A Myrrh and Iron Gall Ink from the Magical Greek Papyri

A spell to make everyone love you, and one of the earliest recipes for iron gall ink. From Leiden Papyrus J 384, PGM 12 in Preisendanz’ collection of Magical Greek Papyri, perhaps 2nd or 3rd century CE.

“To be attractive and loveable forever. Take a root of pasithea or wormwood, and [on it] write this name in a holy way:

“Carry it and you will be attractive, loveable and extraordinary to those who look on you.

“The formula:

• 1 drachma of myrrh

• 4 drachmai of misy

• 2 drachmai of vitriol

• 2 drachmai of oak galls

• 3 drachmai of gum arabic.”

προς επιχιρειαν[1] καὶ φιλεὶάν[2] δια παντος λαβων ριζαν πασιθεαν η αρτεμισιαν επιγραφε το □[3] τουτο αγνως [see image] και φορει και εση και επιχιρεις[4] και προσφιλης και θαυμαστος τοις ορωσι σοι.

ἡ ἀναγραφή· ζμύρνης δραχμὴ αʹ, μίσυος δραχμαὶ δʹ, χαλκάνθου δραχμαὶ βʹ, κηκίδων δραχμαὶ βʹ, κόμεως δραχμαὶ γʹ.

[1] ἐπιχάρειαν Pr. [2] φιλίαν Pr. [3] ὄνομα Pr. [4] ἐπίχαρις Pr.

P. Leid. J 384, col. 12, 24,13–16 Daniel = PGM XII 397–400 = old Leiden Papyrus V (English here)

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Notes

For the first part of the text, I’ve transcribed Daniel’s edition (no accents for the most part or punctuation), but I’ve used Preisendanz’ edition for the formula. There’s some debate about what μίσυ (misy) and χάλκανθος (khalkanthos) refer to.

Misy. In Betz’ collection, Martin translates μίσυ as “truffle.” There is a kind of truffle called μίσυ mentioned in LSJ; but Preisendanz and Christiansen both suggest it refers to a substance found in mines, the misy mentioned by Dioscorides (5.100) and Pliny (34.121–122). Preisendanz translates as “Vitriolerz” (vol, 2, p.83), one term given in Pape, and which makes more sense. In a recent article, Thomas Christiansen (p. 184) suggests misy might be the decomposed iron sulfide contained in chalco-pyrites (CuFe₂).

Khalkanthos. The word comes from χαλκός (copper) + ἄνθος (bloom). Pliny says it is prepared in Spain by collecting water from wells or mining pits, boiling it down, then putting it into a wooden reservoir and leaving cords to hang down into the water. Glass-like growths form on the cords and the are collected (34.123–124, English). He says it is known as atramentum sutorium in Latin, “shoemaker’s black,” and suggests the Greek term is evidence the substance is related to copper. Dioscorides also mentions there are different kinds of χάλκανθος, one of which, known as ἐφθόν (“boiled”) and prepared in Spain, was used to dye leather black. Christiansen (p. 182) points out this may indicate some confusion in the history of vitriols (sulfate compounds named after their glass-like appearance). After Razi, vitriols are distinguished into two kinds: blue and green. Blue vitriol corresponds roughly to copper (II) sulfate pentahydrate (CuSO₄·5H₂O) and green vitriol corresponds to iron (II) sulfate heptahydrate (FeSO₄·7H₂O). Before Razi, however, it seems they were not systematically distinguished either conceptually or physically. The substance is called “shoemaker’s black” because when combined with the tannin from oak galls used in tanning leather, the iron (II) would form a complex with the tannic acid, ferrous tannate, a black soluble pigment. When it dries, the complex reacts with oxygen in the air to form insoluble ferric tannate. This is the same reaction that makes iron gall inks so permanent. There’s a good wiki about this and lots online. I wrote about a different use of gall ink here: to write secret messages on eggs.

The first known occurence of a recipe for an iron gall ink is for an invisible ink. It’s from Philo of Byzantium, who writes about how to get secret messages out of a city under siege:

“The letters (sent by those under siege) are written in a new hat on the skin after crushing oak galls and soaking them in water. When dried, the writing becomes invisible, but if flower of copper is ground like ink in water and a sponge is soaked with it, when wiped with the sponge, they become visible.”

