there is a dish of skewered meat called the pincho moruno, the Moorish skewer.


Although it is now found throughout the country, its focus is in the south of the country. As the name suggests, this is a dish that was brought to Spain by the Arabs, either when they conquered the peninsula or later through trading relations; there is a very similar dish on the other side of the Mediterranean. Of course, the meat used is different: lamb in the Muslim lands, pork or chicken in Spain. Once the Spaniards turned from being conquered to being conquerors, they were a vector for a further migration of the pincho westward, as they brought it to the lands in the Americas which they had colonized. It didn’t take root everywhere in Latin America. It flourished in particular in Puerto Rico and Venezuela. I don’t know about Puerto Rico, but I suspect its popularity in Venezuela has to do with the fact that there was a very large migration of Spanish Republicans to that country just after the Second World War, after they ended up on the losing side of the Spanish Civil War.

But now let me cross over to the far eastern end of the Eurasian landmass, to the Chinese province of Xinjiang. Given their Muslim roots, the Uighurs there have a tradition of eating roasted skewered meat – in fact, I remember distinctly seeing a Uighur grilling them on a street corner during our visit to Xinjiang back in 2010. He looked a bit like this.


The Chinese authorities may not like the Uighurs, but the Chinese like Uighur food, and this kebab, under the name Chuan, has become a popular street food all over the north and west of China. However, with the usual Chinese inventiveness in all matters culinary, Chinese cooks have greatly expanded the type of foodstuffs being threaded onto their skewers. We have here, for instance, sweet sausages and baby octopus.


I finish with the story of the satay, from South-East Asia. Satay is now considered a national dish in Indonesia. We have here a satay street vendor somewhere in the country.


But roasting meat on small skewers was only introduced to the country in the 18th Century, with the arrival of Arab and Indian traders and immigrants. However, Indonesians took to the dish with a vengeance and then its own traders spread it throughout South-East Asia, so that it now is common in Thailand, Malaysia, Singapore and Vietnam. They also made one very significant change in the recipe, the use of peanut sauce (the peanut itself being one of the foodstuffs originally from Latin America and spread from there by the colonial powers to the rest of the world during the Great Columbian Exchange).

Malay traders then took the satay further afield, working back, it seems to me, along the shipping routes which led from the Netherlands – the colonial power in Indonesia – to Indonesia itself. Malay traders brought the satay to Sri Lanka (another Dutch colony before the British wrested it from their grasp), where a Malay community put down roots.  It is now a common street food there. They took it to South Africa (another Dutch colony before the British wrested it from their grasp), where they also formed a small community. It goes under the name of sosatie there: a combination of the words sauce and sate (the Indonesian form of the word). The Malays put down roots there too, and the dish has now been thoroughly localized.


Indonesian immigrants even took the satay back to the Netherlands itself, where it has become a popular mainstay of Dutch cuisine. This link, for instance, gives you the addresses of the 11 best places in Amsterdam to find satay.

Well there you have it, nice examples of how food dishes have followed in the steps of people as they have moved around the globe, for conquest, trade, or simply to find a better life. In the meantime, I have built up a formidable list of all the kebabs which are cooked in the Muslim lands. I propose to take it with me whenever we travel in those parts of the world, so that I can know what kebabs to try rather than just choose them at random from the menu. Always assuming that the cholesterol levels will allow us this dip into the world of kebabs …


Venice Beach, 1 May 2019

Several weeks ago, I read about an exhibition opening at the Musée d’Orsay in Paris. Titled “Black Models: From Géricault to Matisse”, its purpose is, according to the Guardian where I read the article, to “tackle the depiction of black and mixed-race people in French art from the country’s final abolition of slavery in 1848 until the 1950s.” One of the paintings in the exhibition, for instance, is Manet’s “Olympia”, showing the said Olympia, a courtesan (or high-end prostitute in today’s parlance), naked on her bed and being attended by a black servant.


The painting has been renamed “Laure” for the exhibition, after the name of the black model who posed for the servant in the background. The exhibition renames several other paintings where the curators managed to discover the name of the black person in the painting. Once more from the Guardian article: “the influence of people of colour has been eclipsed from art history by racism and stereotyping, Murrell [one of the exhibition’s curators] said. Instead their identities were hidden behind “unnecessary racial references” such as negress or mixed-race “mulatresse” – which comes from the French word for mule.” For any readers who are interested in this exhibition, here is the link.

After reading the article, it occurred to me that I could use the data base of Art UK, which I used for a different purpose several posts ago, to carry out the same sort of study: see how non-white folk have been represented in British art over the centuries. Just a quick explanation to those readers who are not familiar with Art UK: it is a pictorial data base of all the pieces of art held by the UK’s public bodies. For those interested in perusing it, this is the link. I would imagine that it is probably a statistically valid sample of the art which has been created in the UK ever since painting started in the country.

Just as I did in my previous foray into Art UK’s data base, I will spread my results over several posts, each with a somewhat different subject. This post will cover the period from the very first representations of non-white people in British paintings until the end of the 18th century, beginning of the 19th. I choose to end it there because in 1772 there was a famous case in England, Somerset vs. Stewart, which in effect concluded that slavery was not allowed under law in England, while in 1833 Parliament passed a law banning slavery throughout the British Empire.

The earliest British painting I found with a non-white person in it is this one. It depicts a certain Lady Tollemache being served by a young black page.

Elizabeth Murray, Lady Tollemache, Later Countess of Dysart and Duchess of Lauderdale with a Black Servant (1651) by Peter Lely (1618-1680). Photo credit: National Trust Images

If one was rich, it must have been quite the thing to have a little black page in one’s household to show off to one’s friends. A number of such paintings are to be found in the Art UK data base, stretching from 1651 to 1740. I don’t think those dates are a coincidence. 1651 is about when there was a large increase in the transatlantic slave trade to feed the sugar plantations in the Caribbean. Many English landowners had important economic interests in these plantations, while English ships – in which, again, landowners had interests – began to dominate the slave trade. It would therefore have been increasingly normal for rich and important families to be involved with black slaves. It is but a small step from this to start thinking that it would be cute to have a black child as your slave-servant. At the other end of this period, 1740 marks the time when abolitionists were becoming increasingly vocal and when it became “not done” to be so visibly seen as involved with black slaves.

The next painting of this type is from about 1660 and is of a certain Elizabeth Risby and her son, being served by both a black page and a maidservant who also looks non-white.

Elizabeth Risby, with John (c. 1660), Anglo/Flemish school. Photo credit: St Edmundsbury Museums. Distributed under a CC BY-NC-ND 4.0 licence

Quite what the ethnicity of the maidservant is, is not clear. I wonder if she was not the companion to the manservant in this next painting, also of Elizabeth Risby but this time with her daughter.

Elizabeth Risby, with Elizabeth (c. 1660), Anglo/Flemish school. Photo credit: St Edmundsbury Museums. Distributed under a CC BY-NC-ND 4.0 licence

Given the date of the painting and the manservant’s hair style, I wonder if he, and therefore she, were not Native Americans, signaling perhaps that either Elizabeth or her husband had lands (and slaves) both in the Caribbean and in the American colonies.

From some 40 years later, 1695, we have this painting of the 3rd Earl of Chesterfield and his family, being served once again by a black page.

Philip Stanhope, 3rd Earl of Chesterfield, with His Wife, Lady Elizabeth Savile, Children and Nubian Slave (c. 1695), British (English) School. Photo credit: Barnsley Arts, Museums and Archives Service

It is interesting to see in this last painting the presence of some exotic bird (a parrot? a cockatoo?), something which you also see in the second of the two paintings of Elizabeth Risby and see again in the painting below of Lady Grace Carteret. I wonder if that puts black pages into the category of exotica, with the families using these paintings to show off all the exotic things they owned?

The next painting, from 1711, is a portrait of Sir John Chardin, a Frenchman. He travelled to Persia and the Near East and wrote learned tomes about these places. He was also a Protestant, who emigrated to the UK because of the persecution of Protestants in France. That experience of persecution didn’t stop him from taking part in the persecution of enslaved Africans, though.

Sir John Chardin (1711), British School. Photo credit: The Ashmolean Museum of Art and Archaeology

This next painting of Lady Grace Carteret, from 1740, is the last I could find of this type.

Lady Grace Carteret, Countess of Dysart with a Child, and a Black Servant, Cockatoo and Spaniel (c. 1740) by John Giles Eccardt (1720-1779). Photo credit: National Trust Images

Apparently, it wasn’t just the aristocracy and the landed gentry who had young black slave-servants. I found one painting of a doctor who is letting the blood from a patient’s arm and whose assistant is a young black boy.

A Surgeon and His Black Slave Letting Blood from a Lady’s Arm (1750-1790), British (English) school. Photo credit: Wellcome Collection

For the sake of completeness, I should say that it wasn’t just black children who were taken on as servants. I’ve already shown one example in the second of the two paintings of Elizabeth Risby. In the Art UK database, there are two other examples of children of other ethnicities being taken on as servants. One is of a certain Colonel Blair and his family. Colonel Blair worked for the East India Company and commanded a brigade at one of the early battles through which the UK eventually took over India.

Colonel Blair with his Family and an Indian Ayah (1768), by Johann Zoffany (1733-1810). Photo credit: Tate. Distributed under a CC BY-NC-ND 4.0 licence

The painting’s title suggests that the little Indian girl in the painting is an ayah, a maid or nursemaid. She looks too young to be either; perhaps she played the same role as the black pages, a cute little addition to the family belongings which also allowed the Blairs to signal to the viewer their connection with India.

The other is of a Lady Staunton and her son George, with a Chinese servant lurking in the background.

Lady Staunton with Her Son George Thomas Staunton and a Chinese Servant (1794), by John Hoppner (1758-1810).  Photo credit: School of Oriental and African Studies

This picture was painted a year after her 12 year old son George had come back from China. George had accompanied his father, who was Secretary on Lord Macartney’s mission to the Chinese imperial court. Macartney’s instructions were to wrest trade concessions from the Emperor, which he signally failed to achieve (I’ve mentioned the diplomatic spat about whether or not Lord Macartney should kowtow to the Emperor in an earlier post). Presumably, George’s father, Sir George Staunton, got himself a young Chinese servant while in China and had him inserted into the painting to show off his connection with that country.

Coming back to the black pages, assuming that the idea of having one was that it was cute, like having a parrot, what happened to these black pages when they grew up and lost their cuteness?

From what I can gather from the painterly record in Art UK’s database, it seems that some of them at least continued on as servants of one kind or another to the rich folk. We have, for instance, this painting by William Hogarth of an aristocratic captain in the Navy, who has, among other appurtenances, a black servant ringing what looks like a dinner gong – or is he giving the beat to the fellow singing?

Captain Lord George Graham in His Cabin (c. 1745), by William Hogarth (1697-1764). Photo credit: National Maritime Museum

We have this painting by Jacopo Amigoni, an Italian painter who spent some ten years in London, of three gentlemen whose precise relationship to each other is not clear to me. In any event, the painting-within-the painting of one of the three is being held up by a black adult servant.

James Howe, Benjamin Tilden and Richard John Thompson (1729-39), by Jacopo Amigoni (c. 1682-1752). Photo credit: York Museums Trust

We have a painting of Baron Nagell’s running footman. The Baron was the Dutch Ambassador to England, while according to Art UK’s entry on this painting “a running footman could be expected to serve as a messenger and to accompany his employer’s coach”. I presume the poor man had to run alongside the coach.

Baron Nagell’s Running Footman (c. 1795), by Ozias Humphry (1742-1810). Photo credit: Tate

Servants to the rich does not seem to have been the only niche that Black slaves or ex-slaves filled. Art UK’s database throws up a few other examples. This next painting suggests that Blacks worked in taverns or inns or maybe even brothels (given that he is trying to attract a soldier), presumably as servants to their owners.

Wallis, George; The Fall of Napoleon (1836), by George Wallis (1811-1891). Photo credit: Wolverhampton Arts and Heritage

The sea also seems to have been a home for Black people. A recent article in the Guardian suggests that already in Tudor times (so 200 or so years before the period we are considering here), foreigners – specifically, North Africans – were present among the sailors in the English fleet. This sympathetic drawing of a Black sailor – the first of our subjects whose name we know: Thomas Williams – suggests that Black men found a profession at sea. Probably, the British Navy, always short of men (we remember stories of the press gangs roaming the countryside and kidnapping men for the Navy), was quite happy to take on Black men in their crews.

Thomas Williams, a Black Sailor (1815), by John Downman (1750-1824). Photo credit: Tate

I think what this next painting is telling us is that Black sailors also took part in the smuggling that was chronic along the UK’s coasts.

Smugglers Alarmed (c. 1830), by John Prescott Knight (1803-1881). Photo credit: Staffordshire Heritage & Arts. Distributed under a CC BY-NC-SA 4.0 licence

I suspect the next one tells us that some Black sailors, like all sailors, were mutilated at sea, either by cannon fire or in some other way.

The Negro Boat Builder (c. 1850), by William Parrot (1813-after 1891). Photo credit: Brighton and Hove Museums and Art Galleries

It seems appropriate at this point to insert what is thought to be the portrait of Ignatius Sancho, the second black person in all these paintings for whom we have a name.

Portrait of an African (probably Ignatius Sancho) (1757-60), attributed to Allan Ramsay (1713-1784). Photo credit: Royal Albert Memorial Museum. Distributed under a CC BY-NC-SA 4.0 licence

Ignatius Sancho was well known in his time. I think it instructive to cite a somewhat shortened version of his biography in Wikipedia:

“Charles Ignatius Sancho was born [in about 1729] on a slave ship crossing the Atlantic Ocean. His mother died not long after in the Spanish colony of New Granada. His father reportedly killed himself rather than live as a slave. Sancho’s owner took the young orphan, barely two years old, to England and gave him to three unmarried sisters in Greenwich, where he lived from ca. 1731 to 1749. John, Duke of Montagu, impressed by Sancho’s intellect, frankness, and his amiability, not only encouraged him to read, but also lent him books from his personal library. Sancho’s informal education made his lack of freedom in Greenwich unbearable, and he ran away to the Montagus in 1749. For two years until her death in 1751, Sancho worked as the butler for Mary, Duchess of Montagu, where he flourished by immersing himself in music, poetry, reading, and writing. At her death in 1751 he received an annuity of £30 and a year’s salary, which he quickly squandered.

During the 1760s Sancho married a West Indian woman, Ann Osborne. He became a devoted husband and father. They had seven children. Around the time of the birth of their third child, Sancho became a valet to George, Duke of Montagu, son-in-law of his earlier patron. He remained there until 1773.

In 1766, at the height of the debate about slavery, Sancho wrote to Laurence Sterne encouraging the famous writer to use his pen to lobby for the abolition of the slave trade. Laurence Sterne’s widely publicised response to Sancho’s letter became an integral part of 18th-century abolitionist literature. Following the publication of the Sancho-Sterne letters, Sancho became widely known as a man of letters.

In 1774 with help from Montagu, Sancho opened a greengrocers shop, offering merchandise such as tobacco, sugar and tea. These were goods then mostly produced by slaves. As shopkeeper Sancho enjoyed more time to socialise, correspond with his many friends, share his enjoyment of literature, and he attracted many people to his shop. He wrote and published a Theory of Music and two plays. As a financially independent male householder living in Westminster, he qualified to vote in the parliamentary elections of 1774 and 1780; he was the first person of African origin known to have voted in Britain. At this time he also wrote letters and in newspapers, under his own name and under the pseudonym “Africanus”. He supported the monarchy and British forces in the American Revolutionary War.

Ignatius Sancho died from the effects of gout in 1780. He was the first person of African descent known to be given an obituary in the British press. He gained fame in his time as “the extraordinary Negro”, and to eighteenth-century British abolitionists he became a symbol of the humanity of Africans and immorality of the slave trade. The Letters of the Late Ignatius Sancho, an African, edited and published two years after his death, is one of the earliest accounts of African slavery written in English by a former slave.

Sancho noted that despite being in Britain since the age of two he felt he was “only a lodger, and hardly that.” In other writings he describes: “Went by water – had a coach home – were gazed at – followed, etc. etc. – but not much abused.” On another occasion, he writes: “They stopped us in the town and most generously insulted us.””

His life encapsulates what a Black person could expect his or her life to be at this time in the UK. Although Sancho was unquestionably a man of great intellectual ability, he rose no higher than a greengrocer. Of course, in those times this was not the fate of Black people alone, it was generally true of any poor person: the top 1% controlled every important position. But what I find really chilling is his commentary on how Black persons were treated back then, almost as animals in a zoo. And of course, there was overt racism.

The debates that Sancho was involved in to abolish slavery were intensifying from the 1760s onward and no doubt were putting moral pressure on slave owners in the UK itself. This probably explains why the kinds of paintings I have shown up to now disappeared. It was “not done” anymore to own little black pages – or at least not to be painted with one at one’s side. They were replaced by paintings such as these criticizing slavery and the slave trade.

The Kneeling Slave, ‘Am I not a man and a brother?’ (c. 1800), British (English) School. Photo credit: Bridgeman Images

Slave in Chains (c. 1820), British School. Photo credit: National Maritime Museum

Three Young Women Chained Together at the Neck (Enslaved?) are being Escorted along a Road by Two Men with Guns (Slave Traders?) (undated), by Caton Smith. Photo credit: Wellcome Collection

I add this last painting because it is the only one I found where black women were the subject.

The Capture of the Slaver ‘Formidable’ by HMS ‘Buzzard’, 17 December 1834 (after 1834), by William John Huggins (1781-1845). Photo credit: National Maritime Museum

In the next post, I’ll trace the presence of non-whites in UK art after slavery was formally abolished throughout the British Empire up until the present day.