γράφονται δ' αἱ ἐπιστολαὶ εἰς καυσίαν καινὴν εἰς τὸν χρῶτα κηκῖδος θλασθείσης καὶ ὕδατι βραχείσης· ξηρανθέντα δὲ τὰ γράμματα ἄδηλα γίνεται, χαλκοῦ δὲ ἄνθους τριφθέντος ὥσπερ ἐν ὕδατι τὸ μέλαν καὶ ἐν τούτῳ σπόγγου βραχέντος, ὅταν ἀποσπογγισθῇ τούτῳ, φανερὰ γίνεται.

Philo of Byzantium, Belopoeica, ed. Diels and Schramm, 79

The AlchemEast team has written a great piece detailing their experiments replicating this recipe using blue and green vitriols.

Other observations

Myrrh. Christiansen thinks the myrrh here is not the raw resin, but ash from burnt resin. Burnt resins were used to make carbon inks, and this may be the case here; however, there is no mention in the recipe that the myrrh is burnt.

The Reaction. The reaction itself is pretty striking. Here's an example:

Oak gall and khalkanthos

Holding it in

“You can learn for yourself what I’m saying is true if you consider something that often happens to people. There are times when a biting humour builds up in the area around the anus and it makes us really need to go to the bathroom, but we are forced to hold it in because we are in the middle of some public business; once we’re done with it, we can’t go to the bathroom anymore and as a result we often we also get a headache and an upset stomach.”

ὅτι δὲ ἀληθές ἐστιν ὃ λέγω, πάρεστι μαθεῖν ἑκάστῳ τῶν πολλάκις ἡμῖν συμβαινόντων ἀναμνησθέντι. δακνώδης γοῦν ἐνίοτε χυμὸς εἰς τὰ κατὰ τὴν ἕδραν χωρία παραγενόμενος, ἐρεθίζει μὲν ἡμᾶς ἐπὶ τὴν ἔκκρισιν αὐτοῦ· κατασχεῖν δὲ αὐτὸν ἀναγκασθέντες, ἐπειδὰν ἐν πολιτικαῖς ὦμεν πράξεσιν, ἀπαλλαγέντες αὐτῶν οὐκέτ' ἀποκρίνομεν, αἰσθανόμεθά τε κἀκ τούτου πολλάκις τῆς κεφαλῆς ὀδυνηρᾶς γινομένης ἀνατρεπομένης τε τῆς γαστρός.

Galen, Matters of Health 6.10, 6.433 K. = 190,1–7 Koch

“For when people really need to poo but because they are held up in the agora or some other unsuitable place they hold it in for a long time, they are either no longer able to poo or their poo is small and dry. Why does this happen? Clearly it’s because effluvia have come off from them inside of us as well, from which it is clear that what is present in our intestines is also nourishment.”

οἱ γ(ὰρ) προθυμίᾳ γ(ινόμενοι) πρὸς τὸ διαχωρῆσαι,
καταλαμβανόμενοι δὲ ἐν ἀγορᾶι ἢ
ἐν ἀνεπιτηδείοις, εἶτα συσχόν-
τες ἐπὶ πλεῖον, οὐκέτι διαχωρο(ῦσιν)
ἢ διαχωροῦσιν ἐλάχιστά τε καὶ ξηρ(ά).
τίνος αἰ(τίας) γι(νομένης); δῆλον ὅτι ἀποφορᾶς καὶ ἐ̣ν(τὸς)
ἀπ' αὐτ(ῶν) γεγενημέν(ης). ἐξ ὧν φανερόν,
ὡς τροφή (ἐστιν) καὶ ἡ ἐν ἐντέροις παρακειμένη.

Anonymus Londinensis, Fragment 1,1–9 Diels

Thanks to Peter, Ralph and David for pointing these out.

Dream Spells: Dream Spell of Three Reeds

Here is a dream spell from the collection of Magical Greek Papyri. This one is to summon dream sending demons to give you a dream.

Dream Spell of Three Reeds

The picking of the reeds is before sunrise. After sunset, while raising the first reed and facing East, say three times:

“Maskelli Maskello Phnoukentabao Oreobazagra, Rhexikhthon, Ippokhton, Puripeganyx, aeēiouō, Lepetan Azarakhtharo: I pick you so that you might bring me a dream.”