Milan, 5 September 2016

So my wife and I have finally left Thailand, after having spent two years there – we lifted off one last time from Bangkok international airport six days ago.

What memories of things typically Thai do I take with me?

Well, there’s tamarind.

Readers may find that a little odd, but tamarind is actually a very common ingredient in Thai cuisine. In fact, it was animatedly discussed at the goodbye party my staff gave me. It’s a fruit I had never actually come across until I arrived in Thailand. I had heard of it, but it existed as an exotica on the far periphery of my knowledge, rather like those strange beings which Medieval Europeans imagined lived on the far edges of the world.
I was introduced to tamarind by the kind lady who brought me my morning coffee in the office. She was in the habit of also bringing me any of the fruits which Thai colleagues had brought in for sharing. I was conversant with the other fruits she served with my coffee, but this large pod-like thing had me stumped.
I had to go down the hall to ask colleagues explanations of what it was and how to eat it (split open the brittle shell, extract the pasty fruit from its stringy support and eat, making sure not to crack your teeth on the small, very hard seeds buried inside the sticky pulp).
Thai cooks will extract the pasty fruit and use it as an ingredient in many of their dishes. I mention only two here, Pad Thai and Kaeng Som.

As probably every foreigner knows, since every foreigner coming to Thailand seems to eat it, Pad Thai is at base a dish of rice noodles, these having then been stir-fried with a whole bunch of things: shrimp, both fresh and dried (other meats are used but it’s not very Thai), shrimp paste in oil, soybean sprouts, firm tofu, chopped peanuts, scrambled egg, sliced shallots, sliced Chinese chives, sliced preserved radishes, minced garlic, sliced chilies, and I don’t know what else. What foreigners probably don’t know, because it’s not obvious in the final dish placed before them, is that a tamarind-based sauce has also been added to the mix during the stir-fry. This sauce is a blend of sour-sweet tamarind paste, salty fish sauce, spicy chili sauce, and sweet palm sugar; the particular balance to strike between these four tastes gives rise to much passionate debate in the Thai recipe world.

My wife was particularly fond of Pad Thai, but it is as popular with Thais as it is with foreigners. In our wanderings around Bangkok, we discovered a Pad Thai joint a little south of the Golden Mount, where the people patiently waiting in the long lines outside (which we quickly joined) were primarily Thai.

Pad Thai may seem very typically Thai, but actually in its present form it is quite a recent dish, having been invented only in the 1930s as a move by the-then military dictator to promote Thai nationalism. I suspect that Kaeng Som has a much longer culinary pedigree, since it has speciated, with every region of Thailand having its own variant. The variant I describe here is from Central Thailand, this being dominant in Bangkok. It seems that every street food stall sells Kaeng Som, although cognoscenti mutter that this is rat’s piss (my words) compared to the Real Thing. I wouldn’t know; I avoided street food stalls like the plague, desirous of avoiding seriously upset stomachs and consequent absences from work.

Kaeng Som is really a curry base to which you then add other ingredients. You will first grind and pound together, preferably in a stone mortar, chilies, salt, shrimp paste, sliced shallots, and meat of a freshwater fish stripped off the bones, until you have a smooth paste. You will add this to a simmering fish stock (preferably made with the remains of the fish), followed by tamarind paste, fish sauce, and palm sugar. Once again, the sour-salt-spicy-sweet tastes have been brought together, and you will fuss around at this point trying to get the “right” balance.

Now you are ready to add the remaining ingredients. Vegetables dominate, and it seems that Kaeng Som will marry well with a large number of different vegetables. I report, in no particular order, the suggestions given in the blog of Thai cuisine SheSimmers: morning glory, water mimosa, summer squash, cauliflower, green beans, daikon, Napa cabbage, green papaya, chayote, and watermelon rinds. This last interests me greatly, since I have always wondered, as I have thrown away the rinds after a good watermelon binge, what if anything could be done with them in the kitchen. I now have an answer. The same blog warns against the use of certain other vegetables: eggplants, broccoli, Brussels sprouts, starchy root vegetables, and green leafy vegetables such as collard greens. Vegetables as an added ingredient seem quite enough, but if you want you can also add shrimps or pieces of fish.
At this point, I have to confess to one major unpleasant memory I bring back from Thailand, and that is the (super-)abundant use of chilies in Thai cuisine. As I have reported elsewhere, I very much dislike chili and its ‘hot’ spicy cousins. This has been a major difficulty for me in eating – and enjoying – these or any other Thai dishes. I have also reported elsewhere how I made another popular Thai dish, Tom Yum soup, without chili and found that for me at least it worked perfectly well. If I can find a source of tamarind paste in Milan, I can try making Kaeng Som without the chilies and see what it’s like.

My dislike of hot spices also cuts me off from properly enjoying the use of tamarind in Indian cuisine. The use of tamarind is very popular in India, where the tree is widespread. Unfortunately, every Indian recipe using tamarind also seems to use chilies or something equally spicy. So I guess I will have to make do with Lea & Perrins’s Worcestershire sauce, a small bottle of which graces the condiments section in our kitchen in Milan; as every aficionado of L&P sauce knows, it contains tamarind extract.
Legend also has it that this sauce has its roots in India. It is said that Messrs Lea and Perrins, pharmacists in Worcester, created their sauce back in the 1830s on the basis of a recipe brought back from Bengal by a certain Lord Sandys, a nobleman of the county. Although I suspect that this story is a bunch of bull, I’m quite happy to believe it, because it allows me to pretend that I am enjoying an Indian sauce, suitably adapted to English tastes, in particular with the use of chilies eliminated. This is yet more support for my argument that chilies are simply not necessary in cooking.

I think I’ve said it before, but it’s worth repeating. I really should spearhead a movement to eliminate chili and its evil cousins from the kitchen. Now that I’m retired and have time on my hands, this is my chance to walk the talk. Chili growers beware!

Monpods and others:
Unshelled tamarind:
Shelled tamarind:
Pad Thai:
Pad Thai restaurant:
Kaeng Som:แกงส้ม.html
Lea & Perrins sauce:


Bangkok, 27 March 2016

I said in my last post that beauty is in the eye of the beholder. In that case, I was talking about citrons. But this homey dictum is that much truer about the subject of this post, betel chewing. To explain what I mean, consider this picture of a betel chewer.

Betel chewer

Now, if I were to meet such a fellow, I would be nervously looking for an escape route, half expecting the man to make a lunge with his pointed canines at my jugular. But in the village where he comes from, where no doubt half the population have red goo drooling from their lips, this man would be seen as a nice, friendly village elder. Perhaps a little less on the extreme side of things, if I were to meet this smiling Indian gentleman

indian betel chewer

my earlier post on teeth would come to mind and I would make a mental note that he badly needed to see a dentist rather than thinking what a lovely smile he had and what a nice man he must be. As I said, beauty is in the eye of the beholder.

I first came across the habit of betel chewing in Delhi. I was there for a meeting of some sort, and after it was over and I was being walked back to my hotel my colleague stopped at a betel stand such as this one


and ordered himself a betel quid to chew. He asked me if I wished to try one, but I politely declined. I watched with curiosity to see what might happen to him, but nothing untoward did. I did realize, though, that this habit explained his somewhat orange teeth.

I was reminded of this scene from long ago when I was in Myanmar recently and saw the tell-tale signs of betel chewing all around me in Yangon – the orange teeth, the betel stands, and – most revolting of all – these bright red splotches on the pavements.

spit from betel chewing

Betel chewing generates a lot of saliva, which the chewers either swallow or spit out (which if not done vigorously enough no doubt leads to dribbles on the chin as in the case of the old gentleman with whom we started this post). The fact that these are spit is revolting enough, but their bright red colour further gives the impression that half the population have advanced cases of TB and are coughing their lungs out (my childhood memories have retained stories of older generations with consumption coughing hard into their handkerchiefs and seeing with horror that the handkerchiefs were stained by bright red blood from their lungs; the end was nigh for them).

For those – I hope – many readers who have no idea what is in a betel quid, allow me to elucidate. At its most basic, the betel consists of slices of the “nut” (actually fruit) of the Areca palm

Ripe and Raw Betel Nut Or Areca Nut Palm On Tree

wrapped in leaves of the betel vine

betel leaves

which have been liberally smeared beforehand with slaked lime. Depending on your fancy and which part of the world you come from, your local betel stand holder can add tobacco, spices, and various other ingredients – note the various little pots which our betel stand holder in the picture above has spread out before him.

Since I had first come across the betel chewing habit in India, and since every betel stand holder in Yangon seemed to be of Indian extraction, I sort of assumed that this was an Indian tradition which had been exported elsewhere. Not a bit of it! It’s actually the other way around. Although it’s not yet clear where the Areca palm and the betel vine originated from exactly, there is general agreement that it was in South-East Asia somewhere. But they didn’t originate in the same place. Evidence points to the betel vine and Areca nut being initially consumed separately, their use spreading out from their point of origin until they overlapped, at which point some bright spark had the idea of putting the two together. Early trade between South-East Asia and India brought betel chewing and then the plants to the subcontinent – and migration brought them out to New Guinea and the Pacific Islands, where the dreaded signs of betel chewing are to be found.

PNG betel chewer

But why, some readers may be asking themselves, does anyone bother to chew betel quids in the first place? Because both plants contain mild stimulants: arecoline in the case of the Areca nut, eugenol in the case of the betel leaf. So chewing the quid gives the chewer a mild high. It joins a number of other plants which are chewed for their stimulating (in some cases very stimulating) effects: coca leaves in the Andes,

coca leaf chewing

khat leaves in the Horn of Africa and the Arabian peninsula (I remember a colleague once telling me that Djibouti came to a halt on Fridays as everyone waited for the weekly supply of khat to be flown in from Ethiopia)

khat chewing

kola nuts in West Africa.

cola chewing

And then there are the plants that are smoked, those that are swallowed, those that are made into infusions and drunk … Early humans were exceedingly resourceful in figuring out how to get a high from the plants which surrounded them. I wonder, though, how they ever figured out which of the thousands of plants around them gave them highs.

Luckily, the practice of betel chewing seems to be dying out. For instance, Thailand was once a hot-spot of betel chewing, but I have never seen anyone in Bangkok, or anywhere else for that matter, chewing it. Nor have I ever seen anyone chewing betel quids in Cambodia or Laos. I say “luckily”, even though this perhaps betrays a cultural imperialism. I mean, one could argue that if people want to chew betel why shouldn’t they, as long as they don’t kill me or their family or themselves in the process, and don’t become a burden on the public purse because of it. Normally, I would indeed be tolerant of cultural diversity, but for this particular practice I draw the line: people with red mouths and teeth à la Dracula generating bright red spit marks all over pavements are beyond the civilized pale. This should be the new normal, everywhere.

indian lady smiling


Betel chewer: (in
Indian betel chewer: (in
Betel quid seller: (in
Spit from betel chewing: (in
Areca nuts: (in
Betel leaves: (in
PNG betel chewer: (in
Coca leaf chewing: (in
khat chewing: (in
kola chewing: (in
Indian lady smiling: (in


Bangkok, 19 March 2016

In the recent trip which my wife and I made to Italy, we managed to squeeze in a visit to our apartment near Genoa, where I was particularly delighted to see so many lemon trees in fruit. It’s wonderful to see trees heavy with lemons peeping over a wall or hanging over a garden fence.

lemons Liguria

Once back in Bangkok, I decided to do some research on the lemon and its history: how did this lovely yellow fruit end up in Liguria? But delving into the lemon’s history inevitably dragged me into the history of the citrus family. It turns out that the lemon does not have a long or distinguished pedigree. It is the citrus equivalent to a mutt, a fairly recent hybrid. In fact, most citrus fruits with which we are familiar are fairly recent hybrids. It seems that the members of this family love to hybridize, and of course humans – being intrusive busybodies by nature – have been only too willing to assist them. The result is a family tree of bewildering complexity.

As I tried to make sense of all this, my attention was diverted by something I read about the citron. I think I need to insert here a few words about the citron, since I’m sure there are many readers who are not familiar with this citrus fruit. It is relatively difficult to find these days since it has little use – except for one very special one, which I will come to in a minute. It looks like a large, warty, lemon.citron

Coming to what I read, it seems that during a ceremony in the Temple of Jerusalem marking the Feast of the Tabernacles, or Sukkot, in one of the years around 100 BC, the Jews pelted the High Priest with citrons and got massacred for doing so. Now that was something worth finding more about! How I would have loved to use citrons, rotten tomatoes, eggs, dog-eared hymn books – anything, really – to pelt the priests with for subjecting me to excruciatingly boring sermons during the Sunday Masses of my childhood! It turns out, though, that the Jews were not horribly bored with what the High Priest was saying, but horrified by what he was doing. It is reported that he deliberately poured the water of libation over his feet rather than over the sacrificial animals. I can’t say that I can get quite as excited about this action as the Jews did, but the fact is that they did, and satisfyingly peppered the High Priest with citrons.

Of course, it does come spontaneously to ask oneself why on earth the Jews were carrying citrons around in the Temple in the first place. It’s certainly not the item that would immediately come to my mind as expecting to see in the hands of Jews within the sacred precincts of the Temple. It turns out that the citron plays an extremely important role in the ceremonies of Sukkot. Every morning of this seven-day Feast, Jews are required to ceremoniously wave the “four species”. Citron is one of these, the other three being the date palm, the myrtle, and the willow. We see here the Tosher Rabbi of Montreal waving the four species.

tosher rabbi of montreal

One can therefore assume that the Jews were carrying their four species when the High Priest poured the water of libation over his feet, and in the horror of the moment they blindly grabbed their citrons and threw them at the impious prelate. It seems that they must have also thrown something harder – stones, no doubt – since it is reported that the stone altar was damaged. I can’t really see citrons doing damage to a stone altar.

It’s a bit of a mystery to me why the citron ever became one of the four species, because it is not native to the Near East, whereas the other three species are. The citron, like all the original citrus fruits, originated somewhere in the region of South-East Asia-Yunnan in southern China-the Himalayan slopes of India. So how did it end up in the Near East? There is general agreement that the fruit was first cultivated in northern India. From there, it migrated, presumably along trade routes, to Persia. What happened next is a hotly debated issue – at least, in certain circles. One hypothesis has the citron migrating to Egypt, where its essential oils were used in embalming, and from whence the Jews brought it with them to the Promised Land when they escaped from bondage in Egypt. A second hypothesis has the citron being carried from Persia to the Mediterranean basin in the baggage of Alexander the Great’s returning soldiers, who somewhere along the way dropped it off in the Levant. Yet another hypothesis has the citron migrating from Persia to Babylonia, where the Jews came across it during their Babylonian captivity and brought it with them when they came back to Israel.

These are all suppositions, with no real evidence to back them up. A very clever piece of archaeological sleuthing suggests a more concrete hypothesis. We need to first recall that after the Persians defeated the Babylonians and allowed the exiled Jews to return home, Israel was a Persian province for several hundred years. Israeli archaeologists have been excavating a site quite close to Jerusalem which turns out to have been a Persian palace with an extensive garden around it. Here is a reconstruction of the site.

persian palace

The archaeologists wanted to see if they could find evidence of what was planted in this garden. They therefore looked for traces of ancient pollen. None could be found in the earth of the garden – whatever had been there had decomposed long ago. So they decided to try their luck in the plaster with which the walls of an ancient pool in the garden had been coated. The thinking was that pollen grains could have got stuck in the plaster while it was drying and been preserved. They were right – and one of the types of pollen they found was that of the citron. From the other types of pollen found – a number from species not present in Israel – the archaeologists deduced that this was a garden planted with rare plants, designed to show off the wealth and power of the palace’s resident, either a Persian satrap or a Babylonian Jew close to the Persians and sent there to keep an eye on the locals. Perhaps it was here that the Jerusalem Temple elites, coming to pay their respects to the Palace’s resident, first saw the citron and admired this strange and exotic fruit. Maybe it became the rage to have a citron tree in one’s garden in emulation of the Persian masters.

Assuming this is somewhere near correct, how did the chicness of the citron eventually segue into its strong religious symbolism? Here, I shall hazard an explanation which I found written nowhere but which satisfies my fertile imagination. One has to know that the adoption by the Jews of the four species in the rituals of Sukkot derives from a text in the Book of Leviticus, where it is said (in the English translation):

“And you shall take on the first day the fruit of beautiful trees, branches of palm trees and boughs of leafy trees and willows of the brook, and you shall rejoice before the Lord your God for seven days.”

The text specifically names two of the plants: the palm tree and the willow. For the other two, though, it is quite vague. Talmudic tradition eventually settled on the citron as the “fruit of beautiful trees” and on myrtle as “boughs of leafy trees”.

The choice of myrtle makes sense to me – it is satisfyingly leafy.


But the choice of citron as the fruit of a beautiful tree? That is really quite odd. In no way can the citron tree be considered a beautiful tree. It is low and scrubby, more bush-like.

citron tree

It seems, though, that the Hebrew text is grammatically ambiguous. Although the phrase in Leviticus is typically translated as “fruit of a beautiful tree”, it can also be rendered as “a beautiful fruit of a tree.” At first sight, this doesn’t seem to fit the citron either. As the picture above shows only too well, it is warty and knobbly, really quite ungraceful. But beauty, as they say, is in the eye of the beholder. The citron’s name in Persian, turunj, derives from the Sanskrit suranga, “beautifully coloured”. In today’s world, our lives are so saturated in bright colours that it is difficult for us to appreciate the impact on our ancestors of the few naturally brightly coloured things. As the photo above also reveals, the citron does indeed have a lovely yellow colour, and there really aren’t that many fruits that are so beautifully yellow (lemons come to mind, but that doesn’t count because they are a hybrid of the citron). Maybe the Persians, and the Indians before them, and the Jews after them, found the citron’s colour captivating.