Then, while raising the second reed to the South, say the “Maskelli” spell again, then the vowels, then “Throbeia”,* and while raising the reed whirl yourself around. Facing North and West, say the same words three times, those of the second reed. And raising the third reed, say the same words and the following: “Ie Ie, I pick you for such a deed.”

Here is what is to be written on the reeds: on the first, “Azarakhtharo”; on the second, “Throbeia”; on the third, “Ie Ie”.

Then taking a lamp, one that has not been painted with red ochre, fill it with pure olive oil; and taking a clean strip of cloth, write down all the words. Utter the same things to the lamp seven times. Let the lamp be facing East, let it be placed next to a censer in which you make an incense offering of uncut frankincense. Then once you have prepared the reeds, bound them together with fibres from a date palm and made them into a kind of tripod, set the lamp on it. Let the head of the one performing the spell be crowned with olive branches.

Preparation of the ink with which one must write on the reeds and the lamp wick: Single-stemmed wormwood (?), yellow birdsfoot, 3 pits from Nikolaos dates,** 3 Carian dried figs, goldsmith soot, three young branches of a male date palm, sea foam.

What is written and recited is the following: “I conjure you dream-sender, because I want you to enter into me and show forth to me about the relevant matter: Ieroiethedien Throu, Khaora, Arpebo, Endalela.

*i.e., after saying the vowels aeēiouō, instead of “Lepetan Azarakhtharo,” say “Lepetan Throbeia” (or maybe just “Throbeia”).

**a kind of large date from Syria, cf. Athenaeus Deipnosophistae VII 4, Moralia 723A-724F.

Ὀνειροθαυπτάνη τρικαλαμαία. ἔστιν ἡ ἄρσις τῶν καλάμων πρὸ ἡλίου ἀνατολῆς· μετὰ δυσμὰς ἀνασπῶν τὸν πρῶτον βλέπων πρὸς ἀπηλιώτην λέγε τρίς· ‘μασκελλι μασκελλω φνουκενταβαω ὀρεοβαζάγρα, ῥηξίχθων, ϊπποχθων, πυριπηγανύξ· αεηϊουω λεπεταν αζαραχθαρω, αἴρω σε, ἵνα μοι ὀνειροθαυπτήσῃς.’

καὶ τὸν δεύτερον ἀνασπῶν τῷ νότῳ πάλιν λέγε τὸν ‘μασκελλι’ λόγον καὶ τὰ φωνάεντα καὶ ‘θρωβεια’, καὶ κρατῶν τὸν κάλαμον περιστρέφου· πρὸς τὸν βορρᾶ καὶ τὸν λίβα βλέπων τρὶς τὰ αὐτὰ ὀνόματα λέγε, τὰ τοῦ δευτέρου καλάμου. καὶ τὸν τρίτον ἀνασπῶν λέγε τὰ αὐτὰ ὀνόματα καὶ ταῦτα· ‘ιη ιη, αἴρω σε ἐπὶ ποιὰν πρᾶξιν.’

ἔστιν δὲ καὶ τὰ γραφόμενα ἐπὶ τοῖς καλάμοις. ἐπὶ μὲν τοῦ πρώτου· ‘αζαραχθαρω,’ ἐπὶ δὲ τοῦ δευτέρου· ‘θρωβεια,’ ἐπὶ δὲ τοῦ τρίτου· ‘ιη ιη.’

εἶτα λαβὼν λύχνον ἀμίλτωτον γέμισον ἐλαίῳ καθαρῷ, καὶ λαβὼν ῥάκος καθαρὸν κατάγραφε τὰ ὀνόματα ὅλα. τὰ αὐτὰ ἐπίλεγε πρὸς τὸν λύχνον ἑπτάκις. ἤτω δὲ ὁ λύχνος τῇ ἀνατολῇ βλέπων, παρακείσθω δὲ θυμιατήριον, ἐν ᾧ ἐπιθύσεις λίβανον ἄτμητον, καὶ ποιήσας τοὺς καλάμους, δήσας αὐτοὺς ἐφ' ἓν νεύροις φοίνικος, ποιήσας αὐτοὺς εἰς τύπον τρίποδος, ἐπίθες τὸν λύχνον. ἐστέφθω δὲ ἡ κεφαλὴ τοῦ πράττοντος ἐλαΐνοις.