If that explanation doesn’t satisfy my readers, let me suggest another reason. Under proper conditions, the citron is the only tree that can flower and bear fruit throughout the year. Even more distinctively, it can retain its fruit from one year to the next. So the citron tree can have buds, blossoms, and mature fruit all at the same time. This is a unique property, and one which may have aroused awe and reverence in our ancestors.

If that explanation doesn’t satisfy my readers, how about this one? Both the Greek philosopher, Theophrastos, and the Roman natural philosopher, Pliny the Elder, mention the citron in their botanical writings. And both stress the fact that the citron, fruit and leaves, has a very strong scent, that typical scent which you also get from the zest of the lemon. It is so strong, they say, that if the fruit is put among clothes it acts as a moth-repellent. This seems a little weak as a reason for nominating the citron as a “beautiful fruit”, although as every woman knows scent can be an important ingredient in beauty. And maybe the elites of India, Persia, and Israel were particularly receptive to the idea that their magnificent – and expensive – clothes could be protected from those pesky moths by the citron.

Either one of these explanations, or all three, must explain not only why the Jews adopted the citron as a religious symbol but also why anyone bothered to cultivate the citron in the first place and then bothered to carry it along to different parts of the world. From a utilitarian point of view, and our ancestors were nothing if not supremely utilitarian when it came to their natural environment, the citron really does seem a singularly useless plant. As I’ve said, the tree is low, scrubby, and bush-like, so it cannot be used as a shade tree. It is sickly and prone to disease, so is difficult to cultivate. The wood is no good for timber. Even the fruit is not much good to eat. It is mostly pith with hardly any flesh, and what flesh there is, is dry with relatively little juice.

cut citron

Whatever the reason, by the time the High Priest poured the water of libation over his feet (no doubt with a sneer on his lips) the practice of using the citron as one of the four species in the ceremonies of Sukkot was fixed.

It was this deliberately offensive act at the altar of the Temple which set me off on this quest to know more about the citron. But I can’t stop here, because the continuing history of the citron is equally fascinating. So I hope my readers will bear with me if I take them on a journey into the fruit’s more recent history.

From the fall of Jerusalem in AD 70,  the European history of the citron has been indissolubly bound up with that of the Jewish communities in Europe, so let me switch to using its Hebrew name, etrog (which, by the way, derives from the citron’s Persian name, turunj, via Aramaic, strengthening the idea that somehow it was the Persians who brought it into the lives of the Jews). The Romans’ destruction of Jerusalem, which ended Temple-centred worship for the Jews, meant that the feast of Sukkot began to be celebrated wherever the Jews happened to live. Since the citron was now indispensable in the celebrations of Sukkot, it followed the Jewish diaspora as the latter spread out through the Roman Empire into Greece, Italy, and Spain. With time, more and more attention was given to ensuring that the etrogim used in Sukkot were the most beautiful: after all, they were offerings to the Lord our God and nothing but the most beautiful should be offered. Detailed guidelines were issued about what constituted a “perfect” etrog, and considerable sums of money were paid for the most perfect ones.

All was under control until the Diaspora began to move northwards into parts of Europe where the climate was too cool for the citron to grow. These more northerly Jewish communities therefore urgently needed etrogim to be brought to them from lands further to the south – no other fruit would do since the four species had been prescribed in the Talmud. This brings us back to where this post started, Genoa. Because of its climate, but also presumably because of its flourishing, and ancient, Jewish community, there were citron orchards around Genoa. It also happened to be a dynamic trading port, so it wasn’t long before Genoa dominated the trade in etrogim to northern Europe. With time, Genoa seems to have gotten out of the business of actually growing etrogim. Instead, it picked up etrogim as far south as Calabria, still a source of etrogim for some Jewish communities, and all points in between, as well as in Corsica, a Genoese colony, and shipped them north.

Genoa’s monopoly on the etrog trade began to be undermined when the Sephardic Jews, expelled from Spain, filtered eastward across the Mediterranean to Italy, Greece, and Turkey, and discovered the etrogim being grown in Corfu and other Ionian islands, presumably for the very ancient Jewish communities of Greece. These were very beautiful as defined by the guidelines on etrog beauty, and they began to seriously compete with the Genoese etrogim. At first, there was resistance in some of the Ashkenazic communities in northern Europe. To explain why, I have to go back to what started me on this post initially, the lemon. The first substantial cultivation of the lemon in Europe only occurred in the mid-15th Century, in Genoa – Genoa again (the sour or bitter orange arrived earlier, in the 11th Century, while the sweet orange arrived somewhat later, in the early 16th Century). European growers of citrons discovered – or maybe they picked it up from the Arabs – that grafting citrons onto lemon stock gave plants which were much hardier than pure citron trees. But grafting created an enormous problem for the Jews because the mixing of species was non-kosher, and etrogim used in a religious Feast had to be kosher. We now know that grafting doesn’t actually lead to a mixing of genes, or hybridization, although 400 years ago it was quite easy to think that it did; after all, everyone knew that if you crossed a horse and a donkey, you got a hybrid, the mule. Many in the Ashkenazic communities suspected that the Greek etrogim were actually so beautiful because they were grafted onto lemon trees. Various rabbis were prepared to certify that they were not, and anyway the Napoleonic wars cut off the traditional supply of etrogim from Genoa. And the Greek etrogim really were so very beautiful …

So the Greek etrog triumphed and trade from Corfu flourished. Eventually, this got the Greek farmers greedy. They calculated that they had the Jewish communities over a barrel – they needed beautiful etrogim, the etrogim from Corfu were the most beautiful, hence they would pay whatever it took to get them. In 1875, they therefore created a cartel and jacked up the price. They turned out to be wrong. The Jewish communities reacted vigorously and successfully boycotted the Greek etrogim. They bought from Calabria, from Corsica, and more importantly from Israel, to where we now turn.

As more and more European Jews immigrated to Palestine in the 1800s, they discovered a local variety of etrogim. They surmised that these must be descended from the etrogim used in Temple worship before the Temple’s destruction. A number of rabbis therefore decided to promote these etrogim from Palestine, which were surely more authentic than etrogim grown elsewhere. They also thought it would help the poverty-stricken economy of Palestine to be able to export high-priced etrogim to Jewish communities in Europe. The problem was that although these etrogim might be more authentic they weren’t nearly as beautiful as the Greek etrogim. On top of it, Sephardic communities which had immigrated to Palestine brought in seeds of Greek citron trees and started planting orchards of the beautiful Greek etrog there. The stand-off with Corfu helped boost sales in Palestine, both of the original as well as of the Greek etrogim transferred there. However, authentic Palestinian etrogim were suffering from the competition.

Coming back to Corfu, the Greek farmers eventually backed down and brought their prices down again. But they didn’t forget or forgive. Some 15 years later, when the body of an unknown woman was found just outside the Jewish quarter in Corfu, the local etrog growers claimed that the woman had been murdered by Jews. This sparked off a pogrom against the local Jewish community, which left 139 people dead. And then it was discovered that the dead woman was actually Jewish. That finished off the etrogim trade from Corfu.

Meanwhile, back in Palestine, the transplanted Greek etrog was pushing the local variety off the market. Eventually, the Greek etrog, which did not adapt very well to the climate in Israel, began to be grafted onto stock of the original etrog, a graft which is kosher. This was a marriage made in heaven: the beautiful Greek etrog with the original, Temple-era etrog. It is this variety which now dominates the modern etrog market, and is no doubt the one being intensely studied by these Orthodox Jews prior to an eventual purchase.

jews purchasing etrogim

I cannot finish my story of the citron without mentioning the one way of usefully consuming it that was eventually discovered. For this, I have to back up a little and say a few words about the history of cane sugar. Cane sugar, brought west from India by, once again, Alexander the Great’s troops (they seem to have been great collectors of plants …), was first exploited in the Near East. It was the Crusaders, who came across caravans of this “sweet salt”, and who brought sugar to the attention of Europe. Until then, Europeans had only had honey as a sweetener. Genoa’s fiercest rival, Venice, was the first to make sugar available in Europe. It also brought another Arab invention, candying of fruit, to Europe. Not to be outdone by its hated rivals, the Genoese also finally got into the candying business. Somewhere along the line, someone had the idea of candying the citron, or rather its pith, of which there is so much, as the photo above shows. Leghorn (Livorno) became the centre of production: citrons from the south all the way to Sicily, from Corfu and the other Ionian islands in the east, and from Corsica in the west, were sent, de-pulped and brined, to Leghorn. There, the citron pith was de-brined and steeped in progressively more concentrated solutions of cane sugar. Once dried and chopped into small pieces, it was shipped, no doubt in Genoese ships, all over Europe to be added to cakes, sweet bread loaves, and other patisseries. I have a particular reason to mention all this because the panettone, that glory of my wife’s home town, Milan, was originally made with candied citron pith (as well as candied orange and sultana raisins).


More humbly, the original recipes of the English plum pudding of my youth also called for candied citron from Leghorn.


Alas! I believe this market has declined drastically – or perhaps citrons from elsewhere have cornered the candying market. The fact is, Leghorn is no longer a centre for candied citron production, the Calabrian citron hangs on by managing to keep a foot in the etrog market, while the Corsican and Corfu citron production is down almost to nothing; the few which are grown there are only used to make a local liqueur. Here’s the Corsican variety. Somehow, it seems apt that the bottle stands next to one made with myrtle, another of the four species.

cedratine and myrtheLet’s lift a glass to the citron a.k.a. the etrog! Cin-Cin!


Lemons in Liguria: (in

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Tosher Rabbi of Montreal: (in

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Cédratine and myrthe, Corsica: (in


Bangkok, 3 February 2016

After reading my last post, my wife asked me a very simple but very penetrating question: “But why are jeans blue?”

One can of course be nit-picking and respond that actually not all jeans are blue. This is undoubtedly true but let’s face it, the huge majority of jeans are dyed some shade of blue. Jeans are not called blue jeans for nothing.

One can also give the trivial answer “because blue dye is used”, which rightfully elicits the riposte “Ha-ha, very funny”. But actually, an interesting tale does hang on the dye used, which I learned while preparing the previous post and which I can’t resist recounting here.

We have to go to Europe for an answer to my wife’s question, because it was from there that the denim material used for blue jeans came to America. So what is the history of blue dye in Europe?

I was delighted to learn that the original blue dye of choice in Europe was extracted from woad. For those – I’m sure many – readers who have no idea what woad is, it is a plant native to many parts of Europe from whose leaves indigo dye can be extracted. I throw in a picture here in case any of my readers might wish to go searching for it.

woad plant

Personally, I must admit that I only knew woad as the stuff which Julius Caesar, in his De Bello Gallico, tells us the Britons smeared themselves with: “Omnes vero se Britanni vitro inficiunt, quod caeruleum efficit colorem, atque hoc horridiores sunt in pugna aspectu”, “In truth, all the Britons stain themselves with woad that occasions a bluish colour, and thereby they have a more terrible appearance in battle”. But I prefer the way it is put in that sublime history of Great Britain, 1066 And All That: “Julius Caesar advanced energetically, throwing his cavalry several thousand paces over the River Flumen; but the Ancient Britons, although all well over military age, painted themselves true blue, or woad, and fought heroically under their dashing queen, Woadicea, as they did later in thin red lines under their good queen, Victoria.” Mel Gibson in Braveheart shows us how it should be done.

mel gibson

Trivia aside, woad was actually economically a very important crop in many parts of Medieval Europe and made some communities very wealthy. In France, for instance, the trade in the dye from woad built many of the more beautiful buildings in Toulouse


while in Germany woad paid for the University of Erfurt, established back in 1389.

erfurt university

The indigo from woad coloured the best of medieval tapestries.

medieval tapestry

In sum, all seemed to be going swimmingly for the woad sector!

But there was a worm in the rose: the same indigo dye, but extracted from the leaves of another plant, in much larger quantities per leaf, in India.


This stuff was already arriving in small and very costly amounts onto Greek, and later Roman, markets, along those same trade routes which I’ve had cause to mention in earlier posts. Because it was so expensive it was used primarily as a pigment in paint and not as a dye of fabrics. The Greeks called it indikon, the Indian dye. The Romans latinized this to indicum, which eventually gave us our indigo. Once the Europeans rounded the Cape of Good Hope and made it safely across the Indian Ocean, they could buy the stuff directly from the producers and cut out all the middle men. Nice packets like this began to arrive in Europe in the hold of European ships.

Indian_indigo_dye_lumpThe price in the European market places duly dropped, woad producers saw their livelihoods threatened, and they resorted to the classic weapons of getting pliant governments to forbid its use (it’s called anti-dumping these days) and putting around rumours that using indigo from India severely affected the quality of the fabric. All to no avail. The higher transportation costs from India were more than offset by the much higher productivity of the Indian plant. Transportation and production costs were then further slashed when the Spaniards started growing the Indian plant in their Latin American colonies and the British in their southern American colonies (Carolina and Georgia), both with slave labour.

Indigo Processing Carolinas

The British then went on to use their early stranglehold on Bengal to create vast indigo estates, turning the local farmers into de facto slaves in the process, which further reduced costs.

indigo processing bengal

Woad was doomed and disappeared from the scene.

But at this moment of triumph for Asian indigo, there was another worm in the rose, this time in the form of the nascent organic chemical industry. In the early 1800s, when woad was fighting its final rearguard actions against Asian indigo, Europe and North America were starting to adopt town gas to light and later heat homes and businesses. Town gas was produced from coal.

town gas manufacture

Its production also created various very nasty wastes, some of which I have stumbled across in my professional career buried in old gasworks sites. One of these wastes was coal tar, a nasty, gooey, stinking waste which looks like this.

coal tar

Chemists started dabbling with coal tar to see what they could extract from it. The breakthrough occurred in 1856 when a young British chemist by the name of Henry Perkin, while trying to make quinine from coal tar, serendipitously produced a purple dye that he later commercialized under the name mauveine.

mauveineIt must have been so thrilling, almost magic, for Mr. Perkin to extract this beautiful colour from that horrible, nasty black gunk. For sure, in the chemistry lab as a boy I found those moments when the liquid in my test tube turned a beautiful colour to be the most memorable. But perhaps Mr. Perkins only saw the commercial possibilities in this lovely mauve.

In any event, the race was on! Chemists piled in to see what other dyes (and later other organic products) they could make by fiddling around with coal tar. The Germans soon dominated the field, accounting for almost 90% of synthetic dye production at the outbreak of World War I. It took a while for synthetic indigo to be produced, because coal tar didn’t contain a suitable “carbon skeleton”. Finally, in the late 1870s, early 1880s, the German chemist Adolf Baeyer managed to find several routes to synthetic indigo. His Nobel Prize for chemistry in 1905 was partially based on this work. Chemists at the Badische Anilin und Soda-Fabrick (better known to us as BASF) came up with yet another, commercially more viable, route, and BASF marketed its first synthetic indigo in 1897. By the way, just to close the circle, BASF was created in 1865 by one Friedrich Engelhorn, who had established the gasworks for the town of Mannheim in 1861 and saw in Perkin’s discovery of mauveine a way of turning this damned coal tar waste into something useful. As BASF’s name suggests, the company initially focused on aniline-based dyes. This is the original BASF plant at Ludwigshafen in 1866.


Natural indigo was doomed. Synthetic indigo’s better quality, the greater reliability of its supplies, and its lower cost all drove natural indigo off the market, despite the usual attempts, which we’ve seen already with woad, by sympathetic governments to try and block the use of synthetic indigo by fair means or foul. In 1897, the year that synthetic indigo first came onto the market, 19,000 tons of natural indigo were produced. By 1914, this had plummeted to 1,000 tons and the free fall was not over. Asian indigo followed woad-based indigo into oblivion.

At this moment of triumph for synthetic indigo, there lurked yet another worm ready to devour the rose’s heart: other blue synthetic dyes. Indanthrene Blue RS was patented in 1901, Hydron Blue was developed in 1908, and maybe there were others – the world of textile dyes is bewilderingly complex. I’m not quite sure how these various dyes fought it out for the denim market, but in the 1950s BASF and other indigo producers seriously considered promoting other blue dyes for denim because of indigo’s poor fastness properties. This is jargon for meaning that textiles dyed with indigo tend to fade rather easily. What stopped them was the fact that this very property of fading was what was so earnestly desired by the young owners of blue jeans, the product in which indigo was most used. So indigo was saved and the worm crawled off to devour other roses. Because of the popularity of jeans, indigo is in fact king of the heap. It is the textile dye with the highest production volumes in the world, some 30,000 tons a year (when you think that most of it is used to dye jeans and that it only takes 10 grams of indigo to dye one pair of jeans, readers with good mathematical skills will quickly figure out that literally billions of jeans must be made every year).

But after that tour through the world of dyes and its cut-throat competition, I am afraid to say that I still haven’t properly answered my wife’s question: “why are jeans blue?” Why are they not red or green or black or yellow? Well I think we have established why they are blue today: because of indigo’s quirk of fading in interesting patterns. But why did the Amoskeag Mills in New Hampshire, which initially supplied Levi Strauss with his denim, use indigo dye? Despite my best efforts, I have not been able to find a satisfactory answer. I suspect it was because by the 1860s, when the mill started supplying Mr. Strauss with his denim, this particular fabric had “always” been dyed with indigo or woad or some other blue dye. “Always” seems to mean at least since the 16th Century. One article I came across says that it was at this time that blue in the UK became the poor’s colour of choice for their clothing. Judging by the paintings of the Master of the Blue Jeans, it was the colour of choice for the poor in Europe more generally.

master of the blue jeans

Why? I don’t know. I have to assume that cost was a factor, but it could also have been simply a fashion trend.