σκευὴ μέλανος, ἐν ᾧ δεῖ γράφειν τοὺς καλάμους καὶ τὸ ἐλλύχνιον· ἀρτεμισία μονόκλωνος, κατανάγκη, ὀστᾶ φοινίκων Νικολάων γʹ, Καρικαὶ ἰσχάδες γʹ, αἰθάλη χρυσοχοϊκή, θαλλοὶ φοίνικος ἀρσενικοῦ γʹ, ἀφρὸς θαλάσσης.

ἔστιν δὲ καὶ τὰ γραφόμενα καὶ διωκόμενα ταῦτα· ‘ὁρκίζω σὲ τὸν ὑπ<ν>αφέτην, ὅτι ἐγώ σε θέλω εἰσπορευθῆναι εἰς ἐμὲ καὶ δεῖξαί μοι περὶ τοῦ δεῖνος πράγματος, ιερωρϊεθεδιεν θρου· χαωρα· αρπεβω· ενδαληλα.’

PGM IV 3172–3208, 1.176 Preisendanz

Recreating Democritus’ Party Tricks II: Egg Yolks

Revisiting Democritus’ Party Tricks

Here’s an update on my attempt to replicate one of the party tricks or paignia (παίγνια) attributed to Democritus in the London Papyrus 121, col. 5, ll. 1–19.

Since last year, I’ve noticed that several translators have interpreted the word κρόκος to mean egg yolk instead of saffron.

“To make an egg like an apple: after boiling an egg, coat it with a mixture of egg yolk and wine.”

Ὠὸν ὅμοιον μῆλον* γενέσθαι· ζέσας τὸ ὠὸν χρεῖε κρόκῳ μείξας μετ’ οἴνου.

*μήλῳ Wessely

Papyri Graecae Magicae VII 171–172 = VII (Atomists) R127A.2 Laks-Most

I figured it was worth testing the egg-yolk hypothesis experimentally.

In Greek natural philosophical and medical literature, κρόκος normally refers to the saffron crocus, Crocus sativus L., in particular to the dried stigmata from the flowers used as a spice. Since the spice dyes and stains with a strong orange-yellow colour, the name also came to refer to the colour itself, just as κόκκος, the ‘berry’ of the kermes oak, came to be used for the dark red color of plums. At some point, it also came to refer to the yellow part of the egg, much like the English word ‘yolk,’ which comes from old English word geolca, ultimately from OE geolu, ‘yellow.’ (Both yolk and yellow are cognate with the ancient Greek word χλωρός, ‘fresh,’ ‘green,’ ‘yellow,’ which also came to mean egg yolk).

All this means that interpreters have two options when translating κρόκος in our passage: saffron or egg yolk. Maybe because of the egg connection, some interpreters wagered here it means yolk.

It seemed unlikely to me that mixing egg-yolk with wine could produce a dye of any effect, but I decided to try it out using roughly the same procedure I used last year, boiling the eggs and then dying both the shells and the boiled egg whites. I should have used controls, but this is mostly for fun.

The Experiment

I tried to stay as close to the original experiment as possible. I would use red and white wine, brown and white boiled eggs, and paint both the shells and the egg whites with the mixture. I also tested saffron again for comparison.

Testing the egg yolk interpretation: egg yolks, red and white wine, brown and white eggs.

Egg yolks mixed with red and white wine.

Here are the shells painted with egg yolk and saffron. As you can see, none of these looks like apples.

Brown and white egg shells painted and smeared with wine and yolk mixtures.

Then I peeled the eggs and painted the whites — and the yolks too for good measure. The egg painted with saffron and white wine is the most yellow, almost the colour of the yolk. The egg painted with egg yolk and wine also is a bit yellow, but the mixture flowed off pretty quickly without staining the egg at all (see large photo below). Red wine in all cases made the whites blue. If I’d run a control of plain red wine, I imagine the same would have happened. The egg yolks look pretty gross.

Testing yolk vs saffron on cooked egg whites.

Painted and smeared on.

Here the saffron and wine mixture worked much like last time. It produced egg slices that look like peach or apricot. The egg yolk and wine mixture didn’t produce much of anything.