So I’m afraid that I have failed to answer my wife’s question at the deepest level. But I shall keep an eye out, and maybe one day I will come across the answer and be able to update this post. Any leads will be welcome. In the meantime, I invite my readers to enjoy some blue.

Blue Spectrum


Woad plant: (in
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Bangkok, 11th October 2015

A little while back, my wife, bored with the usual round of cooking in the tiny, stuffy, hot kitchen of our apartment and longing to spice things up a bit with some change, espied a fresh herb in the vegetable section of our local supermarket which turned out to be mint. She brought it back and for several weeks now, we have been trying chicken à la mint, pork à la mint, fresh mint in green salad, and – the subject of this post – mint in tomato-based sauce for pasta.

Let me interject here that a basic difference between me and my wife is that she is adventurous, ready to try new things, and I am timorous, fearful of the new and comfortable with the true and the tried. This is as true for food as it is for any other sphere of life. I therefore approached these experiments in our usual cuisine with some diffidence if not suspicion. Actually, apart from the fresh mint in green salad, which I forcefully suggested we not try again, it worked rather well. In the case of mint in tomato-based sauce for pasta, it worked really well. The mint added a sweet overtone to the acidity of the tomato which did wonders to the palate. I have graciously allowed this variation on a theme to be added to our culinary repertoire. It’s very easy to prepare, by the way: replace basil leaves with mint, et voilà! (or you can just add the mint to the basil leaves)

A quick whip around the internet shows me that my wife is not the only one to have stumbled onto this use of mint. Martha Stewart, no less, offers a recipe where the tomato sauce contains mint. I throw in a picture from another recipe – readers are going to have to take it on faith that the little green bits in the sauce are finely chopped mint leaves.

tomato-mint sauce

One thread in these posts of mine has been to salute the humbler ingredients in our food, those which never get much publicity but are actually the ones that make each of our dishes so special. I’ve written on lemongrass recently, and capers and anise a while back (and, at the other end of the spectrum, I’ve written very disapprovingly about the use of hot spices). So I will use this occasion to also sing the praises of mint, reviewing some of its better uses in food.

As I usually do, I began surfing around the internet to see what I could find. I was surprised to not come across a huge use of mint, at least in my part of Europe (Western Europe, to use the Cold War parlance). Of course, there is that most English of dishes, mint sauce, a wonderful, wonderful sauce to put on lamb chops. But this dish has already been the subject (or one of the subjects) of a previous post, in which I sing the praises of the sweet-and-salt combination, so I don’t feel I can go on about it again. I will leave readers to refer to that post and move on – but not before throwing in a picture of mint sauce with lamb chops.

lamb sauce and lamb

In my electronic wanderings, I stumbled across the following dish, which also seems incredibly English – at least, it involves peas, and since peas are in my mind as English as Big Ben or HM the Queen (one of the veggies in every meat and two veggies which I had in my youth seemed to be peas), I include it. We are talking of pea soup with mint (I give thumbnail recipes for this and other dishes that I mention at the end of the post).

pea and mint soup

I have a feeling that this soup would be good chilled, like gazpacho.

I also want to add here another dish that I came across as I went around raising electronic rocks to see what was hidden below them. It’s actually an eggplant dish from 16th Century Italy. I add it because I think it’s kind of cool to look at what our ancestors were eating. But it’s also an intriguing dish because it looks to be an ancestor of the modern dish we know as eggplant parmigiana. The big difference between the two is the absence of a tomato-based sauce in the old recipe. I suppose this difference reflects the fact that tomatoes were not yet current in Italian cuisine in the 16th Century. Instead, a mix of herbs (mint, sweet marjoram, salad Burnet, parsley, fresh fennel tips), crushed garlic, a couple of spices (cinnamon and cloves), pepper, and salt, are spread over the eggplant, and the whole is splashed with verjuice (I will let readers look that one up, as I had to) and sprinkled with sugar. Then, like eggplant parmigiana, cheese is spread over the whole. Here’s what it looks like, and the thumbnail recipe is at the end.

pomi sdegnosi

It was at this point that luck came to the rescue. As I was surfing disconsolately around the internet, I came across an interesting article entitled “Mints in Ethnic Cuisines”, written by two ladies from Texas, Madalene Hill and Gwen Barclay. I am indebted to them for much of what follows. It was they, for instance, who taught me that Greek cuisine bucks the (modern?) European trend of using little mint. It seems that Greeks use mint with wild abandon in their cuisine. The two authors mention several dishes in particular: keftedes meatballs, the yoghurt-based tzatziki sauce, the bean stew gigantes plaki, dolmas (stuffed grape vine leaves), hortopita, which is a vegetable and rice pie; even that best known of Greek dishes, moussaka, has mint in it! I give thumbnail recipes of all these dishes at the end, but here I will only post pictures of keftedes meatballs


which can be served with the yoghurt-based tzatziki sauce as a dip


I chose to put pictures of these two dishes with the hope that my wife (and I) can try to make them …

I now leave Europe behind, skimming over the waves of the Aegean Sea to the land of Lebanon, because I want to raise a cheer for that most Lebanese of dishes, tabouleh.


I have very fond memories of eating tabouleh in Beijing – yes, Beijing. There was a little Lebanese restaurant down the road from where we lived, run by a small, tubby Lebanese man with a twinkle in his eye. When Spring came rolling round, it was incredibly pleasant for my wife and I to sit outside the restaurant, under the barely budding trees, in the tepid heat of the midday sun, slowly working our way through a plate of tabouleh. I must say, though, I’m a little surprised that not only chopped parsley but also chopped mint is added. I’m not sure that our tubby Lebanese restaurateur was putting mint in his tabouleh. I will need to hunt down a restaurant which serves tabouleh with both mint and parsley. While I’m at it, I will also see if it serves Arab or Middle-East salad.

arabic-saladLemon segments, diced cucumber and tomatoes, the whole mixed with chopped onions, mint, and parsley. Sounds sooooo good …

I now want to arc over to the Indian subcontinent, but not before pausing for a minute in modern-day Iraq. I’m actually stopping here for Iraq’s Babylonian past. Like any self-respecting university, Yale University has a collection of cuneiform tablets, some of which, like this one, list recipes.


These have been translated by a Frenchman, Jean Botéro (this immediately makes me think of the Egyptologist, Professor Philémon Siclone, in the Tintin album “Les Cigares du Pharaön”


but I digress).

One of these, Recipe XXIII, contains mint, to whit: “Leg (of mutton) (?) meat is used. Prepare water; [add] fat […] samidu, coriander (?), cumin (?), and kanašû. Assemble (all the ingredients in the cooking vessel) and sprinkle with crushed garlic. (After cooking,) blend into the pot šuhutinnû and mint […]” As you can see, words are missing, the translation of some of the ingredients is unknown, and to make matters worse the recipe is exceedingly brief compared to our modern ones, leaving much to the skill – and imagination – of the cook. Nevertheless, Laura Kelley and a band of hardy cooks have been piecing together these telegraphic recipes from 4,000 years ago and trying them out. Many of the results are described on the web site “The Silk Road Gourmet”  I post here the picture of a modern take on Recipe XXIII, after someone concluded that šuhutinnû is probably carrot or possibly parsnip, and samidu is barley:

babylonian lamb and mint

I have added the modern version of the recipe to the thumbnail recipes below, for those who might want to try connecting gastronomically with our remote Babylonian ancestors.

After that pit stop in the fertile crescent, we go on to the Indian subcontinent, the land of chutneys – not so much the fruit-based chutneys which the colonial Brits brought back to the UK, but more vegetable-based chutneys. Here is a chutney, mint-coriander chutney, where mint takes pride of place.

mint-coriander chutney

One of the recipes I perused helpfully informs the reader that this chutney can be served with pakoras, samosas, chaat, chole, or even potato chips.

This chutney allows me to segue smoothly into another popular dish from that part of the world, raita, a cold yogurt condiment served to cut the heat of spicy dishes. And here I will throw in a picture of a cucumber-mint raita (with thumbnail recipe at the end).

cucumber-mint raita

Being based on yoghurt (or strictly speaking curds) and looking at how raitas are made, I have to think that they are (perhaps not so) distant cousins of the Greek tzatziki (which itself is part of a broader family of yoghurt-based dishes to be found from the Balkans to the Caucasus). Maybe one day I should write a post on yoghurt …

After this, I soar over the Bay of Bengal back to Thailand. Madalene Hill and Gwen Barclay say that mint is a very popular ingredient in Thai cuisine and in South-East Asian cuisine more generally. Certainly, I recently had a taste of a common use of mint here, where it joins a number of fresh vegetables being served as a side dish to be added to noodle dishes or just eaten along with other main dishes.

side dish fresh vegetables

We were saying bye-bye to a colleague and had lunch together in the office. The food was ordered from outside. My Thai colleagues informed me that most of the dishes I was trying were from the north of the country. I found it interesting to eat fresh mint leaves with some of the spicier dishes. This side dish of fresh vegetables is also common in Vietnam, and I suspect throughout South-East Asia.

I’ll finish with a dish from Thailand, yam nang mu (pork skin salad). This is actually one of many Thai “salads” in which various cuts of meat or offal are sliced small, seasoned with spicy/sour/sweet sauces, and then mixed with herbs of one variety or another. In this particular case, you season boiled, defatted pork skin (there is a cousin to this dish using pig’s ears) with fish and shrimp sauce, lime juice, sugar, and mix it all with a large amount of mint leaves, some lemongrass, some roasted rice, and a number of other ingredients (thumbnail recipe at the end).

pork skin salad

Well, that brings me to the end of my world tour following the trace of mint. There are a lot of dishes which use mint that I’ve not mentioned. I’ve also not touched on the use mint in drinks, for instance Moroccan mint tea with its spectacular pouring technique

moroccan mint tea

or the somewhat more alcoholic mint julep, a favourite of the Kentucky Derby.

mint julep

But I’ll leave these for another day. Right now, my wife is looking at her watch and at the door. Time to go.


Pea and mint soup: Soften some onions in a heavy pot over medium heat. Add broth and bring to a boil. Add peas, reduce heat, and simmer gently until tender. Add chopped mint leaves (and parsley if you want). Add more broth. Purée in a blender until smooth. Season with salt and pepper.

Pomi sdegnosi, or braised eggplant: Slice the eggplant lengthwise and let them steep in in lukewarm water for 30 minutes. Rinse. Submerge the eggplant slices in boiling water for about 8 minutes. Remove and drain. Dredge the eggplant slices in flour and layer the bottom of an oiled dish. Chop all of the herbs – fresh mint, marjoram, parsley, salad Burnet, fennel tips – and mix them with minced garlic, spices – cinnamon, cloves, pepper – salt, sugar, and verjuice (for which lemon juice can be substituted). Cover the eggplant with breadcrumbs, drizzle with olive oil, cover with herb/spice mixture and then with provatura cheese (mozzarella, another pulled cheese, can be substituted). Repeat for each layer of eggplant. Bake in the oven for 30 minutes. (Adapted from

Keftedes: Combine ground beef, bread dunked in milk, minced onion, minced garlic, finely chopped mint and oregano, some vinegar, some beaten eggs, a small amount of grated nutmeg, salt, and pepper, and mix well. Roll the mixture into balls. Dust the balls with flour. Put them in hot oil in a pan. Brown on all sides.

Tzatziki: Peel cucumbers and dice. To draw out their water, sprinkle them with salt and let them sit for 30 minutes. Drain well. Put them in a blender, along with minced garlic, some lemon juice, some chopped mint (and some chopped dill if you wish), and a little ground black pepper. Process until well blended. Stir the result into Greek yogurt. Salt to taste. Let it stand for at least two hours before serving so flavours can blend.

Gigantes Plaki: Soak gigantes beans (giant butter beans) overnight. Cover with fresh water and bring to the boil. Simmer for a couple of hours until the beans are just tender. In parallel, gently soften chopped onions and garlic for a few minutes. Then stir in some sweet paprika, tinned tomatoes, 100ml water. Salt and pepper. Bring to the boil, then simmer for half an hour. Stir in sea kale or dandelion leaves (or chard as an alternative). Mix the cooked beans with the sauce, adding some more olive oil and chopped mint and parsley. Transfer to a casserole pan, and bake for half an hour or so until the beans are tender and the sauce thickened and bubbling. Can be served hot, warm or at room temperature.

Dolmas: In a little broth, mix ground beef and lamb with uncooked rice, minced onion and garlic, some pine nuts, chopped mint and parsley. Place rinsed grape leaves on a work surface. Place a dollop of the mixture at the center of each leaf. Tuck in the ends and roll tightly toward the leaf point. Layer the wrapped leaves in a large saucepan Cover them with broth mixed with lemon juice. Cook over low heat for three-quarters of an hour.

Moussaka: Place minced lamb, minced onions, crushed garlic, chopped mint and oregano, a couple of bay leaves and a cinnamon stick in a large frying pan and cook over a medium heat for a quarter of an hour. Stir in some flour. Add a glass of wine, canned tomatoes, some tomato purée, and bring to a simmer. Cook for half an hour, until the lamb is tender and the sauce has thickened. Season with salt and freshly ground black pepper to taste. Set aside this meat sauce. Fry eggplant slices for a couple of minutes. Set them aside. Cook potatoes in boiling water for five minutes, then cool under running water. Prepare a white sauce as follows. Melt butter in a saucepan, stir in some flour. Cook for a few seconds, then gradually stir in milk. Add some grated parmesan and grated nutmeg. Simmer the sauce gently for 5 minutes. Season to taste with salt and pepper. Remove from the heat and stir in a beaten egg. Spoon some of the meat sauce into a shallow dish. Cover with a layer of potatoes and a layer of eggplant. Repeat the layers twice more, finishing with the eggplant. Pour over the white sauce to cover the whole in a thick, even layer. Sprinkle with a bit more parmesan. Bake in the oven until deep golden-brown and bubbling.

Hortopita: Peel, seed, and shred some pumpkin. Weight it to drain its liquid. Cook it in a skillet until it wilts and most or all of its liquid has evaporated. Transfer to a bowl. Cook in the same skillet a chopped leek and onion until also wilted. Transfer to the bowl with the pumpkin. Cook chopped chard and spinach until wilted; add to the bowl. Add the herbs – mint, sorrel, hartwort, chervil, dill, fennel leaves, parsley, and oregano – to the bowl. Season to taste with salt and pepper. Roll out a first phyllo dough ball and place it inside an oiled roasting pan. Brush with olive oil. Repeat with the second piece of dough. Spread the filling evenly over the dough. Repeat with a third sheet of dough, placing it over the filling. Brush with olive oil. Roll out the last piece of dough to a slightly smaller piece, and place it over the surface of the pie. Join the bottom and top layers of dough. Brush the top of the pie generously with olive oil. Bake until the pastry is golden and crisp. Remove and serve warm or at room temperature.

Tabouleh: Stir together some bulgur and olive oil. Pour boiling water over, and let stand for a quarter of an hour. Drain well. Toss with finely chopped mint and parsley, a couple of chopped tomatoes, half a cucumber, several tablespoons of lemon and of olive oil. Season with salt and pepper.

Arab salad: Cut segments from half of lemon free from membranes and transfer segments to a cutting board, then squeeze juice from the remaining half a lemon into bowl. Put a couple of tablespoons of lemon juice in a bowl. Add finely chopped segments of lemon. Add salt, pepper, and several tablespoons of olive oil. Whisk to combine. Stir in the remaining ingredients: diced cucumber and tomatoes, finely chopped onion, finely chopped mint and parsley.

Babylonian lamb with barley and mint: Marinate lamb steaks in soy sauce for half an hour. Sauté in oil, along with the trimmings. Remove, leaving the trimmings in the pan. Stir barley into the oil and toast for a few moments. Add cumin, coriander, and chopped garlic. Simmer until the barley is cooked. Place the lamb steaks in the pan and cook the desired degree. Add finely sliced carrots and chopped mint for a few minutes. Remove the lamb and slice. Place the carrots in a serving dish, spoon the barley over carrots, add the sliced lamb, and spoon over with the sauce. (adapted from

Mint-coriander chutney: In a blender, grind together chopped mint leaves, chopped coriander, a chopped green chili (personally, I would cut out the chili, but can it be Indian without it?), a piece of ginger, a small amount of cumin, and some lemon juice, until smooth, using a little water if necessary. Salt to taste.

Cucumber-mint raita: Coarsely grate a cucumber. Squeeze dry. Whisk curds (yogurt can substitute), chopped mint, a little cumin, even less cayenne pepper in medium bowl to blend. Add cucumbers and mix well. Season to taste with salt and pepper.

Yam nang mu (Pork skin salad): Boil pork skin until soft. Cool. Remove any fat from the skin. Slice the skin into thin, short slices. Mix well with a large handful of chopped mint leaves, finely minced lemongrass, lime juice, fish sauce, palm sugar, and ground roasted rice.


Tomato-mint sauce: (in
Mint sauce and lamb: (in
Pea and mint soup: (in
Pomi sdegnosi: (in
Keftedes: (in
Tzatziki:×350-174210.jpg (in
Tabouleh: (in
Arabic salad: (in
Cuneiform tablet YBC 4644: (in
Egyptologist in Tintin: (in
Babylonian lamb and mint: (in
Mint-coriander chutney (in
Cucumber-mint raita: (in
Side dish fresh vegetables: (in
Pork skin salad: (in
Moroccan mint tea: (in
Mint julep: (in