Red wine (top row) makes egg whites go blue, regardless of what is added. White wine with yolk (bottom right) does almost nothing. White wine with saffron (bottom left) turns egg white saffron or peach coloured.

Conclusions

I talked about the results with Glenn Most and André Laks, who went with egg yolks in their translation for the Loeb series. They offered a response that I admit had not occurred to me and is worth keeping in mind: what if the recipe was not meant to work? What if it was designed to fail?

After all, one might suppose that the title, ‘παίγνια’, even if the term is used in an nonstandard way, still has something to do with childish things: games, jokes, ticks, trifles. What if, in this case, the tick is the one played on the person gullible enough to perform it? It’s a least plausible, given some of the tricks:

“To get hard whenever you want. Grind up pepper with honey and rub it on your thing.”

Στ[ύ]ειν ὅτε θέλεις· πέπερι μετὰ μέλιτος τρίψας χρῖέ σου τὸ πρᾶ̣γ̣μ̣α.

Papyri Graecae Magicae VII 186

Could be. Then again, here’s a 2015 patent for a topical preparation to enhance genital sensation using piperine, a primary component of Piper nigrum L., black pepper.

Replication of PGM VII 171-172

A dinner party plate. Can you tell which of these is an egg?

Dream spells

Here are some dream spells from the collection of magical Greek papyri: one in case you want someone else to have a dream, one in case you want to have a dream.

“If you wish to appear to someone in dreams during the night, say to the lamp that gets used every day, say to it often: Cheiamôpsei, Erpebôth: Let so-and-so, daughter of so-and-so, see me in her dreams, now, now, quickly, quickly. Then the usual, whatever you’d like.”

Ἐάν τινι ἐθέλῃς [ἐ]μφανῆναι διὰ νυκτὸς ἐν ὀνείροις, λέγε πρὸς τὸν λύχνον τὸν καθημερινόν, λέγε πολλάκις· ‘χειαμωψει: ερπεβωθ: ἰδέτω με ἡ δεῖνα, ἣν ἡ δεῖνα, ἐν τοῖς ὕπνοις, ἤδη ἤδη, ταχὺ ταχύ.’ καὶ κοινά, ὅσ’ ἂν βούλῃ.

PGM VII 405-411

“Request for a dream. Draw the god Hermes, upright and Ibis-faced, as accurately as possible on a scrap of linen cloth using quail’s blood, then, using myrrh, write his name above and say the words: Come to me, here, quickly, you who have the power. I call to you, the god of gods who is set over the spirits, to show me this in my dreams. By your father Osiris and Isis, your mother, I summon you to show me some image of you and reveal what I wish to know. By your name, Êiiouathi, Psrêpnousa Nertêr, Diokhasbara, Zarakhô, whom they call Balkham, reveal this, reveal everything that I ask.”

Ὀνείρου αἴτησις· Ἀκριβὴς εἰς πάντα γράψον εἰς βύσσινον ῥάκος αἵματι ὀρτυγίου θεὸν Ἑ[ρ]μῆν ὀρ[θ]όν, ἰβιοπρόσωπον, ἔπειτα ζμύρνῃ ἐπίγραψον καὶ τὸ ὄνομα καὶ ἐπίλεγε τὸν [λό]γον· ‘ἔρχου μοι ὡδὶ αἶψα, ὁ ἔχων τὴν ἐξουσίαν. ἐπικαλοῦμαί σε τὸν ἐπὶ τῶν [πν]ευμάτων τεταγμένον θεὸν θ(εῶν), δεῖξαί μοι καθ’ ὕπνους τόδε. ἐξορκίζω [σε]κατὰ [τ]οῦ πατρός σου Ὀσίριδος καὶ Ἴσιδος, τῆς μητρός σου, δεῖξαί μοί τι[να] μορφήν σου, καὶ περὶ ὧν θέλω, χρημάτισον. ὄνομά σοι· ‘ηιιουαθι, ψρηπνου̣α̣ νερτηρ, διοχασβαρα, Ζαραχω’, ὃν καλοῦσι Βαλχάμ· χρημάτισον περὶ τοῦδε, περ[ὶ π]άντων, <ὧν> πυνθάνω.’

PGM XII  144-152